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Aloft By Marriott Manchester

Culture – Reviews and More

If someone asked you what to expect from a programme called 20th-Century Classics, what would you pick? I’d definitely include some Stravinsky, with The Rite of Spring the obvious choice. How about a bit of Shostakovich, or Messiaen’s Turangalîla-Symphonie? For something a little more playful, perhaps Bernstein’s Symphonic Dances from West Side Story. Bartók’s Concerto for Orchestra would be another obvious contender. But what about the Second Viennese School? Maybe Berg’s Three Pieces for Orchestra or Schoenberg’s Five Pieces for Orchestra. And, of course, there is so much more. Classical music evolved extraordinarily quickly during the 20th century, branching out in radically different directions and challenging almost every convention along the way. Whoever programmed Monday’s 20th-Century Classics Prom created a phenomenal showcase for that night’s orchestra: the combined forces of the Juilliard Orchestra and the Royal Academy of Music Symphony Orchestra, conducted by Esa-Pekka Salonen and joined by violinist Vilde Frang. Perhaps the music was deliberately chosen to allow these brilliant young players to have their moment. In Igor Stravinsky’s Symphony in Three Movements, there was some wonderful playing from Dohyun Lee at the piano, complementing the vigorous, rhythmically precise strings led by Katya Moeller. Next came Berg’s Violin Concerto, with the young Norwegian violinist Vilde Frang as soloist. In a delicate and sensitive performance, she engaged brilliantly with the orchestra, turning to play in dialogue with each section as appropriate. The highlight of the evening for me, though, was Bartók’s Concerto for Orchestra. It is a powerful work that illustrated the immaculate ensemble playing of this specially assembled group. Shimmering upper strings in the first movement interrupted the powerful cello and viola opening, with compelling, declamatory brass weaving through the music. The second movement saw pairs of instruments creating a mosaic of sounds. The poignant slow movement led into the Interrupted Intermezzo, full of pastiche and humour. The Finale is a brilliant dance: a whirlwind of sound displaying the virtuosity of these exceptional young players. A joyful, fast-and-furious performance of the Galop from Stravinsky’s Suite No. 2, played by the whole orchestra, brought the evening to a close. We drifted out into the summer warmth of London feeling optimistic about the future of classical music, as represented by this talented young ensemble. Listen to Esa-Pekka Salonen conducting Stravinsky, Berg and Bartók on BBC Sounds.

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