Wednesday 29th April, 7.30pm
Symphony Hall, Birmingham +44 (0)121 345 0600
- Dvořák Cello Concerto in B minor, 40′
- Berlioz Symphonie fantastique , 59′
“Before conclusions, it was soloist Jian Wang in the spotlight for the Dvořák Cello Concerto; by any standards this was a dazzling exhibition. After the opening statement on clarinets and bassoons, the crescendo of Znaider was ferocious if perhaps a little uneven. As the first subject is tossed around in the allegro, the contribution from the lower strings seemed more pronounced than I have noticed before, but it was an interpretation that was decidedly pleasing to my ear. The horn delivered the gorgeous second subject and after some typical Dvořákian string gaiety, Wang forcefully entered, displaying his talents to the full: a velvet caress at the bottom end, a delicate touch on the ‘A’ string, a fluidity to the semiquavers and an aggression when required in the codas. I wondered what make his instrument was – the programme merely said it was on loan. His dynamic control and use of vibrato portrayed a formidable technique, and his ability to sit back, adjust his spectacles, and enter from a relaxed position at the precise moment, was uncanny. As Dvořák interweaved his two subjects in the central section, the CBSO players exuded a sense of utter jubilation, a mood confirmed by the return to the opening theme that closes the movement.
The cello again allows others to open the second movement, adagio, ma non troppo. This time it was a wonderful combination of Oliver Janes on clarinet and the bassoons who discharged one of Dvořák’s touchingly melancholic tunes, made all the more poignant by the Chinese virtuoso’s entry. The discussion between soloist and the woodwinds was animated; broken by a sudden outburst from the orchestra and amplified by the brass and percussion sections, it heralds the lied ‘Leave me alone’, inspired by the composer’s love for Josefina Cermakova. There was now an intensity to Jang’s playing that infused the auditorium, a line of melody that was remarkably painted. The interplay between Jang and Marie-Christine Zupancic on flute was another magical moment, as was the bird-like interjections of Rainer Gibbons on oboe. The finale, allegro moderato, contains a complex three-part rondo, begun enthusiastically by the soloist. But the main message of Jang and the CBSO was one of recapitulation, highlighting the glorious way Dvořák treats his native folk songs. The well-deserved appreciation for Jang brought a snippet of an encore from a Bach cello suite.” ….