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Rimsky-Korsakov, Richard Strauss, Tchaikovsky: Joan Rodgers (soprano), London Schools Symphony Orchestra, Peter Ash, Barbican Hall, London, 23.9.2008 (BBr)

Rimsky-Korsakov: Capriccio Espagnol, op.34 (1886)
Richard Strauss: Vier Letzte Lieder (1948)
Tchaikovsky: Symphony No.4 in F minor, op.36 (1877/1878)


It’s always good to attend a concert and meet an old friend you haven’t heard for some time. I doubt that I’ve heard Rimsky’s colourful and cheerful Spanish travelogue in the flesh for over thirty years so it was a joy to hear such a buoyant and lively performance of the work at the start of this show. All departments of the orchestra had a really good time with the piece, reveling in their solos – leader Konrad Wagstyl outstanding in his many important solo contributions – and bringing a real festive air to the Barbican. The full house was very pleased.

Joan Rodgers joined the band for a performance of the Vier Letzte Lieder – surely the greatest, and most sublime, set of orchestral songs the old magician, to borrow Benjamin Britten’s evocative description, ever created. Rodgers was totally at home in this music – much more so than in the English songs she gave at the Wigmore Hall two weeks ago (11 November 2008) – for it is in her blood. The orchestra gave solid backing to the voice, never overpowering it, and in the many melismata she floated blissfully over the texture. Ist dies etwa der Tod?, wrote Strauss at the very end, as the horn played the transfiguration motif from his tone poem Tod und Verklärung of 60 years earlier and with the gentle chirruping of the piccolos we felt inclined to reply, ja, nun ist es genug. A most moving performance which left us all spellbound.

After the interval, Tchaikovsky’s 4^th Symphony. Ash took the first movement slightly faster than usual and he built a really towering performance of this anguished music, the brass being especially resplendent throughout, whether in the various appearances of the fate motif or simply supplying a full chordal background. The oboe led the slow movement with his limpid tone, the music delicate and relaxed and even the faster middle section was restrained. The famous pizzicato scherzo was again given a fast tempo and when the brass introduced their march there was a true feeling of humour, especially when the woodwinds interjected their comments. The finale fairly raced away and Ash brought a feeling of the fête to the music but, and this is my only criticism of the whole evening, he muffed the frenzied reprise of the fate motif, it being too fast and lacking the necessary power and horror necessary  to stun us into momentary terror. The coda was back to the fun of the fair and the ending was uproarious.

The standard of musicianship of this student orchestra was most satisfying and we can rest assured that the performance of classical music is safe in the hands of the future generations.

Bob Briggs


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