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Britten, Kabalevsky, Dvořák: Steven Isserlis (cello), Bournemouth Symphony Orchestra, Kirill Karabits, Lighthouse, Poole, Dorset, England 25.2.2009 (IL)

Britten: Four Sea Interludes from Peter Grimes
Kabalevsky: Cello Concerto No.2
Dvořák: Symphony No.8 in G major 


This concert’s conductor, Kirill Karabits, is scheduled to become the Bournemouth Symphony Orchestra’s Principal Conductor from the 2009/10 season. The son of a noted Ukrainian composer, Kirill Karabits studied conducting and composition in Kiev before a further five years’ studies at the Wiener Musikhochschule, then a short spell studying under Helmut Rilling and Peter Gulke at the International Bach Academy in Stuttgart. He has served as Associate Conductor of the Orchestre Philharmonique de Radio France and Conductor of the Budapest Festival Orchestra where he worked closely with Iván Fischer. He has also served as Principal Guest Conductor of the Strasbourg Philharmonic. His busy 2008/2009 schedule has taken him all over Europe and into North America. He has also been busy conducting operas by Tchaikovsky, Janacek, Shostakovich, Verdi and Zemlinsky. 

Karabits’ reading of Britten’s ‘Storm’ the fourth Peter Grimes Sea Interlude was very powerful, its gales lashing across the sound stage. The opening ‘Dawn’ was mistily evocative. The pealing of the church bells in ‘Sunday Morning’ was strongly represented but other readings of this movement, I can recall, have been more imaginative in suggesting the sweeping flight of seagulls, shifting breezes, the gentle rocking of boats and the glinting of the sun on the waters. Likewise ‘Moonlight’ might have been shaped that much more creatively to evoke a dark, sultry stillness.

Kabalevsky’s Cello Concerto No. 2 was the most interesting work in the programme. Composed in 1964, it is set in three inter-connected movements. The music is contradictory and restless in nature. The cello’s opening staccato chords, strongly reminiscent of the theme of Dies Irae, are stated over subterranean bass string murmurings and flutterings. But the music moves through a kaleidoscope of moods and styles including a substantial jazzy solo for saxophone. Although modern with enough dissonance to sound at times like some mad traffic chaos, there is always something to interest the ear. There is charm, wit and colour aplenty. Isserlis gave a virtuoso performance rising with aplomb to its challenges especially its presto passages, practically hair-raising in speed and intensity.

Who could possibly resist Dvořák’s lovely tune-filled Eighth Symphony? Karabits’ reading began sombrely and for some, I imagine, rather tersely. His view was darkly hued, dramatic and tragic. The gorgeous melodies of the Allegretto grazioso were hurried and not allowed to reveal their full beauty. On the other hand Karabits’ strong driving made for a more telling Allegro ma non troppo finale, which is not the most successful of the four movements, with some rather banal writing at times - a movement inclined to come unstuck in some performances

Ian Lace


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