BBCSO/Schuldt Review: Phibbs Cello Concerto Brings Cohesion Amidst Disparate Programme
A concert that veered wildly between moments of sublime beauty and discordant chaos can be a challenging program to navigate. Fortunately, the BBC Symphony Orchestra's latest outing benefited from the presence of Joseph Phibbs's cello concerto, its world premiere featuring the talents of Guy Johnston.
Phibbs's concerto is a masterclass in contrasts, with five distinct movements that showcase the composer's mastery of tonality and orchestration. The Aubade, with its shimmering light and dancing counterpoint, gave way to the mournful Elegy, a long cello threnody that was poignantly framed by Clemens Schuldt's skilled control of his forces.
The Nocturne, meanwhile, was a tense and agitated work, haunted by the cries of night-birds and perhaps something more sinister. But it was the Vocalise that brought this attractive new concerto to a radiant conclusion, its wistful beauty a perfect foil to the darkness that had preceded it.
In contrast, other works on the program struggled to find cohesion. Tchaikovsky's Hamlet was a prolix tone poem that benefited from Schuldt's energetic and clipped reading, but lacked warmth in places. The German conductor's interpretation of Strauss's Der Rosenkavalier suite was idiomatic, if occasionally over-orchestrated, with too much micromanaging to prevent the music from feeling disjointed.
Overall, it was Phibbs's cello concerto that proved the real star of the show, its musical cohesion and beauty a shining beacon in an otherwise uneven program. With Johnston's elegant playing and Schuldt's expert guidance, this new work is sure to leave a lasting impression on listeners.
A concert that veered wildly between moments of sublime beauty and discordant chaos can be a challenging program to navigate. Fortunately, the BBC Symphony Orchestra's latest outing benefited from the presence of Joseph Phibbs's cello concerto, its world premiere featuring the talents of Guy Johnston.
Phibbs's concerto is a masterclass in contrasts, with five distinct movements that showcase the composer's mastery of tonality and orchestration. The Aubade, with its shimmering light and dancing counterpoint, gave way to the mournful Elegy, a long cello threnody that was poignantly framed by Clemens Schuldt's skilled control of his forces.
The Nocturne, meanwhile, was a tense and agitated work, haunted by the cries of night-birds and perhaps something more sinister. But it was the Vocalise that brought this attractive new concerto to a radiant conclusion, its wistful beauty a perfect foil to the darkness that had preceded it.
In contrast, other works on the program struggled to find cohesion. Tchaikovsky's Hamlet was a prolix tone poem that benefited from Schuldt's energetic and clipped reading, but lacked warmth in places. The German conductor's interpretation of Strauss's Der Rosenkavalier suite was idiomatic, if occasionally over-orchestrated, with too much micromanaging to prevent the music from feeling disjointed.
Overall, it was Phibbs's cello concerto that proved the real star of the show, its musical cohesion and beauty a shining beacon in an otherwise uneven program. With Johnston's elegant playing and Schuldt's expert guidance, this new work is sure to leave a lasting impression on listeners.