Hungarian Radio Symphony Orchestra, Symphony Hall, Birmingham, Saturday 30 November 2024, 4☆☆☆☆. Review: David Gray & Paul Gray.

Hungarian Radio Symphony Orchestra, Symphony Hall, Birmingham, Saturday 30 November 2024,

4☆☆☆☆. Review: David Gray & Paul Gray.

“A Hungarian Orchestra delivers some characterful playing, while a home-grown virtuoso dazzles with Chopin.”

Kodály - Dances of Galánta

Chopin – Piano Concerto No. 2 in F minor, Op 21

Liszt – Mephisto Waltz No. 1

Beethoven – Symphony No. 7 in A major, Op 92

It is, of course, appropriate that a Hungarian orchestra, on tour, should opt to showcase music by its nation’s composers. Zoltán Kodály is noted for his academic exploration of his country’s folk music, and for incorporating it into his own compositions. His Dances of Galánta is one such piece. A characterful piece, packed with Hungarian folk flavour and rustic charm.

The opening bars, delivered with intense yet warm tones by the ‘cellos, immediately established this was going to be an afternoon of quality orchestral playing. The middle section of the work enabled the strings to dazzle with their complex, glossy sound. The opening and closing sections also highlighted well-blended and precise woodwind playing. Only the horns disappointed with some ragged entries.

Chopin’s piano concerti were inevitably composed as vehicles for him to exhibit his own virtuosity. Pianist, Jeneba Kanneh-Mason rose admirably to meet the many challenges set by the composer. Undeniably a player of significant technical proficiency, her reading of Chopin’s Piano Concerto No 2 was supple, subtle and intelligent, with admirable attention to detail. This was particularly evident in the slow movement, where she treated ornamental passage work with delicacy and eloquence, whilst still maintaining the overall sense of line.

The concerto has a slightly classical feel to it. This characteristic was highlighted by precision and clarity from both orchestra and soloist. Chopin’s compositional technique meant that balance was perfect throughout. Restrained orchestral scoring ensured the piano was in the foreground during tutti passages.

Kanneh-Mason’s dynamic range could have been greater, and her tone more ringing in the upper register. This concerto is a virtuosic showcase, so a little more flamboyance and less reserve might have been appropriate. But these are slight reservations in the face of some very excellent playing.

The second half opened with a real orchestral showpiece from another Hungarian composer, Franz Liszt. His first Mephisto Waltz gave the whole band a chance to shine. Again, some fuzzy horn work marred the overall effect, and the tone of the trumpets was, now and again, a bit scratchy.

Conductor, Riccardo Frizza, delivered a big-boned, muscular reading of Beethoven’s Symphony No. 7. Yet, despite, his strong approach, and the number of players on the platform, the performance still had room for light, shade, delicacy and, above all, a dancelike quality.

The opening movement was well signposted, without structural downbeats being hammered home. The Allegretto was given a haunting rendition with some exquisite pianissimos. And the whole orchestra seemed to unlace its corsets and let rip for the wild rollercoaster ride that is the Presto Scherzo and final Allegro. Really, really impressive stuff.

Hungarian Radio Symphony Orchestra

Riccardo Frizza – Conductor

Jeneba Kanneh-Mason - Piano