The Symphony Orchestra of India opened its second Cadogan Hall concert with John Williams’ Imperial March from Star Wars. This familiar piece is described in the programme book as “inspired by Mars from Holst’s The Planets”. That flatters Williams somewhat, but it made an effective curtain-raiser. The large string contingent and fine heavy brass playing announced the SOI’s qualities as well. Sadly, there was not a Darth Vader costume in sight.
There followed the concert’s one normal repertoire piece, the long four-movement Piano Concerto no. 2 in B flat major of Brahms, with pianist Pavel Kolesnikov. I last heard Kolesnikov live at this year’s Aldeburgh Festival. It was 10pm, everyone had just left a full orchestral concert, but was still held spellbound for another hour by the Goldberg Variations. So it was here, from his poetic response to the opening horn solo, through to his delicate dancing manner launching the finale.
His balance of virtuoso thunder (the Scherzo) and contemplative calm (the Andante) was ideal. Conductor Richard Farnes was attentive in support, and several orchestral solos glowed, especially from the first horn and the principal cello. Kolesnikov’s encore, Schubert’s F minor Moment musicaux (D.780 no.3), was an ideal dessert after the heavier fare from Brahms.
The second half gave us opera minus the voices, a genre which, at least on recordings, has become a familiar way of presenting Wagner. The composer performed parts of his works in orchestral concerts, and recently these have been extended to arrangements that can occupy half a concert. Here it was Parsifal, arranged into a continuous 45-minute piece by Andrew Gourlay in 2018. The opera has orchestral preludes to its three acts, and other orchestral set pieces and transitional music. This obviates the need to transcribe much vocal music, so that the musical sections sounds mostly as in the opera house.