![]() Ridout has had a number of recent successes, notably a strong recording of Harold en Italie, and there was a confidence and ease to his playing, a dynamism that wasn’t quite matched in Dalene’s rather more restrained and tense bowing. There was a slight disparity between violist Timothy Ridout and violinist Johan Dalene, the former clearly the senior partner. One of the most popular of his ‘Salzburg works’, the Sinfonia concertante for violin and violin in E flat major demands elegance of expression, but a degree of flair too, as well as a certain communication between soloists. ![]() It was canny thinking to use Mozart as a palate-cleanser between the two Polish works. Among many neglected works of the 20th century, this is not one that warrants regular exhumation. There were some interesting parts: the flutter of the woodwind against the pulling of the strings in the first movement the sinuous silky opening to the second movement that develops into moments of lush warmth from the violins, tempered by acidic woodwind. The writing has technical deftness, with ferociously tricky playing for all sections of the orchestra, but too often one sensed effect over substance: tedious climaxes – at times beyond Oramo’s ability to control – and a tendency to flip from hell-raising hullabaloo to hyperbolic hush made it somewhat arduous going. Unfortunately, despite the best efforts of Sakari Oramo and the BBCSO, the piece failed to convince.
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