Super sounds of a diverse performance

The programme for Angela Hewitt's latest NAC concert on 3rd November started with a difference: Hewitt's recital was after the interval and not before. In addition, the first auditory experience was the supposedly least-accessible of Sibelius' symphonies, Symphony No. 4 in A minor, Op. 63. Prior to the performance I was completely unfamiliar with this piece, but no less interested in hearing the NACO's premiere performance.

The programme notes describe the piece as both severe and stern. After hearing even the first few minutes of the symphony, I beg to differ: these terms seem to be excessively negative. I prefer 'spare elegance', especially in relation to the first and third movements. The piece may have its bleak moments but, especially in the hands of the NACO, the resulting sound is smooth, measured and very beautiful. Having heard quite a bit of more recent Nordic music, Sibelius' influence on modern bands is clear. Unfortunately, a fair few concert-goers didn't seem to hear the beauty, as there were rather more coughs going round than in the 2nd half of the concert.

The attention was almost visible after the interval, awaiting the 'crack' that starts Ravel's Piano Concerto in G. In her pre-concert chat, Hewitt described the balance between Ravel's implicit rather than explicit emotions and keeping to a 'medium' between insistent score-following and schmaltz. The peformance was superb - no schmaltz anywhere, and the mix from the orchestra and Fazioli was one of level, mellow, warm sound. The audience received the brilliant performance they have clearly come to expect from Hewitt, and showed their appreciation, which was rewarded by an encore of Debussy's Golliwog's Cakewalk.

The final part, dances 1, 2 and 7 from Dvořák's Op. 72 Slavonic Dances, clearly brought to mind the New Year's Concerts from Vienna. Over to Mariss Jansons, then.

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