Piano Concerto No.2 in A
Symphony No.1 in D minor, Op.13
London Schools Symphony Orchestra
Tamás Vásáry (piano)
Reviewed by: Richard Whitehouse
Reviewed: 10 January, 2005
Venue: Barbican Hall, London
Vásáry must have often directed the Mozart and Beethoven concertos from the keyboard – though the Liszt concertos can seldom, if ever, have been presented such. What resulted was a lively and involving rendition, which, if hardly free of tentative entries, had a cohesion that may even have been encouraged by the absence of a maestro. The way Liszt builds his single movement through the varied repetition of salient themes was more than usually apparent, and if those themes are not of the subtlest, the purposefulness with which they are integrated into the overall design was never in doubt. Vásáry paid tribute to the orchestra and – as if his continued keyboard prowess needed extra confirmation – provided encores in the guise of Mendelssohn’s Rondo Capriccioso, deftly articulated, and Liszt’s ‘La campanella’ study – its overtly Paganinian inspiration heard to scintillating effect.
Vásáry’s recorded cycle of Rachmaninov’s piano concertos demonstrated a thoughtful approach to this composer, and his account of the First Symphony (conducted from memory) evinced an equal rapport. Nor was the performance at all reigned in: indeed, the forcefulness of expression brought tothe outer movements suggested a conductor more than usually conscious of the status of the work – which, after its disastrous 1897 premiere, remained unheard until after Rachmaninov’s death and holds a precarious place in the repertoire even today. This is a young man’s music, with certain formal miscalculations and an overt reliance on rhetoric, but possessed of a communicative intensity that the subsequent two symphonies, for all their melodic appeal and instrumental resource, fail to equal.
Vásáry made the most of the scherzo’s atmospheric understatement and the Larghetto’s chaste lyricism, and if string entries could have been more unanimous in the latter, the elaborate textures in the complex developmental fantasy at the centre of the finale were vividly delineated. The outcome was a performance to remind one what a near-masterpiece the work is, especially when conducted with this degree of conviction. Vásáry remained sufficiently energised to return for a thunderous Hungarian March from Berlioz’s “La damnation de Faust”: easy to believe that the piece almost kick-started a revolution when heard in Pest during the early 1840s. No likelihood of that happening here, but the response accorded conductor and orchestra set the seal on an excellent evening’s music-making.