SEEN AND HEARD INTERNATIONAL

Beethoven, Schumann, Mussorgsky:  Philharmonia Orchestra/Riccardo Muti. Royal Festival Hall,  2.12. 2007 (CC)


Thirty five years ago  at the Fairfield Halls, Croydon, Riccardo Muti and the Philharmonia Orchestra gave their first concert together. In celebration of that event, Riccardo Muti made another (and rare)  London appearance, duplicating two of the three pieces of the original concert  - the piano concerto in 1972 had been the Brahms Second.  Muti of course,  has had a close association with the orchestra since then, taking up the post of Pricipal Concductor following the 1972 concert, and subsequently becoming Music Director in 1979, then Conductor Laureate in 1983. Most recently (2006), Muti was made an Honorary Member of the orchestra.

It has to be said that even on autopilot, the Philharmonia is a remarkable orchestra. But with a true Maestro at the helm (not such a regular occurance these days) it becomes truly world-class, up there with the very finest. That this is self-evident was conclusively proven on this particular evening.

First, the Beethoven overture, the Consecration of the House. This is not the best known of Beethoven's overtures, yet Muti convinced the listener that the piece deserves more regular outings. Clarity and togetherness were the watchwords here, with a simply wonderful active bassoon and delightful string/wind exchanges adding much joy to the mix. Watching Muti in action is like attending a conducting masterclass. Every gesture has meaning and relevance.

I remember a Schumann Piano Concerto with Radu Lupu in the 1980s, also with the Philharmonia but with Giulini conducting. There, Lupu's playing was radiant with musicality and  little has changed in the interim, except perhaps that smatterings of wrong notes are more frequent these days.

Lupu's opening gesture was surprisingly subdued. It was, initially at least, the orchestra that impressed (radiant oboe!), especially with its daring pianissimi. Yet as the performance unfolded, one warmed to Lupu's rich tone and it became difficult to recall a performance of anything that was more simply beautiful. Muti was a telepathic accompanist. The slow movement can only be described as a spontaneous outpouring. Only the finale exhibited a tendency to sag. But this was memorable music-making, without a shadow of a doubt.

Muti's recording of Mussorgsky's Pictures with the Philadelphia Orchestra is justly famous. As a colourist, Muti has few peers, and so it was, that in the second half of this remarkable concert, he really shone. String sound was satisfyingly deep (but never heavy). Muti's own gestures were more dramatic here, as befitted the music, but still nothing was superfluous. Magnificent touches abounded: the woodwind choir; the beautiful sax solo (The Old Castle); the lightness of Tuilleries; the perfectly gauged crescendi of Bydlo; the colourful chatterings of Limoges; the monumental Catacombs and, finally, the stunning breass of the Great Gate. Magnificent.

What a reminder then, of the true standard that the Philharmonia can attain. The concert spoke not only of the orchestra's glorious past, but also of future possibilities - who, one wonders, could help realize them?  It is most unlikely Muti would make another firm commitment to this orchestra, I suppose, but one can dream …

Colin Clarke