SEEN AND HEARD INTERNATIONAL

Mahler, Schumann and Richard Strauss: Royal Liverpool Philharmonic Orchestra, Vladimir Ashkenazy (conductor). Philharmonic Hall, Liverpool, 6.10.2010 (MC)

 

Mahler - Blumine (1884/88)
Schumann - Symphony No. 4, Op. 120 (1841, rev. 1851) arranged Mahler (1900)
Richard Strauss - Der Rosenkavalier (1910): First Waltz Sequence
Richard Strauss - Also Sprach Zarathustra, Op. 30 (1896)


No doubt much soul searching goes into determining the layout of concert programmes. I understand the desire to break conventions; it can prove to be a refreshing change. But to commence a Liverpool Phil concert programme with a ten minute long Andante for large orchestra rather than a work customarily upbeat just didn’t work for me. Although, well done for trying something different. Blumine (Flowers or Flower Piece) is a slow movement that Mahler removed from his first symphony; the discarded work becoming lost for a number of decades. A difficult piece for an orchestra and conductor Vladimir Ashkenazy to pull off right at the start of a concert before the players are settled and warmed up. More than once I felt the orphaned score was in fear of grinding to a halt. I wanted additional intensity and a touch more poetry in the interpretation. Overall it was a creditable performance from the orchestra with impressive woodwind and the lyrical solo trumpet a particular highlight.

Ashkenazy was conducting Schumann Symphony No. 4 in the version revised by Mahler who felt he could improve the orchestration. I’m not totally convinced that Schumann was such a poor orchestrator that he needed help. In the four movement score played continuously Ashkenazy as alert and precise as ever ensured that everything was beautifully proportioned with noticeable lyrical freshness. I was highly impressed by the biting brass and the glorious woodwind again caught my attention.

To capitalise on the success of Richard Strauss’s comedy opera Der Rosenkavalier a number of concert suites were published. After the interval we were treated to the First Waltz Sequence from the only Der Rosenkavalier suite that Strauss himself prepared. A large orchestra is required by Strauss including a six player percussion battery. Ashkenazy must have dipped his baton into the Danube as the audience were treated to endearing playing including a really splendid Viennese lilt from the Liverpool Phil. Standing out for me were the glorious strings, as sugar coated as a Viennese confectionary counter, and the leader James Clark made a fine impression with his solos.

Cast in nine continuous sections the feature work of the evening was undoubtedly Richard Strauss’s Also Sprach Zarathustra scored for a massive orchestra. An episodic score, here Strauss was inspired by Nietzsche’s philosophical novel Thus Spoke Zarathustra. One of the most famous and effective pieces of classical music ever written, even if it does only last a minute and a half, is the introduction to Also Sprach Zarathustra representing ‘Sunrise’. The music was widely circulated mainly as a result of being used in the opening titles of Stanley Kubrick’s film 2001: A Space Odyssey. This performance of Also Sprach Zarathustra by the Liverpool Phil was as accomplished as one can imagine. The earth certainly moved for me with the sustained volcanic rumblings of the organ pedal. After his magnificent opening Ashkenazy dismissed any sense that the remainder of the work was anticlimactic and rather meandering. I just luxuriated in Strauss’s rich and sumptuous score that educed some glorious string playing. The impressive reading was convincingly paced providing breadth and significant energy to the score. In the aftermath of the apocalyptical climax of the score the twelve tolls on the orchestra’s celebrated Zarathustra bell added splendidly to the impact and greeted the welcome serenity of the ‘Song of the Night Wanderer’.

Apart from my slight reservation with the Mahler Blumine everything at the Liverpool Phil was impressive. This is a superb orchestra maintaining its exciting upward progress. The splendid acoustics in the hall are renowned and provide significant advantages. I found the whole Philharmonic organisation noticeably professional right down to details such as the smoothly run and helpful ticket office and the informative and interesting concert booklet complied with care and attention.

Conducting an appealing programme of late-Romantic Austro-German music Vladimir Ashkenazy and the Liverpool Phil demonstrated their excellent credentials as an orchestra of considerable distinction.

Michael Cookson