SEEN AND HEARD INTERNATIONAL

Rachmaninov: Academy Concert Orchestra, Tadaaki Otaka, Duke’s Hall, Royal Academy of Music, London, 1.5.2009 (BBr)

Rachmaninov: Symphony No.2 in E minor, op.27 (1906/1907)


If I hadn’t known who was giving this concert, my last thought would have been a student band, the members of which have probably only played together since the start of the academic year last September. That Tadaaki Otaka could achieve a performance of this strength, character and stature says as much about his abilities as an orchestral trainer as it does about the superb musicianship of the students.

To be honest, I can’t get enough of this Symphony. It has everything a young romantic, such as myself, could desire from a late romantic piece of abstract music – yearning, passion, excitement, longing and, dare I say it, sexual tension. Otaka is known as a fine Rachmaninov conductor from his recordings of the Symphonies and, with John Lill, the Piano Concertos (available on a 6 CD set NIMBUS NI 1761 at a very reasonable price) so I was very pleased to be able to hear his interpretation in the flesh. And very pleasing it was.

Otaka was intent on emphasising the weightiness of the score, thus we had a slow introduction which was, perhaps, more solemn and trenchant than many performances I have heard, but he wasn’t going to forget the glory of the writing for the violins which made for a very satisfying introduction for the main body of the movement. Lucinda Dalton’s beautiful cor anglais – she distinguished herself throughout the performance – led us into the allegro where Otaka and his players gave a stunning account of this complex and turbulent music. The scherzo was given a more deliberate tempo than we are used to,  so it never descended into a scramble for the notes and the fugue was also dynamic and incisive. The heart of the work is the sumptuous slow movement and here there was a feeling that, perhaps, alle Menschen really are Brüdern joined in universal love and sympathy for each other. (OK a bit Hippie I know but that’s what I felt). The finale was quite simply magnificently played and thought out and the conclusion was the most rousing and life affirming display of good spirits I think I have ever heard.

Otaka brought out so many details I had never noticed before, especially in the brass writing and this section acquitted itself with distinction, especially the horns.  Principal clarinet Victoria Kerby sang her love song, at the start of the slow movement, with a melting beauty of tone, and the deepest of feelings, and special mention must also go to Adam Clifford for his exuberant playing of the timpani.

A super show and one which can make the Royal Academy of Music proud in the knowledge that its young musicians are achieving the very highest standards set by their professional colleagues.

Bob Briggs


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