The combination of the London Symphony Orchestra and Daniel Harding is a familiar enough sight at the Barbican and there have been a number of notable and memorable collaborations this year, not least a fabulous Beethoven Violin Concerto (with Christian Tetzlaff) back in May. On Thursday night it was Beethoven again, this time his Piano Concerto no. 3 in C minor and a completed version (from 2012) of the great musical torso that is Bruckner’s Symphony no. 9 in D minor, and here given its London première.
In the Beethoven, Maria João Pires was a commanding soloist. At 71, she still produces a wonderfully pure, crystalline tone and can also pile on plenty of muscle as she did for the piano’s opening flourish in the concerto’s first movement. She’s a joy to watch, a compact and undemonstrative figure without any self-regard or flamboyance and, unlike certain pianists recently performing in London, a model of restraint. On the podium, Harding created an efficient and tidy account, his well-behaved opening Allegro con brio neatly underlining the work’s Mozartian associations. Hard sticks from the timpanist, prominent woodwind and delicate, sometimes feather-light strings suggested the influence of period-instrument performance. Occasionally this performance was all too reined in, but beautifully so in the development section where oboe and bassoon were especially ear-catching.
The slow movement was lovingly crafted, with Pires an expressive poet, languorous in the long-breathed phrases, and knowing just when to linger and when to move forward. Where the finale had more bite than humour, its brief fugato section showed off the string section to impressive effect. Pires provided engagement and energy throughout, and was joined afterwards by Harding for Grieg’s Solveig’s Song. As encores go this was no party piece but afforded further evidence of her eloquence.