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Beethoven and Walton: Mitsuko Uchida (piano), Peter Coleman–Wright (baritone), London Symphony Chorus (chorus director: Joseph Cullen), London Symphony Orchestra, Colin Davis, Barbican Hall, London, 28.9.2008 (BBr)

Beethoven: Piano Concerto No 4 in G, op.58 (1804/1806)
Walton: Belshazzar’s Feast (1929)


I have always thought of Mitsuko Uchida as carrying the flame for the great Viennese classics, and now, after his retirement, taking the mantle from the incomparable Alfred Brendel. So tonight’s show was promising much. Unfortunately, for me at least, the first movement failed to “take off”, it seemed rather leaden footed and I found keeping my interest in the music difficult. However, as soon as Sir Colin put the stick down for the first chord of the, very strange, slow movement the magic suddenly happened. Uchida was controlled and poetic in the delicate utterances Beethoven gave her and she kept her cool against the onslaught of the orchestra. The finale was as playful as you could want, good humour abounding all over the place. The orchestra, with a large string section, responded to Sir Colin’s every demand and supported Uchida superbly. A flawed interpretation, perhaps, but Uchida is always a delight to hear.

The last time I heard Belshazzar’s Feast was when I reviewed a 3 LP set EMI issued of Walton conducting his own music in about 1982. The last time I heard the piece live was in about 1968 with the Bradford Choral Society. So after all these years, and in the wake of Sir Colin’s revelatory account of the VW 4th symphony four days earlier, I was ready and willing to hear the Walton again. I was not disappointed. The performance was magnificent with the LSO Chorus reveling in the many difficulties of the music – it’s still a bit of a problem for the chorus – and bringing it off with seeming ease. The LSO went all out for this performance – which was recorded for their CD label LSO Live – and brought in the two extra brass sections, seated left and right, behind the 1^st violins and cellos, which Walton uses sparingly but to thrilling effect. What I did find very noticeable was how much Constant Lambert there is in the score – his Rio Grande had achieved a huge success about the time Walton started work on Belshazzar – and how twee the section listing the various Gods – of gold, wood and brass – has become. But whatever one can say against the piece – and it does have its flaws – you’ve got to admit that it still packs a healthy punch.

After all the years since its premiere,  it’s hard to imagine just what a shock this work must have been at the Leeds Festival in 1931, where Beecham fully expected a flop; but just occasionally tonight I had the feeling that the work still has the power to shock. Peter Coleman–Wright is a very fine singer and gave his small part much meaning – especially frightening was his performance of the section concerning the writing on the wall, very gruesome indeed.

Ultimately it was Sir Colin’s evening. At 81 he shows no sign of slowing down and, if anything, from what I have heard of his work this year, his interpretations are becoming richer and ever more insightful.

Bob Briggs


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