Thursday 11th June, 7.30pm
- Schubert Symphony No. 8 (Unfinished) , 22′
- Strauss Horn Concerto No. 2 , 20′
- Dvořák Symphony No. 7, 38′
We are sorry to announce that Andris Nelsons has had to withdraw from this concert at Symphony Hall due to an acute ear infection. We are pleased to announce that CBSO Assistant Conductor Alpesh Chauhan has kindly agreed to conduct at very short notice. This evening’s concert programme remains unchanged.
If you enjoy Dvořák’s New World symphony, just imagine the music he wrote when he was happily at home! Dvořák’s Seventh is stormy, passionate and filled with the kind of tunes you just can’t stop humming. Tonight it’s served up with Strauss’s bubbly second horn concerto (starring the CBSO’s own Elspeth Dutch), and Schubert’s Eighth: a symphony that couldn’t be more perfect even if he’d finished it.
“After being called in at little over 24 hours notice for his full CBSO debut last week, Birmingham-born conductor Alpesh Chauhan talks with Steve Beauchampé”
Review by Peter Marks, BachTrack:
Click here for full review
… ” The CBSO’s principal hornist, Elspeth Dutch, was an ideal exponent for the work. She knows Symphony Hall’s acoustic well and how to make her horn sing both with and above the orchestra. She made the opening arpeggio seem effortless and produced a lovely, legato sound.
Chauhan was an excellent accompanist and ensured the CBSO strings provided a soft cushion of sound to support Dutch. It’s interesting that Strauss gives quite a prominent role for the orchestral horns in the concerto and their dialogue with Dutch towards the end of the first movement was nicely done. The wistful second movement is somewhat reminiscent of music from Der Rosenkavalier and Dutch was once again mellifluous here. The rondo final movement is a great test of agility for the soloist with its tricky leaps and jumps and complex rhythmic dovetailing with the orchestra. After the briefest of awkward starts Dutch and the orchestra gave us a delightful romp through this fun music, finishing with a tremendous flourish.
It is often argued that Dvořák’s Symphony no. 7 in D minor, one of his finest achievements, is his most serious work in the genre but I would wager that proponents of such a view have not spent much time listening to his first three – not too many people do. Certainly, of the symphonies most often performed, it does not possess the sunny character of the Fifth and Sixth, the quirky originality of the Eighth nor the outright folksy-ness of the Ninth. It is likely that Dvořák was under the influence of his friend, Brahms, at the time the Seventh was composed and the mastery of symphonic argument supports this.
Chauhan’s interpretation was, in many ways, fresh and invigorating. He plotted a swift course through the first movement, driving us headlong into the symphony’s turbulence without flinching.” …