Review: Alexander Vedernikov/CBSO at the Symphony Hall
Even when it fields an apparently third-eleven of players in certain sections, as it did in Thursday’s concert, the CBSO can still bring things off.
Russian orchestral music is textured throughout with significant instumental solos, and in this all-Russian programme they were delivered with clarity and dexterity, marshalled under the sweeping and expert beat of conductor Alexander Vedernikov.
Thus violin Lark Ascending-like, cello and trombone contributions in Rimsky-Korsakov’s taut, well-structured Russian Easter Festival Overture signalled the success of the evening, in a reading delivered with much dignity.
Steven Osborne brought biting dexterity as well as appropriate dreaminess to Shostakovich’s Second Piano Concerto, brittle as well as musing. Its middle movement has become a Classic FM favourite, but I wonder if here, and indeed throughout the work, Shostakovich was sending himself up.
The entire concerto is a compendium of the composer’s fingerprints, skirling woodwind, scowling brass and the rest.
The same could be said in a way of Prokofiev’s Sixth Symphony, but here this rent-a-ballet score leads to a desolate, profound experience. Steely woodwind, full-throated strings, fearless horns stood out in a willing orchestra welded so skilfully and idiomatically by Vedernikov as he marshalled the music to its grim conclusion.
Source.
Russian orchestral music is textured throughout with significant instumental solos, and in this all-Russian programme they were delivered with clarity and dexterity, marshalled under the sweeping and expert beat of conductor Alexander Vedernikov.
Thus violin Lark Ascending-like, cello and trombone contributions in Rimsky-Korsakov’s taut, well-structured Russian Easter Festival Overture signalled the success of the evening, in a reading delivered with much dignity.
Steven Osborne brought biting dexterity as well as appropriate dreaminess to Shostakovich’s Second Piano Concerto, brittle as well as musing. Its middle movement has become a Classic FM favourite, but I wonder if here, and indeed throughout the work, Shostakovich was sending himself up.
The entire concerto is a compendium of the composer’s fingerprints, skirling woodwind, scowling brass and the rest.
The same could be said in a way of Prokofiev’s Sixth Symphony, but here this rent-a-ballet score leads to a desolate, profound experience. Steely woodwind, full-throated strings, fearless horns stood out in a willing orchestra welded so skilfully and idiomatically by Vedernikov as he marshalled the music to its grim conclusion.
Source.
Christopher MORLEY,
BusinessLive, Jun, 4, 2010
BusinessLive, Jun, 4, 2010
