ABC Classics’ ‘MSO
Live’ series looks like becoming a significant
part of their catalogue. Judging by
the quality of some of the discs which
have been sent my way recently, they
are soundly justified in investing in
these performances. The recordings on
this disc are very well recorded, with
Melbourne’s Hamer Hall acoustic suiting
large symphonic resources and providing
just the right amount of resonance -
neither dry nor swampy. There is some
creaking from the stage and the odd
cough from the audience - a shame that
the final al niente moment of
the first movement of the Elgar is clouded
by a glottal explosion somewhere - but
these are usually low-level disturbances,
and the live atmosphere is well worth
the odd squeak here and there.
Starting with The
Hebrides Overture (yes, "Fingals’
Cave" in case you were wondering),
Tate’s tempo is measured and relatively
gentle, allowing the gorgeous themes
to unfold, expand and develop in an
unhurried fashion. This works well enough
to start with, but the development sequences
have a tendency to be a little leaden-footed,
and the stormier moments end up rather
stodgy – Christmas Pudding at sea, and
not helped by some rather flat flute
solos. This is not really a bad performance,
just not very exciting – and not likely
to have your ‘O’ Level exam candidates
on the edge of their seats.
A similar expansive
breadth marks the opening of Elgar’s
first symphony, giving it a Brahmsian
weight which Tate sustains throughout.
The Melbourne orchestra shows itself
more than capable of expressing Elgar’s
virtuosic orchestration, surprisingly
complex counterpoint, turbulent changes
of mood and dynamic flow of ideas. Again,
Tate’s 22:30 timing for the first movement
is by no means the most compact, but
the remarkable structure isn’t lost
in needless wallowing, and the development
is charged and involving. A brisk and
efficient Allegro molto second
movement runs straight into the famously
eloquent Adagio whose opening
moments briefly recall that of the transition
to ‘Nimrod’. With a vastly greater symphonic
canvas to fill Elgar takes his time,
building the movement with elements
of almost Mahlerian intensity. This
may not be the performance to beat all
performances or recordings, but all
of the right elements are here: warmly
silken strings, pungent winds and brass
with power in reserve. It might just
be me, but I felt myself urging the
pace to move just a little more in a
forward direction. Having heard Elgar’s
own conducting in the recent Naxos Historical
issue, I could sense his Edwardian moustache
twitching just fractionally with impatience
(‘get on boy!’), but the playing
is good, and there are many beautiful
moments. The same might be said for
the opening of the final Lento-allegro
but placed against the restless
energy of the main movement, the slow,
searching introduction becomes more
logical. The final return of the main
theme is striking and impressive, although
for some reason one trumpet seems to
stick out a touch uncomfortably, almost
like the lead solo in a jazz big-band.
Summing up, this is
a worthwhile and apparently accurate
representation of what must have been
a memorable concert. The Melbourne orchestra
seems to be on good form, and take to
Elgar like a Duck to orange sauce. If
the whole seems to lack that last ounce
of sparkle or oomph then that has to
be the difference between a truly great
performance and only a very fine one.
I for one enjoyed the ride, and if the
repertoire interests you, would have
no hesitation in suggesting you buy
a ticket for the best seat in the house.
Dominy Clements
Melbourne Symphony Orchestra/Jeffrey Tate
