- Ravel Mother Goose Suite, 16′
- Rachmaninov Piano Concerto No. 4, 24′
- Rimsky-Korsakov Scheherazade, 45′
Once upon a time there was a beautiful princess, a cruel king… and a Russian composer. Rimsky-Korsakov’s Scheherazade is like opening a wonderful book of musical stories: there’s adventure, magic and – of course – love, all told in music of glittering splendour and gorgeous colour. Guest conductor Andrew Gourlay retells the tale today, along with Ravel’s own little book of musical fairytales, and Rachmaninov’s jazziest concerto. So, if you’re sitting comfortably…
Review by Christopher Morley, Birmingham Post:
(for Saturday 16th performance of same programme)
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… “He and the orchestra were joined by Ukrainian Alexander Romanovsky for Rachmaninov’s elusive Fourth Piano Concerto, a work where everything is stripped to the bone. It’s a piece whose atmospheric gestures would soon be taken up by film-music composers (gorgeously dark lyricism from the CBSO strings), but here Romanovsky concentrated on the music’s remarkable cogency, bringing a strong rhythmic impulse and a mercurial pianism redolent of Rachmaninov himself. His Chopin Nocturne encore was a perfect choice, rich-toned and warmly pedalled.
We ended with Rimsky-Korsakov’s Scheherazade, a composition short in musical content but brilliant in terms of colour and opportunities for display, showing off the skills of so many CBSO soloists under Gourlay’s flexible, empowering direction.
And of course the princess of all of these was concertmaster Zoe Beyers, her narrations eloquent and subtly phrased, poignant in their underlying desperation (Scheherazade is spinning tales to prolong her own life, after all), and all the time neatly dovetailed into her orchestral duties.” …
Review by Hedy Mühleck, BachTrack:
Click here for full review
… “It was also a kiss (on the hand!) that stood at the end the performance of the second piece this afternoon – a superbly played Fourth Piano Concerto by Rachmaninov at the hands of Alexander Romanovsky. The CBSO’s sound immediately had more punch, was more immediate, and set the mood for the piano’s opening chords. Romanovsky spelled those out a bit too obviously, but soon played flowingly, coherently, effortlessly in the highly virtuoso passages, yet retaining a pithy sound. Romanovsky revelled in the jazzy opening of the middle movement as the orchestra revelled in its dreamy three-note-motif as if there was nothing musically more important to say. It was a thing of beauty, as was the third movement, played at breakneck speed, yet utterly focussed and with great accuracy.
What more could there possibly be said about Rimsky-Korsakov’s Scheherazade? This is music that paints an image with broad strokes in primary orchestral colours. It is a fascinating piece that makes the listener a first-hand witness to the Sultan’s experience listening to his Sultana’s intricate tales, gracefully spun by the violin. Zoe Beyer’s tone was engaging, tender, with small, quick vibrato, and captured the storyteller to a tee, creating an unobtrusive, calm and quiet presence. It entered into trusted dialogue with the flute while the orchestral waves around Sinbad’s ship rose and rolled covered by spray, and like the programmatic tales, it kept the listener captivated throughout.” …