BSO, Lighthouse, Poole
Melody all the way with two popular works, each assured authoritative performances under Marin Alsop's intuitive direction.
Beethoven's Fifth Piano Concerto, Emperor, with Paul Lewis as eminent protagonist gave a polished performance that fulfilled the promise of masterful musicianship. Conveyed with effortless bravura, Lewis sensed its majestic line, integrating the heroic impulse with refined dynamic shading.
Dvorak could not have put more mellifluous melody into his Symphony No. 9 without adding a further movement. Alsop's uplifting account generated all the brisk momentum needed to reveal the riches of its symphonic voice in stirring brass, furious strings and dancing woodwinds. The memorable Adagio with its hauntingly lyrical cor anglais tune drew exquisite playing .
James MacMillan's Stomp (with Fate and Elvira), is a roistering mixture of Scottish folk dance, wittily infused with the fate motif from Tchaikovsky's Fourth Symphony and the theme used for the tightrope walking Elvira Madigan from Mozart's Piano Concerto No.21. Now that's what I call line dancing.
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