The BBC Philharmonic Orchestra’s latest concert at the Bridgewater Hall presented three substantial works, two of them familiar and one very rarely heard. I am not aware of having listened to any of Danish composer Per Nørgård’s music live before. His Symphony no. 8 was given its first performance in 2012 by the Helsinki Philharmonic Orchestra conducted by John Storgårds, who is also the work’s dedicatee. Now Chief Conductor of the BBCPO, Storgårds revived this symphony. Few people can be as well placed to give a persuasive account of this challenging music.
For all its strangeness there were glimpses of the familiar and some pleasing sounds. In the first movement in particular it felt as if some almost traditional material had been distorted so that it was not quite recognisable. Throughout, one felt that there was a structure and sense of direction without being able to tell where it was heading and so felt disorientating. The work was written for a large orchestra, sometimes creating an alluring tapestry of sounds, including the subtle use of several percussionists whose contributions changed the work's overall timbres. Some remarkable drumming became the focus for a short part of the finale. The slow second movement hinted at a simple tune without expressing it directly. The simplicity of the opening soon became much more complex, but there were some gorgeous sounds along the way. The symphony concluded with a quiet Lento visionario and then just stopped. It was hard to take in such a multi-layered work in one hearing.
The orchestra was then joined by Paul Lewis for Beethoven’s Emperor Concerto (in place of the previously advertised Grieg). Although it is one of the most frequently played of piano concertos the Emperor is such a powerful piece that every performance should be a special occasion. This one certainly was. The innovative opening has the orchestra playing just three chords, to each of which the soloist responds with cadenza-like flourishes. Lewis demonstrated from the start his complete understanding of Beethoven’s idiom, matched by Storgårds and the orchestra. The balance between soloist and orchestra was ideally judged throughout with Lewis reining in a little when the focus was on the orchestra and the orchestra deferring to him when necessary. In the second movement Lewis was beautifully expressive in Beethoven’s heart-warming melody. In the finale his virtuosity was stunning, but his playing never felt forced, rather it felt as if everything was contributing to a monumental creation.
After the interval Storgårds and the orchestra played Sibelius’ Symphony no. 3 in C major. The beginning with its striking theme for cellos and double basses was louder and more decisive than some performances of this symphony that I have heard – a gripping start to a forceful performance. There was a driving energy that made everything feel inexorable, just as much as the Beethoven we had heard earlier. There was much fine playing from the orchestra (the horns in particular) accentuating the light and shade of the work. Storgårds has a well-established reputation with Sibelius and this evening he gave a convincing and uplifting account, the final expansive chord glowing with warmth.
