The Dome Brighton, 13 January 2013

What looked to be a rather unusual coupling on paper turned out to be an inspired choice of programme to start the new-year. Given the beauty of the prelude to Verdi’s Aida – it is certainly as fine as either of the Traviata preludes which are so regularly performed – it is surprising it is not used in concert more frequently. The translucent textures of the divided strings impressed as did the delicate crescendo that Barry Wordsworth created. The brass came into their own with the Triumphal march, though the work always seems unbalanced without the weight of the chorus.

Poulenc’s Concerto for Two Pianos, sparkles throughout, the smaller orchestra responding with real excitement to the demands of the score. It may be tongue-in-cheek but it is a consummate piece of writing which makes great technical demands on its soloists, as well as insisting that the audience are aware of its nuances. In a packed twenty minutes there is no room to doze off, and the fireworks – even in the gentler slow movement – keep everyone on their toes. Robert Clark and Kate Shipway have worked regularly with Barry Wordsworth over the years and this was very obvious in the interplay of the two pianos and orchestra. The lightening changes of both dynamic and emotional impact were finely conceived and the hints, not just of the gamelan, but of early minimalism, firmly in place. While realising that getting two highly professional pianists onto the same platform is never an easy undertaking, it is a pity this work is not more frequently performed, as its live experience far outweighs any recording.

Saint-Saens’ Organ Symphony may be a familiar war horse, but regular exposure on the radio tends to dampen the expected dynamic experience in the concert hall. This is not only true of the impact of the organ itself – convincingly played here by Alastair Young – but also of the delicacy of the slow movement. Having two concert pianists for the tiny but spine-tingling piano part was a real bonus. Barry Wordsworth chose to indulge himself in the sensuousness of Saint-Saens’ writing, bringing us delicious lyricism and allowing us to wallow in familiar melodies. At the same time I found myself surprised at how close to Elgar some of the melodic lines appear when played live. The final movement was given its head and received the ovation it rightly deserved. If I had some reservations about the sound of the organ, with some slightly uncomfortable vibration at times, it did not affect the overall impact.

It was a pleasure to see The Dome nearly full on this occasion, and I hope that the coupling of very familiar works to more challenging but exciting ones will continue. BH