This Hallé concert began with a rarely played gem, Chabrier's Suite pastorale, which he created by orchestrating four of the Pièces pittoresques for piano. Chabrier was originally from the Auvergne but moved to Paris as a teenager, but retained an affection for his country origins which is evident in this suite. The delicate Idylle made a delicious opening with conductor Chloé van Soeterstède, making her Hallé debut, bringing out the delicacy of the orchestration which spotlights several instruments. She maintained a lightness of touch even in the robust Danse villageoise and the lively rhythms of the concluding Scherzo-Valse. The third movement, Sous-bois, evoked a restful summer afternoon in the shade of trees.
Another French debutant, Bruno Philippe, joined the orchestra for Saint-Saëns' Cello Concerto no. 1 in A minor. Although Saint-Saëns is performed more than Chabrier, this concerto is not a very frequent visitor to concert halls, which is a shame as it is inventive, melodious and – at only 20 minutes long – pleasingly concise. Instead of the traditional three movements this concerto unfolds in one unbroken sweep. Material from the first part returns towards the end. The concerto begins dramatically with a single chord from the orchestra and a bravura entry from the cellist. Ideas are then passed between soloist and orchestra with music that is sometimes turbulent and sometimes reflective. Mingled with Saint-Saëns' Romantic sensibilities is a certain classical poise dignity, giving the concerto a special character of its own.
At the heart of the piece is a remarkable little Minuet for strings around which the soloist weaves an expressive, yearning melody. Philippe’s playing matched the changing moods of the piece perfectly, nodding along to the varying rhythms and reacting to the contributions of the orchestra in what felt like spontaneous responses. He also clearly had a fine rapport with van Soeterstède. His solo cadenza was dazzling. The sound of his cello was glorious, rich and unforced. Saint-Saëns ensures that the soloist is never overwhelmed by the orchestra but gives the orchestra opportunity to shine. Philippe responded to the audience’s enthusiastic reception with two Bach encores in which his solo cello again captivated.
The second half consisted of a performance of Rachmaninov’s Symphonic Dances, a work from the final years of the composer’s life, by which time he was living in New York’s Long Island and had long been exiled from his native Russia. In some respects Rachmaninov seems to be looking backwards. He quotes from earlier works, his setting of the All Night Vigil and his ill-fated First Symphony. The presence of his favourite Dies irae theme would suggest intimations of mortality. Some of the melodies are wistful and melancholic. And yet these are still dances and they have an exuberance that gives the work a very positive feel. Van Soeterstède and the Hallé gave a virtuoso display of kaleidoscopic colours (including prominent alto saxophone and bass clarinet) to conclude a hugely enjoyable evening.
