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Haydn, Mozart and Dvořák: Alfred Brendel (piano), Philharmonia Orchestra: Sir Charles Mackerras, Royal Festival Hall, London 12.10.2008 (GD)

Haydn: Symphony No. 104 in D, ‘London”
Mozart: Piano Concerto No. 9 in E flat, K 271
Dvořák: Symphony No. 8 in G, op 88


It is surprising how little Haydn Sir Charles has recorded for he is a very distinctive Haydn conductor, but apart from about six Haydn symphonies recorded with the New York based ‘Orchestra of St. Luke’s in the early 90’s there seems to be little else. One would have expected at least a complete set of the Salomon ‘London’ symphonies from such a distinguished Haydn interpreter. Tonight one was immediately in no doubt of these credentials with the direct and darkly resplendent D minor opening of the ‘London’ symphony – with period timpani and trumpets interpolated into the quite large Philharmonia string compliment which cut through the textures in tutti passages. Throughout, Mackerras was fully attendant to every nuance of phrasing and contrast between lyrical reflection, Austrian/Croation folk dance inflections and the baroque splendour of the more dyanamic/ceremonial music, with a directness and spring in the rhythmic structure which sounded totally idiomatic. There was one oddity: after the ‘Andante’ opening there was an unusually long pause before the few woodwind bars which lead to the contrasting D minor tutti sequence. I checked the same passage in Mackerras’s St Luke’s recording and the transition there is perfectly coordinated with tempo already established with no pause; I can only assume that this was some kind of momentary lapse in concentration. However, this was a fine interpretation of Haydn’s last published symphony, even if it lacked, in the final analysis, the accuracy (particularly in string articulation) and overall classical coherence of Sir Charles’s St Luke’s recording.  
 
This was very much Brendel’s evening, being his very last UK concert performance and after the concerto, and his encore, he received a standing ovation. In 1999 and the early 2000s Brendel and Mackerras, with the Scottish Chamber Orchestra, initiated, what appeared to be, a cycle of the Mozart Piano Concertos, but that project was suddenly cut short after a few issues with, as far as I know, no explanation. It appears that strict market forces, such as we are witnessing at the moment, have no regard for social or cultural improvement, let alone artistic/musical merit or achievement!

Whilst fully appreciating the sense of ‘special occasion’ here – in some ways the end of an era, in terms of a tradition of classical piano playing – Brendel’s performance lacked a certain distinction; a classical sensibility in Mozart which is certainly evident in Brendel’s past Mozart concert performances and recordings. Of course, this was partly to do with the inevitable reduction of nimble, elegant, finger work which, unfortunately, comes with age. Throughout one was aware of a deep musicality, but a certain forcefulness, more suited to Beethoven, crept in the performance especially in Brendel’s elaborated trills. The cadenzas also sounded strangely stilted and even prosaic. Brendel was happier in the final rondo with its wonderfully incorporated ‘Menuetto’ sequence, which sounded fresher and spontaneously crisp. Mackerras is a wonderful concerto accompanist, especially in Mozart and the beautifully poignant ‘Andantino’ was delivered with rare subtlety, grace and luminous pathos, but in the outer movements, fine as they were, I didn’t quite experience the spring, contrast and alacrity which characterised his earlier performances and recordings with Brendel and the SCO. Most surprising was that Mackerras did not use antiphonal violins as he had done in the Haydn symphony.  

As an encore Brendel gave a most moving performance of the Busoni arrangement of Bach’s Chorale ‘Nun komm der Heiden Heiland’ BWV 659; not, incidentally, the ‘Andante’ second movement from the ‘Italian Concerto’ as one reviewer claimed! Here the gravity of the slow marching low octaves seemed to resonate throughout the whole hall. A real occasion! 

The Dvořák Eighth Symphony was a delight from beginning to end. I have heard many performances and recordings of this popular Symphony, but not many as compelling as was heard tonight. Mackerras has the rare ability to make this Symphony sound enormously enjoyable without turning it into a virtuoso orchestral showpiece, as so often happens, and he never lost sight of the work as a Symphony. From the flowing melodies of the opening ‘Allegro con brio’, with a perfectly timed G minor develolment section and rousing coda, through the flowing lyrical andante, the graceful waltz of the third movement and the festive finale in rondo/variation form, Mackerras articulated every rhythmic nuance and lyrical contrast with consummate mastery. He never let a particular detail stem the contour and flow of the whole. Of especial excellence was the way in which Mackerras made the magical transition to the minor in the second movement, initiated by a chromatic figure in the horn, without ever making the passage appear underlined or melodramatic. Mackerras also toned down the more overt “circus” elements in the finale without ever losing sight of the festive delights the music arouses. There was the occasional woodwind fluff, especially in the finale, but this in no way detracted from the overall excellence and inspiration of the Philharmonia’s playing. Mackerras correctly used antiphonal violins with six double basses placed in a row at the back of the orchestra. Certainly a real occasion, not only for Alfred Brendel, but also for Sir Charles Mackerras and the Philharmonia.  
 
Geoff Diggines

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