Thursday 27th November 2014 at 2.15pm
Symphony Hall, Birmingham +44 (0)121 345 0600
Schumann: Piano Concerto 31′ Watch on YouTube
Bruckner: Symphony No. 7 (Haas) 68′
Listen on Spotify
Stephen Hough’s encore – Chopin: E-Flat Nocturne
Imagine a symphony played by an angel. That’s how Anton Bruckner first dreamed of the blissful opening melody of his Seventh Symphony – and when you hear it, you’ll understand why: this is music that scales sublime heights and heartrending depths. For Andris Nelsons, it’s a labour of love; so he begins by teaming up with the incomparable Stephen Hough in Schumann’s ever-fresh love-poem of a Piano Concerto.
Review by Christopher Morley, Birmingham Post:
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… “There was a wonderful sense of release as the opening movement eased into its recapitulation as Nelsons so patiently delineated the music’s architecture, and the extended coda’s dynamics were so well-managed over the tension-building timpani roll.
And out of all the orchestral contributions special mention must be made of Marie-Christine Zupancic’s flute, now fluttering like a dove, now radiant as a halo.
Around her and oboist Rainer Gibbons the woodwind section is rebuilding itself into the strength it once possessed, and it was good to welcome Oliver Janes, the 23-year-old grandson of John Fuest, one-time principal clarinet of the CBSO, into his grandfather’s chair.
The Schumann Piano Concerto could not have been a better choice for his debut in the position, full of poignant dialogue between clarinet and piano, and Janes certainly had a formidable collaborator in Stephen Hough, whose pianism combined authority with spontaneous generosity of phrasing.
Naturally Nelsons and the CBSO accompanied totally in sympathy, and it’s good to know that Hyperion recorded this performance, renewing their award-winning partnership of Hough with the orchestra.” …
Review by Andrew Clements, Guardian:
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… “The doors to the reverberation chamber behind the orchestra had been opened as wide as possible for the performance, and though that didn’t create the kind of cathedral acoustic that permeates so much of Bruckner’s symphonic thinking, it was enough to give a delicate colour to the work’s silences and to extend the effect of its cadences. Generally, though, Nelsons kept things airy and transparent; it was clear from the veiled lightness of the strings at the start that this was not going to be heavyweight, minatory Bruckner, but something much more athletic, direct and texturally interesting. If anything, the rhetoric was underplayed: the close of the first movement was not the brassy triumph some conductors make of it, but more measured and provisional, and even the shattering climax of the slow movement and the reconciliation of the finale kept something in reserve.
In some ways, too, the symphony had been upstaged by Schumann’s Piano Concerto, with Stephen Hough as soloist before it. That had been a performance of such startling freshness and clarity that one of the most familiar of all 19th-century piano concertos seemed totally reimagined, with the sweep and vigour supplied by Nelsons and the orchestra as the perfect foil to Hough’s cool brilliance.”