Sudbin’s Reading of the Scriabin Piano Concerto Beguiles Bournemouth Audience


Mussorgsky, Scriabin, Berlioz: Yevgeny Sudbin (piano) Bournemouth Symphony Orchestra/ Alexander Vedernikov (conductor), The Lighthouse, Poole, 24.02. 2016. (IL)

Mussorgsky (orch. Rimsky-Korsakov) – A Night on the Bare Mountain
Scriabin – Piano Concerto
BerliozSymphonie Fantastique

The young Russian pianist Yevgeny Sudbin’s recording of the Scriabin Piano Concerto with Andrew Litton was released last year in time for the centenary of the composer’s death.  It won unanimous praise from the critics and was cited as a BBC Music Magazine Concerto Choice. His performance here, with the BSO under Vedernikov, confirmed, if that was necessary, his prodigious talent and empathy and sensitivity to the special Scriabin idiom which, even though an early work and under the influence of Chopin and Rachmaninov, was very idiosyncratic.  I can do no better than echo the words of my colleague, Stephen Greenbank, who reviewed the BIS recording in the classical music recordings reviews section of this site: “Sudbin displays formidable technical virtuosity, in a performance contrasting emotional intensity with melancholy and tranquility … I cannot understand  why this melodious concerto is not taken up by more pianists”.

The BSO orchestra for the Berlioz Symphonie Fantastique was somewhat different from that prescribed by the composer. For instance, Berlioz requested four harps, two were used,  and Berlioz only wanted one bass drum, Vederniko had two. Verderniko drew a dynamic performance of this well-loved symphony. His ‘Ball Waltz’ sparkled the dance swirling and lilting beguilingly – one wonders how much more glitter could have been added with those extra harps. The cor anglais solo in the ‘Scene in the Country’ third movement was exquisitely rendered and excitement engendered with the evocation of threatening thunder by the four sets of timpani.  The percussion and brass section had a field day in the two succeeding movements: the ‘March to Scaffold’ and the macabre Dream of a Witches Sabbath’. The effect of the two bass drums was electrifying as was the big sound from the whole orchestra.

Witches figured in the brief Mussorgsky piece. Vedernikov conveyed  with relish all their shrewishness and satanic excesses before the piece ended in sweet tranquillity as dawn breaks.

A very enjoyable concert.  Sudbin’s Scriabin Concerto was a revelation to this reviewer.

Ian Lace

Print Friendly


Leave a Reply

Recent Reviews


Season Previews

  • NEW! The Cleveland Orchestra’s 2018 Blossom Music Festival __________________________________
  • NEW! LA Opera’s 2018/19 Season __________________________________
  • NEW! Buxton Festival 2018 and its New CEO __________________________________
  • NEW! Classical Music at the Barbican in 2018/19 __________________________________
  • NEW! Violinist Liza Ferschtman Celebrates Bernstein’s Centenary in 2018 __________________________________
  • NEW! The Piccadilly Chamber Music Series in 2018 __________________________________
  • NEW! Opera and More in Buenos Aires in 2018 __________________________________
  • NEW! Gloucester Choral Society’s Hubert Parry’s Centenary Celebrations in May 2018 __________________________________
  • NEW! Spend a Penny for Grange Park Opera’s Lavatorium Rotundum __________________________________
  • NEW! Bampton Classical Opera in 2018 __________________________________
  • NEW! The 2018 Lucerne Summer Festival __________________________________
  • NEW! Leeds Lieder’s Forthcoming Schubert Song Series in Leeds and Sheffield __________________________________
  • NEW! Contemporary Music from Manchester’s Psappha in 2017-18 __________________________________
  • UPDATED! I Musicanti’s Alexandra and the Russians at St Johns Smith Square in 2018 __________________________________
  • NEW! Anna Netrebko and Yusif Eyvazov’s Return to London in May 2018 __________________________________
  • NEW! St John’s Smith Square announces its 2017/18 Season __________________________________
  • NEW! The Pierre Boulez Saal’s 2017/18 Season in Berlin __________________________________
  • Subscribe to Review Summary Newsletter

    Reviews by Reviewer

    News and Featured Articles

  • NEW! A Q&A WITH ANDREA CARÈ AS HE RETURNS TO COVENT GARDEN AS DON JOSÉ __________________________________
  • NEW! Chelsea Opera Group to Perform Rossini’s Mosè in Egitto at Cadogan Hall __________________________________
  • NEW! Rafael de Acha Introduces Some of Cincinnati’s New Musical Entrepreneurs __________________________________
  • NEW! ENB’s 2018 Emerging Dancer will be Chosen at the London Coliseum on 11 June __________________________________
  • NEW! Akram Khan’s Giselle for ENB Can be Seen in Cinemas from 25 April __________________________________
  • NEW! BARRY DOUGLAS IN CONVERSATION WITH GEOFFREY NEWMAN __________________________________
  • UPDATED! SOME OF OUR REVIEWERS CHOOSE THEIR ‘BEST OF 2017’ __________________________________
  • NEW! Dénes Várjon Talks to Sebastian Smallshaw About Budapest’s __________________________________
  • R.I.P. IN MEMORIAM – DMITRI HVOROSTOVSKY (1962-2017) __________________________________
  • NEW! Ann Murray’s Masterclass at the V&A Part of Opera: Passion, Power and Politics __________________________________
  • NEW! A Composer Speaks Up for the Environment: An Interview with Margaret Brouwer __________________________________
  • UPDATED! Russian Ballet Icons Gala at the London Coliseum on 25 February __________________________________
  • Archives by Week

    Archives by Month

    Search S&H