SEEN AND HEARD INTERNATIONAL

Prom 59, Lindberg, Rachmaninov and Sibelius: Nikolai Lugansky (piano), Oslo Philharmonic Orchestra, Jukka-Pekka Saraste (conductor) BBC Proms, Royal Albert Hall, London 30.8.2008 (CR)


This was a long, but highly enjoyable, programme, comprising a feast for the eyes and ears. Magnus Lindberg’s work, Seht die Sonne (Behold the Sun), takes its title from Gurrelieder and was commissioned for the Berlin Philharmonic by Simon Rattle. Making use of orchestral forces of a similar scale as Mahler’s Ninth Symphony (the companion piece in the programme for the work’s premiere in 2007), the piece is conceived in a large dimensions, in which Lindberg creates a vast canvas of sound. It is hard to miss the hints of jazz in the musical language, which combines with the dark harmonies to produce a strong and at times ominous sound world. The work does not take itself too seriously, however, and there are moments which could easily have been written to accompany animated films. The piece contains a good balance between dramatic outpourings and gentle calmness, and there are ample opportunities for soloists within the orchestra to shine. A complex and extended cello solo cannot go without mention, played brilliantly and offering a moment of respite from the full orchestral forces. At approximately half an hour’s duration, the piece has a symphonic feel and much to offer the listener in terms of varying textures, moods and ideas.

Rachmaninov’s Third Piano Concerto completed the first half, its dark minor key opening complementing the sound world of the Lindberg very well. The clarity of sound was impressive, and the piano solo line was played with a lightness of touch which allowed the music to breathe. There was some beautiful phrasing from Nikolai Lugansky which showed a true understanding of the style, his Romanticism refreshingly gentle and warm rather than self indulgent and brooding. The slow movement was hypnotic and deeply relaxing, reducing me to a contemplative and dream-like state, while the finale had the energy and drive to maintain the musical flow to the end of the work. This was a perfect combination of performers; Saraste gave the orchestra the space to create the ideal Rachmaninov sound, supporting the dazzling solo piano playing from Lugansky, who had every member of the capacity audience hanging off each one of his impeccably played notes.

The remaining work in this programme was Sibelius’s First Symphony, composed in 1898-9 and emerging from the Russian symphonic tradition. The work holds the influence of Tchaikovsky, but already hints at Sibelius’s own compositional directions. This was a sumptuous performance, rich in emotional impact and opulent harmonies. The sound was well balanced and the orchestra worked as one (this was a notable contrast with the New York Philharmonic from the previous two evenings, which seemed to work extremely well in individual sections but less well in its overall combination). There were some wonderfully tender moments, contrasting well with the more powerful stormy parts of the music and showing the emotional range of this orchestra under the baton of Saraste.

Two enjoyable encores came in the form of a Hardanger Melody by Geirr Tveitt and an extract from Grieg’s Peer Gynt, which demonstrated the range of musicality and expression from this wonderful group of players.

Carla Rees

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