'EMPEROR CONCERTO' THE SAMPSON ORCHESTRA
IMAGES: https://antoninasuhanova.com/
Beethoven’s ‘Emperor Concerto’ has long held a special place in my old musical heart. His fifth piano concerto was what got me hooked into classical music as a mid teenager in the 1960s. So enamoured was I of the mighty music melodrama that I saved up 25 shillings to send off for a recorded performance on reel-to-reel. It soon developed a kink in the tape so that part of the first movement sounded more like the Dr Who theme than Ludwig’s masterpiece. But it never diminished my love for the concerto.
So it was with special excited expectation that I booked my ticket for the Sampson Orchestra’s latest outing at West Road. I had a bit of a wait as the first piece was a substantial curtain raiser: Variations on a Theme of Haydn by Brahms. It was to be honest not an especially gripping performance and the whole thing seemed rather heavy. Imagine a three-course meal where the hors d’oeuvres is jam roly poly. The best bit of this piece is the original tune which happily returns triumphant at the end of the eighth and final variation.
Next came the Beethoven. Conductor Darrell Davison brought in soloist Antonina Suhanova with a beamingly avuncular smile. The Russian-born pianist took a shy bow and gave the nod to the baton wielder to begin. The piece starts with a solo flourish on the keys. Immediately we knew we were in the good hands: the hands of brilliant soloist. She plays with immense power, grace and seemingly effortless musicianship. The concerto is a battle royal between keyboard and orchestra with ever changing moods: militaristic flourishes, grandiose statements and in the slow movement, a quite beautiful ballad that brought to mind ‘There’s a Place for Us’ from West Side Story. Above all, this work is a celebration of dance. The last movement in particular is a head-spinning and toe-tapping (don’t try this at once) extravaganza. I looked around the audience who were smiling and (I bet) dying to get up and boogie with Beethoven. Orchestra and soloist gelled throughout and your reviewer’s rheumy eyes filled up with long-held memories.
The second half was filled with Mendelsohn’s Third Symphony, the ‘Scottish’. Drawing on lots of folk tunes from north of the border, this is a powerful piece packed with ear-worming tunes and mega-dramatic moments especially in the final, big brassy movement. The orchestra played well but for me, the Beethoven was the highlight of a great evening.
