BBCSO/Schuldt Review: A World Premiere that Stands Tall Amidst an Uneven Programme
In a concert marked by frenetic energy and disparate musical styles, Joseph Phibbs's world premiere cello concerto emerged as a beacon of cohesion, thanks in large part to the thoughtful direction of Clemens Schuldt. The BBC Symphony Orchestra delivered impressive performances across various works, showcasing their technical prowess, but struggling with inconsistency in overall programming.
Phibbs's cello concerto proved to be a standout piece, boasting a rich orchestration and nuanced string writing that complemented Guy Johnston's sensitive solo line. The work's five contrasting movements unfolded with warmth and vitality, each one expertly framed by Schuldt's precise control over his forces. Standout moments included the shimmering "Aubade" and the haunting "Elegy," which showcased the orchestra's ability to craft complex textures.
In contrast, other pieces on the programme struggled to find unity. Tchaikovsky's Hamlet tone poem felt somewhat disjointed under Schuldt's clipped direction, with a tendency towards loudness that detracted from the overall impact. Mel Bonis's Ophélie was more effective in its restraint, allowing the harp and oboe to convey a sense of longing and melancholy.
Schuldt's true strengths were evident when he turned his attention to the anonymous suite from Richard Strauss's Der Rosenkavalier. His idiomatic interpretation brought to life the waltz sequences with ease, even if the score itself felt somewhat stitched together. The orchestra's technical skill shone through, but Schuldt's micromanaging led to a sense of disjointedness and overly loud moments.
Ultimately, it was Phibbs's cello concerto that proved to be the most memorable piece in the evening, thanks to its cohesion and musicality. As such, it serves as a testament to Schuldt's leadership and the orchestra's abilities, even if other works on the programme fell short of their full potential.
In a concert marked by frenetic energy and disparate musical styles, Joseph Phibbs's world premiere cello concerto emerged as a beacon of cohesion, thanks in large part to the thoughtful direction of Clemens Schuldt. The BBC Symphony Orchestra delivered impressive performances across various works, showcasing their technical prowess, but struggling with inconsistency in overall programming.
Phibbs's cello concerto proved to be a standout piece, boasting a rich orchestration and nuanced string writing that complemented Guy Johnston's sensitive solo line. The work's five contrasting movements unfolded with warmth and vitality, each one expertly framed by Schuldt's precise control over his forces. Standout moments included the shimmering "Aubade" and the haunting "Elegy," which showcased the orchestra's ability to craft complex textures.
In contrast, other pieces on the programme struggled to find unity. Tchaikovsky's Hamlet tone poem felt somewhat disjointed under Schuldt's clipped direction, with a tendency towards loudness that detracted from the overall impact. Mel Bonis's Ophélie was more effective in its restraint, allowing the harp and oboe to convey a sense of longing and melancholy.
Schuldt's true strengths were evident when he turned his attention to the anonymous suite from Richard Strauss's Der Rosenkavalier. His idiomatic interpretation brought to life the waltz sequences with ease, even if the score itself felt somewhat stitched together. The orchestra's technical skill shone through, but Schuldt's micromanaging led to a sense of disjointedness and overly loud moments.
Ultimately, it was Phibbs's cello concerto that proved to be the most memorable piece in the evening, thanks to its cohesion and musicality. As such, it serves as a testament to Schuldt's leadership and the orchestra's abilities, even if other works on the programme fell short of their full potential.
I gotta say, I'm not loving the whole 'micromanaging' thing with Clemens Schuldt 
. Like, yeah, he got some great moments under his belt, but when he's trying to control every single note and tempo, it can feel really forced. And don't even get me started on Tchaikovsky's Hamlet tone poem - I mean, what's up with the loudness? 
It just feels like they're hitting the notes a bit too hard instead of letting them breathe. Phibbs' cello concerto was def a highlight, but it was Schuldt's direction that really made or broke some of those other pieces for me... 
that thing was like the heartbeat of the whole show, it had this energy and cohesion that just drew you in. schuldt did a great job on that piece, like he knew exactly what to do to bring out the best in the musicians...or maybe he was just trying to hide his own mistakes 
. Like, you'd have these moments where everything comes together perfectly, and then BAM! The next piece is just a mess. It's like they couldn't make up their minds on what they wanted to achieve 
. I mean, what's with the Tchaikovsky tone poem? It felt like they were trying too hard to be dramatic and ended up being a bit of a mess 
. And Mel Bonis's Ophélie was cool and all, but it was just a tiny part of the overall programme... feels like they could've done more with that one 
! That piece had some serious cohesion and musicality going on. I mean, the way Schuldt directed the orchestra was pretty tight 
. So yeah, all in all, it was an okay concert, but not exactly my cup of tea 
️.
Clemens Schuldt is like the ultimate conductor - he knows how to bring out the best in every piece! Phibbs's concerto was SO well done, I loved how it had all these different moods and emotions 
. And Guy Johnston's solo line was EVERYTHING 
. I'm so glad we got to hear that Aubade - it gives me chills every time 
. Can't wait for more of Phibbs's music and Schuldt's conducting - they're like a dream team!!! 
. And seriously, who tries to micromanage an orchestra? It's not like they're robots 
. Clemens Schuldt seems like a total buzzkill for me, just trying to nitpick every little thing. Can't he just let the music speak for itself?! 
! The way Clemens Schuldt directed it was pure magic 
! And Guy Johnston's solo line was so emotive and heartfelt 
. But, tbh, I feel like some of the other pieces were a bit of a letdown 
. That Tchaikovsky tone poem felt kinda rushed and overpowered 
. I mean, who needs a 10-minute-long tone poem when you can have a nice flow? 
. Overall, though, it was a solid concert with some real standouts! 
. But then there were some moments where I felt like the loudness just overpowered everything else... it's like, can't we find a happy medium sometimes? 
. Too bad some other pieces didn't quite come together... that Tchaikovsky piece felt kinda forced to me 
️, especially that "Aubade" movement - shivers down my spine 
. but other pieces were meh, idk... Tchaikovsky's tone poem was like a loud, over-the-top soap opera 
and Mel Bonis's Ophélie was just too slow 
, that's for sure!
The way Schuldt directed the orchestra, it felt so polished and refined, especially in "Aubade" 
and "Elegy". I mean, what was up with Tchaikovsky's tone poem though? 
. And don't even get me started on the Strauss suite, micromanaging aside 
, it was still super fun to watch the orchestra bring that waltz sequence to life 
! All in all, though, Phibbs's concerto really stole the show for me 
. The energy was electric and the way Schuldt brought everything together was pure magic 
.
It's like they're trying to give you whiplash! First, one minute it's all fancy and stuffy, then BAM! Next thing you know, it's loud and chaotic 
And can we talk about Clemens Schuldt for a sec? Dude's like a master conductor... or a micromanaging dictator 
. All in all, it was an interesting night, but I think I need a nap now 
.
. Plus, it's not like we're asking for perfection here – every concert has its highs and lows, right? 
So let's all just take a deep breath and appreciate the BBCSO's technical prowess... and Schuldt's passion project