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Rachmaninov and Stravinsky: Simon Crawford-Phillips and Philip Moore (two pianos), LSO St Luke’s, London, 29.1.2009 (BBr)

Rachmaninov: Symphonic Dances, op.45 (1940)
Stravinsky: Le Sacre du Printemps (1913)


This BBC Lunchtime concert brought together two exciting young British musicians in a programme where they took turns to take the lead, and what playing they treated us to.

The Rachmaninov is, of course, better known in its orchestral version but the composer made this version for two pianos at the same time as he made the orchestral score and it is true piano music – one is never wishing for the colour of instrumentation so easily does the music fall under the fingers and with playing of such high calibre as this there was an abundance of shading available for us to enjoy. I was especially impressed with the tone colour employed by Philip Moore in the second subject of the first movement – the tune given to the saxophone in the orchestral version – it was warm and fluid, with such an easy feel and restrained use of rubato. There was a marvellous swagger to the waltz and the crazy, almost out of control, finale, was very well realised by the players as the music careers towards the apocalypse, and the unceremonious snuffing out of the work. This is real piano music and it couldn’t find two better advocates as we had today.

The two piano version of Le Sacre du Printemps is, for me, less successful. This is a work which relies, rather too heavily I feel, on the extrovert use of the orchestra to fully make its effect and stripping the music of its clothing leaves a torso which desperately needs covering. For instance there are passages solely for the two sets of timpani which simply don’t work on piano – it’s just a mess of sound with neither the necessary power or clear articulation. It is the quieter, calmer, moments which worked well on the keyboard and the opening sections of both parts were particularly magical. Don’t get me wrong, Moore and Crawford-Phillips gave a superb performance but I found myself wishing I was listening to Ravel’s marvellous, and subtle, transcription of Debussy’s Nocturnes. But this is purely a personal view and I cannot fault, and, indeed, would not wish to, the fine advocacy of these two young men who played as if possessed!

Whatever my reservations about Le Sacre du Printemps this was a cracking show which was excellent in every way and it should not be missed when it is broadcast on BBC Radio 3 on 25 February.

Bob Briggs


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