Replacing an indisposed Sir Andrew Davis at short notice, young German conductor Clemens Schuldt presented a slightly altered BBC Symphony Orchestra programme with energy and punch. Zoltán Kodály’s Dances of Galánta is one of the composer's most attractive works, permeated by childhood memories of folk music and gypsy bands. In performance, a mix of rhythmic sharpness and fluidity within the phrases is needed. Schuldt and the BBCSO sounded a little stiff initially, despite excellent work by Anna Hashimoto in the long opening clarinet solo. As the piece gathered momentum, so did the performance and the final flourish was as thrilling as it should be.
The main event of the evening was the world premiere of the Violin Concerto by Hong Kong born, British based composer Raymond Yiu. Written for Esther Yoo, it is a substantial work spread over four movements. Its musical language is fundamentally tonal with a rich mix of chromaticism and intricate counterpoint. At various points in the score, Yiu alludes to the music and life of Chinese violinist Ma Sicong, who suffered persecution in his homeland after the Cultural Revolution.
The opening was magical, with the soloist trilling and the orchestra gradually weaving a texture around it. From the start, Esther Yoo was able to present both delicacy of tone and a cutting edge. As the music develops into the Scherzo, there are references to Chinese-style 1930s jazz that Ma Sicong would have played. The tricky offbeat rhythms were met head on by the BBCSO, with Schuldt keeping close control of proceedings. The moving third movement for the soloist alone saw Yoo producing a splendid variety of colours and mood. The long finale was the hardest to grasp in terms of its extended form, but it built steadily to an animated climax that dissolved into a return to the opening trills. An impressive first outing for a work of some beauty and stature.
The performance of Beethoven’s Symphony no. 7 in A major that rounded off the evening proved to be quite distinctive, no mean feat in a work so familiar to a standard symphony orchestra. However, Schuldt’s approach was to push the work hard, with fast tempi and a strong emphasis on the dance rhythms, which at times had a distinctly rustic feel. The Allegretto second movement had an unfussy simplicity, which was touching, the swift tempo never allowing the atmosphere to become ponderous. The Scherzo was brisk and alert, and in the Finale Schuldt found the right balance between rhythmic dynamism and dogged determination.
