Outstanding Dvořák and Brahms from the Hallé, Tianyi Lu and Alban Gerhardt

The Hallé’s latest concerts presented two of the big works of the late 19th century. But first, conductor Tianyi Lu and the strings played Elfrida Andrée’s Andante quasi recitativo. Andrée was a significant pioneer for women’s rights in Sweden as well as a prolific composer and cathedral organist. The themes of this 1877 work were passed from one section of the orchestra. The shifting focus and some remarkably forward-looking harmonies created a predominantly dark and melancholy piece. Only five minutes long, it proved to be an intriguing and pleasing opener to the concert.

Dvořák’s Cello Concerto in B minor is one of the best-loved and most performed of all cello concertos. It had its premiere in London in 1896 and was first performed by the Hallé the following year and has been given very frequently ever since. The soloist here was Alban Gerhardt, who performed magnificently, probably the best performance of it that I have heard. As well as having a wide range of repertoire, Gerhardt comes across as being a collaborative musician. In this performance he could often be seen looking at the conductor and responding as if spontaneously to phrases from orchestral principals. One got the impression that he was happy to play a secondary role when the spotlight fell on another instrument, however commanding he was in his big solo moments. This is particularly important in this concerto as Dvořák gives much prominence to the horns and woodwinds. 

Tianyi Lu let the whole orchestra play rousingly loud, but never when there was the danger that it might overwhelm the soloist. There is much turbulence in the concerto, especially in the first movement, and Gerhardt led us from the dramatic to the nostalgic and dazzled with his virtuosity, but it was his eloquent, expressive playing that was particularly captivating. The lovely melody in the slow movement, shared by clarinet and soloist, was mesmerising. The reflective elements in the finale were particularly poignant.

We were treated to another piece for cello and orchestra by way of an encore: Dvořák’s Silent Woods, a short and very beautiful piece, exquisitely played.

After the interval we had Brahms’ Symphony no. 3 in F major. Like the Dvořák, it was first performed by the Hallé in Manchester the year after its premiere and has become another repertory staple. This, however, was no routine performance, with the Hallé on top form. Tianyi Lu ensured that the music melded into a warm, glowing whole. She gave the music space to breathe but without losing momentum and she gave it the depth that it deserves. There was grand, unhurried playing in the opening Allegro con brio and the tranquil clarinet melodies in the second movement were things of great beauty. The sweeping, wistful third movement flowed gently; the finale was much more dramatic and impassioned until all conflicts were resolved by the calm ending.