BBCSSO, 09/12/2021
Tchaikovsky : Piano Concerto No. 1 (Pavel Kolesnikov, piano)
Kalinnikov : Symphony No. 1
BBC Scottish Symphony Orchestra
Martyn Brabbins
Pavel Kolesnikov announced from the outset that he had his own, very personal vision of this famous concerto, by arpeggiating the opening chords, as indicated in the first version. Tchaikovsky revised it twice after its 1875 premiere, and it's the last version that's normally performed these days; it has been suggested that the block chords usually heard are in fact due to the pianist Alexander Siloti, and were never actually intended as such. I'm not sufficiently familiar with the various editions to tell the difference, or to know how much of which version was used tonight, but this certainly was not a 'traditional' reading. Brabbins's opening tempo was on the slower side, very relaxed, and Kolesnikov took an intimist approach to much of the music, almost downplaying the virtuosic aspects of the piano part.
His extensive use of rubato put him just slightly at odds with the orchestra at times. Frankly, it sounded as if they could have done with a couple more hours' rehearsal time to make sure things absolutely clicked, and because of the tempo fluctuations, the whole movement had a slightly episodic feel to it. However, what stood out immediately was the singing quality of Kolesnikov's tone, a really beautiful sound across the full range of the piano. In the slow movement, the central Prestissimo was an enchantment, the orchestra dancing with ethereal grace while the piano trilled away joyously.
The other work in the programme was far less familiar, Vasily Kalinnikov's First Symphony, composed in 1895. Kalinnikov died of tuberculosis just shy of his 35th birthday, hence his unfamiliarity, at least to western ears, but there is a reasonable body of work for around fifteen years' worth of composition (and despite long-term ill health), and notably two symphonies. This 1st Symphony is an exuberant, exhilarating work, brimming over with folk-inspired melody and big, lyrical outbursts, somewhat in the line of the Borodin or Balakirev symphonies. The second movement uses a very striking effect, an ostinato, two-note figure, obsessively repeated on harp and violins, like time ticking relentlessly away. The third movement is a scherzo and trio, a robust peasant dance framing the more melancholy, slightly oriental-sounding Trio in the woodwinds. The last movement begins with the first movement's opening theme, which is an indication of what is to come; Kalinnikov reprises the thematic material from the previous movements, transforming them and winding them together into a lively, exultant finale.
All of this was delivered with great gusto by the orchestra and Brabbins. The dancing quality that had so pleased me in the second movement of the Tchaikovsky reappeared here in full force, there was energy to spare, and a big, lush, romantic tone. It's a joyous piece, given a highly appealing performance, and should surely be heard more often on the concert platform than it currently is.
[Next : 10th December]