United Kingdom PROM 49 – Dvořák, Suk: Anastasia Kobekina (cello), Czech Philharmonic Orchestra / Jakub Hrůša (conductor). Royal Albert Corridor, London, 27.8.2024. (CC)
Dvořák – Cello Concerto in B minor, Op.104 / B.191 (1894/5)
Suk – Symphony No.2 in C minor, Op.27, ‘Asrael’ (1905/6)
Music of the homeland featured at this Czech Philharmonic Promenade: Dvořák and Suk, two core Czech composers themselves certain by a familial hyperlink: Suk married Dvořák’s daughter Otilie, in 1898.
The Czech Philharmonic Orchestra is all the time a welcome customer to those shores: most not too long ago in my expertise, delivering an exceptional Smetana Má vlast on the Barbican beneath Semyon Bychkov in 2022 (evaluation right here). The orchestra’s Central European sound immediately recognisable: lush strings, rich-toned horns with delicate vibrato (heard at a number of factors, and positively within the first motion orchestral exposition solo, and actually particular person woodwind soloists. The orchestral exposition was. masterclass in conducing, fantastically managed and completely idiomatic. Russian cellist Anastasia Kobekina’s contribution was particular person: she doesn’t have an enormous sound, it tends to the lean; as if to compensate for lack of energy we had been gifted a number of held-breath pianissimos, matched brilliantly by the orchestra (a pianissimo tremolando was significantly memorable).
Kobekina does play quick and free with the notated rating although, and if the efficiency proved one factor it was how superb a collaborative conductor Hrůša is. A duet between threadbare cello and flute, punctuated by quiet string pizzicato, was significantly notable. There was a lot to have fun right here in Kobekina’s overtly lyric take, and far gentle shed on a rating all of us although we knew. However at occasions the primary motion did threaten to disintegrate. It was an interesting if not completely revelatory efficiency, and tuning was not all the time fully in place from Kobekina.
The central Adagio comes with a qualifier: ‘ma non troppo’. This was a efficiency that dared to verge on the indulgent, and infrequently transgress, a efficiency a great distance away from something ‘ma non troppo’. It was to the orchestra the ear migrated, time and time once more: two clarinets, completely matched; three horns, one unit. Dvořák in pastoral mode. The transparency of textures from the orchestra was miraculous, whereas timpani had been fantastically clear. The finale (straight in, laudably) was fed by fantastically pointed accents and orchestral element past evaluate. The ultimate cello crescendo main into the concluding peroration was a second when all the things gelled. Not all the things did all through, however this was a thought-provoking efficiency nonetheless.
And an encore: a dance, Gallarda, by her father Vladimir Kobekin for cello and tambourine (performed by the Czech Philharmonic’s Pavel Polívka; it consists of additional percussion within the type of foot stamping, too).
Suk’s ‘Asrael’ Symphony is a Hrůša speciality, and he conducts the huge rating from reminiscence. My introduction to the work might be discovered on this evaluation of a pre-lockdown efficiency by Gardiner and the London Symphony Orchestra on the Barbican (evaluation right here). The symphony (two components, 5 actions break up 3 + 2) is a meditation on the Angel of Demise. The rating makes large calls for, from what have to be some of the gratifying (and but scary) tuba solos within the repertoire (the superb Václav Steklý) to stratospherically excessive violins. Though in sheer orchestra measurement and scope this could be seen to align itself with Schoenberg (Pelleas und Melisande) or Mahler, beneath Hrůša it was Zemlinsky who gave the impression to be the reference level, the textures glimmering, mysterious, luxurious, fantastical. Maybe probably the most potent Mahler hyperlink was that of the potent bass drum within the first motion (a pre-echo of Mahler’s Tenth maybe).
This piece can seem diffuse, however Hrůša certain it collectively completely, daring the music to dissipate. He was actually helped in his endeavours by the beautiful orchestra: These perilously excessive violin traces discovered the Czech PO’s violins providing probably the most beautiful silvery sound. A danse macabre in the direction of the tip of the primary half was disturbing at a soul depth; violin solos from Jan Mráček had been completely positioned. Silences discovered the Royal Albert Corridor viewers unusually quiet, a testomony to the ability of the efficiency. The ability of the ultimate Adagio e maestoso was exceptional the ultimate chord hanging within the air, a stillness daringly extended by Hrůša.
An simple achievement. Suk’s rating might hardly be higher served. A last touch upon the orchestra itself: every part appears completely honed on this orchestra. Just about each title is Czech: the horn part even retains it within the household, with Jan Voboříl as Principal and Jan Voboříl Junior listed as fourth horn. An orchestra with its personal distinct sound and character is a rarity nowadays; I’m certain the second Promenade (which incorporates Janáček’s Glagolitic Mass) shall be equally stimulating.
Colin Clarke
