Tchaikovsky’s early symphonies are getting a fair bit of exposure at present, both in the concert hall and on disc, thanks to several complete symphony cycles being undertaken in the UK by the London Symphony Orchestra, London Philharmonic Orchestra, Bournemouth Symphony Orchestra and, here in Birmingham, by the City of Birmingham Symphony Orchestra. Tonight’s concert featured the last instalment in their cycle: the third, also known as the “Polish”, chiefly because of the polonaise-like dance elements in the final movement.
It is, possibly, the weakest of all his symphonies in terms of the work as a whole conception (for instance, are five movements one too many?) but it contains an abundance of great melodies and invention. Perhaps most importantly it is rather fun. It is the only one of his symphonies composed in a major key and it features some rather funky rhythmic passages in the first movement, which the orchestra and their music director, Andris Nelsons, were clearly enjoying at a swift tempo after the broodingly measured introduction.
Less convincing was the rubato that Nelsons applied in the waltz second movement, which more often than not veered into excess. Indeed, it would have been hard to recognise this as a waltz, never mind dance it. The relationship between the orchestra and their music director is such, however, that they followed him utterly securely. The quality of their playing throughout the concert was beyond reproach with strings often ravishing in their tone, a real boon in the lovely central movement of the symphony. Wind contributions were beautifully and deftly given, particularly in the ensuing scherzo. Unfortunately, despite their best efforts (and much characteristic leaping up and down on the rostrum) the swaggering but banal final movement failed to deliver the thrill that those of Tchaikovsky’s other symphonies do so effectively.
The Polish theme of the concert brought us Chopin’s first piano concerto in the first half, played by the Macedonian pianist, Simon Trpčeski. His performances here in Symphony Hall have all been delightedly received as he is clearly a virtuoso with a staggering technique. He is also a Chopin player of distinction, judging from his discography and his performance tonight. This is due, in part, to his tasteful and subtle use of rubato as well as his ability to shape Chopin’s long, singing phrases. Trpčeski is an engaging player, too, as his gazes into the audience during the piece’s lengthy orchestral expositions seemed to suggest.