2025 marks the 150th anniversary of the birth of Maurice Ravel, whose music will no doubt be much performed in the coming year. To celebrate, the BBC Philharmonic Orchestra is presenting two concerts showcasing his music, each also including a work by another French composer who has an anniversary this year: Pierre Boulez, born in 1925.
The first of these concerts at the Bridgewater Hall was conducted by Mark Wigglesworth and began with Boulez’ Rituel in memoriam Bruno Maderna. Boulez’ reputation as the leading proponent of uncompromising avant garde music has militated against many performances and reading about Rituel in this evening’s programme note did little to make it sound appealing. However, the reality was rather different.
Visually the layout of the orchestra was striking. There were seven groups of players around the stage, each with its own percussionist. In addition a group of 14 brass players sat in the centre of the stage and behind them an array of seven gongs and seven tam-tams (with two players). Once the music started many of the sonorities of individual instruments and groups, especially the percussion, delighted the ear, even if a few seemed to be harsh and confusing. Many short sections started or ended with a percussive element, giving shape to the piece. There was a strong suggestion of Asian music; this ritual was not of the European tradition. It was good to have the opportunity to hear music by this influential composer. In the interval I overheard a few people saying that they had also enjoyed Rituel more than they had expected.
The all-Ravel main second half began with the Piano Concerto in G major with French pianist Bertrand Chamayou, a work with plenty of superficial sparkle but with glimpses of profounder thought. Chamayou and Wigglesworth were a fine partnership, the spotlight often on the pianist. His beautiful cadenza in the first movement was stunning. Sometimes, though, the orchestra was in the foreground with the pianist making a distinctive addition to the orchestral sound. Conductor and soloist embraced the jazzy inflections of the outer movements. In contrast, the middle slow movement was measured and elegant. Chamayou took his long solo with feeling and a delicacy matched by a graceful melody from the cor anglais.
A novelty followed in the form of the world premiere of a new orchestration of Ravel’s Sites auriculaires, originally for two pianos, by Kenneth Hesketh. The first, familiar from Ravel’s Rapsodie espagnole, was a brief evocation of Spain; the second, Entre cloches, proved to be a lively, colourful contrast. We remained in Spain for one of the composer’s most popular pieces, the Pavane pour une infante défunte. Its principal melody was delightful as ever, but a little more Gallic poise and style would have been desirable.
Finally, the Second Suite from Daphnis et Chloé, which is in effect the final part of the ballet, beginning with the celebrated Lever du jour. The BBCPO and Wigglesworth gave a sumptuous account of this evocation of a pastoral scene in Ancient Greece in which the early morning birdsong gives way to a glorious daybreak. The following Pantomime highlighted the orchestra’s fine flautist and the final Danse générale brought the concert to an exuberant, celebratory conclusion.
