Three composers active in Paris at the end of 19th century featured in this stimulating Sunday afternoon Philharmonia concert. However, it is likely that Camille Saint-Saëns would have been less than happy to be in the company of his two fellow composers, Claude Debussy and César Franck. A million miles separated them in temperament, but their musical styles were very much intertwined as evidenced by the three works performed here under the baton of Santtu-Matias Rouvali.
Debussy’s exquisite mini concerto, the Première Rhapsodie for clarinet and orchestra was first performed in 1911 to great acclaim. Written originally as a test piece for the Paris Conservatoire, the composer created one of his most magical orchestral tapestries. Mark van de Wiel, the orchestra’s Principal Clarinet, gave a sensitive and engaging performance, notable for his pianissimo legato playing and his close partnership with his colleagues and Rouvali’s direction.
Saint-Saëns’ Piano concerto no. 5 in F major, “Egyptian” is increasingly becoming something of a favourite among today's pianists; up until recently it was only the entertaining Second that is regularly performed in the concert hall. It is a work of considerable charm, needing a light touch to reveal its playful joie de vivre, but sadly here, Javier Perianes, wasn’t the man for that job, tending to approach the work somewhere between Brahms and Liszt. The glittering passagework and arpeggios were hard-edged and the melting second subject in first movement remained solid in his hands. The oddly bewitching slow movement, with very little regard to structure, is like a journey through Cairo at night. Rouvali and Philharmonia were attentive to colour, but Perianes again failed to achieve any sense of mystery or sensuousness. Only in the rambunctious finale did you feel that his forceful style bore some fruit by sounding exciting where it should be.
Rouvali then started his ascent of César Franck’s great Symphony in D minor, one of the highest symphonic peaks of the late 19th century. So many conductors get waylaid on the slopes or fall off a cliff into a thick pea-souper, but Rouvali, from the dark low D minor opening in the strings, seemed to know his way. Like the great performances of the past – think Beecham and Monteux – he was more than happy to let the orchestra off the leash when it was needed. The great swinging tunes in the first movement, emerged into the blazing light of fulsome brass and soaring strings. There was never a sense of the organ loft, but a passionate and musically rich tapestry.