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Haydn, Beethoven and Mendelssohn: Natasha Paremski (piano), Berlin Symphony Orchestra (Konzerthausorchester Berlin), Lothar Zagrosek, Cadogan Hall, London, 7.3.2009 (BBr)  

Haydn: Symphony No.88 in G major (1787)
Beethoven: Piano Concerto No.4 in G, op.55 (1807)
Mendelssohn: Symphony No.3 in A minor, Scottish, op.56 (1842)


After their previous show I was looking forward to this concert with some excitement, and I was not disappointed. The Haydn was very well handled, light and dark were accented, especially the weight of the slow movement which was quite Beethovenian in its textures and delivery – here is proof, if proof were required, that the young composer learned much from the older. The outer movements positively bubbled with enjoyment and the minuet was heavy and country dance like. A marvellous performance in every way.

Last year I heard, and reported on, three performances of Beethoven 4^th Concerto and on each occasion I was unhappy with the interpretation of the long first movement for none of the performers seemed to know, or even understand, where the music was going. I had no such worried tonight for both soloist and conductor fully understood the many paths this music takes. Starting with the famous piano solo, in which Paremski displayed the most glorious rubato, things got off to an excellent start. The following tutti was strong and throughout the orchestra really played its music, and not just accompanied. Paremski was, occasionally forceful, but never in an overstated or vulgar way, and was always fully in control of the ebb and flow of the music. There were two points where she slightly held back on an entry and this was heart stopping as much for its urgency as it was an unexpected moment of interpretation. The slow movement – Orpheus taming the Furies – could not have been bettered. Zagrosek unleashed a big, bold, sound from the strings, to be answered by the quietest, tenderest, most thoughtful, phrases from the soloist. Paremski was at her restrained best here and her control, and beautiful tone colour, were a revelation. The finale was never allowed to descend into banal romp, it was an intelligent and controlled allegro which brought a very satisfying conclusion to a very intelligent piece of music making. I’d never heard of Natasha Paremski before tonight, but after hearing such incomparable Beethoven playing I want to hear her again.

After the interval Zagrosek had his orchestra seated in what we have come to expect as the usual positions – all the violins on the left and the cellos on the right – and I did wonder why he had abandoned his antiphonal violins of the first half, but all became obvious, almost from the outset, when a full, rich, sonorous, bass line underpinned the whole texture. The Scottish Symphony is a difficult work to bring off successfully because it can seem defuse if you simply think of it as a travelogue rather than being a true Symphonic work. Zagrosek had no intention of simply being a tour guide and taking the music, and his audience, by the scruff of the neck he delivered a huge interpretation of a work which can so often seem merely charming and delightful. This was a bold, insightful, multi–coloured account which brought Mendelssohn truly into the forefront of the romantic symphonic tradition. Another very successful show for this fine orchestra and its dynamic conductor.

Bob Briggs


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