This finely balanced programme comprised, Prokofiev’s “Classical” Symphony, Beethoven’s Piano Concerto no. 1 in C major and Strauss’ Also sprach Zarathustra.
Prokofiev’s “Classical” Symphony is an affectionate homage to Haydn, where he employs many of the symphonic writing techniques prevalent in the late 18th century. Karabits' interpretation, with tempi as indicated by the composer, revealed a much greater clarity to the performance than is often the case, where the music can be so easily be dashed off in a slightly casual way. The playing of the first movement in this more considered way enhanced, rather than detracted from, the composer’s impish sense of fun – the skilfully handled interplay between strings and woodwind being of particular note. The whole was elegant and refined.
In the second movement, the atmosphere created was more reflective and this interpretation really show-cased the “pastoral” nature of the writing – the prominent violin line was sensitively and delicately played, the alternating woodwind sections adding touches of bucolic colour and humour. The Gavotta was taken at the slow and stately pace required by this dance form – nevertheless, the performance remained light and stylish with Prokofiev’s sense of mischief never far away. The Finale was deftly handled with playing that was finely balanced with an élan and joie de vivre which never faltered.
Beethoven’s First Piano Concerto is full of typically Beethovian rising scales and twists of modulation; the clarinet also plays a prominent part in the second movement. The first movement is full of grandeur which was enjoyed to the full by conductor, orchestra and soloist alike – as well as the quieter, more reflective sections of the movement being sensitively handled.
Robert Levin is not only an exceptionally talented pianist but also a musicologist and composer – his specialism being the music of the 18th century (particularly Mozart). His experience of performing on period instruments shone through with playing that displayed great clarity, as well as agility and elegance. An unexpected treat was the fact that the cadenza was totally improvised, exactly as Beethoven himself would have done – a feat which was awe-inspiring for both audience and orchestra alike.
A sublime and tranquil slow movement followed, beautifully played with much visual (as well as auditory) interplay between soloist and orchestra before the vigour of the final movement which began without pause. A very exciting and breath-taking pace was set by Levin from the outset – a pace which the BSO matched with ease in this wonderful, cat-and-mouse, chase through the score. A few of the solo piano sections did feel, on occasion, slightly rushed, but this was more than made up for by the overall dynamic, rhythmic pulse throughout which drove the movement to its impressive conclusion.