United Kingdom R. Schumann, Mahler: Francesco Piemontesi (piano), London Philharmonic Orchestra / Robin Ticciati (conductor). Glasgow Royal Concert Hall, 15.3.2025. (GT)
R. Schumann – Piano Concerto in A minor, Op.54
Mahler – Symphony No.5 in D major
Since its opening in October 1990, the Glasgow Royal Concert Hall has hosted orchestras from all over the world – however, for diverse reasons, the regular visits by the world’s finest ensembles stopped more than ten years ago, the last visitors here being the Dresden Staatskapelle. Since then, international orchestras visiting Scotland have been limited to Edinburgh and Perth. There were criticisms of the hall’s acoustics early on, and carpets were removed, among other improvements. Two years ago, the venue closed to make radical changes, and thankfully, the sound picture is more transparent and allows the finest musicians to be heard perfectly from anywhere in the hall.
Robin Ticciati was highly promising when he was the chief conductor of the Scottish Chamber Orchestra between 2009 and 2019, and he significantly extended the repertoire by introducing symphonies by Bruckner and Mahler. Many of his concerts proved momentous events in Scotland’s musical life. He is a truthful interpreter of the composer’s music without ever over-dramatizing the emotion or drama – his readings are accurate and powerful, whether they be of Haydn, Beethoven or Shostakovich.
The first visit to Glasgow since 2008 by the London Philharmonic Orchestra was thus a perfect opportunity for a return to international orchestras touring Scotland in this mini-tour in the UK. It was also an opportunity to compare our orchestras with this world-class ensemble. In the opening movement (Allegro affettuoso) the early romanticism of the Robert Schumann Piano Concerto was swiftly evidenced by the beauty of the oboe of Alison Teale and the clarinet of Benjamin Mellefont responding to the piano’s opening theme. The opening chords launched by Ticciati were stunning, with the strings admirably verdant and playing as if their lives depended on it. The elaborate delivery by pianist Francesco Piemontesi was crystal clear in his attention to detail and the artistry in the rapport with Ticciati was palpable. There were many glorious moments in the opening movement, embellished by glittering solo passages by the Swiss-born Piemontesi. In the Intermezzo, the cellos were outstanding in the middle section that was embellished by the pianist’s dreamily ornamented keyboard playing. The playing was gorgeous in the Allegro vivace finale, with brilliance from the soloist, and charming music making from the woodwind and the strings.
The Fifth is probably Mahler’s greatest symphony with his most gorgeous writing and most life-enhancing themes, as well as the optimistic finale with the tragedy of his other symphonies largely absent. From the opening Trauermarsch, the degree of artistry was remarkable, from Paul Beniston’s opening solo on the trumpet – the first of several brilliant contributions – quoting the ‘General March’ of the Austro-Hungarian Army, leading to passages of magnificent playing by the orchestra. Ticciati reminded one of a highly energetic dynamo untiringly demanding the utmost from his musicians, even more so than he was here with the SCO. The tempo was quicker – more taught and lean – than the ‘measured pace’ as required in the score, but the excellence of the playing was extraordinary, with crispness in the woodwind and brass embellished by magnificent dramatic contributions from the percussion. All of this was in a sequence of magnificent virtuosity of quickly changing moods exchanged between gorgeous melodic chords and great drama. Ticciati’s reading was fast and tightly controlled in the opening movement and he closed it dramatically by a single gesture to the adroitly theatrical sforzando on the low strings. The second movement (Sturmisch bewegt) was ferocious in mood highlighted by a terrifically enacted theme from the cellos.
In the Scherzo, the horns were stunning in the gorgeously performed waltzes and ländler yet there reflected a hint of doubt in the strings – dispelled by the woodwind in becoming brighter and more positive. The solo horn passages from John Ryan were out of this world and magnificently supported by the horns and trombones. In the famous Adagietto, the intensity was more reticent in what has often been called the composer’s love song for his wife Alma. The Rondo-Finale final movement was a massively powerful tour de force, with the horn of Ryan again glorious expressly in the back-and-forth with the eloquent bassoon of Jonathan Davies.
At times, one was amazed by the virtuosity of the conflicting passages in the score by the musicians, another noticeable highpoint was the admirable unity of the strings – as if listening to a single instrument magnified twenty or thirty times. The dynamic and tremendous harmony of the orchestra was amazing; and they were admirably directed by Ticciati, whose demanding gestures and gyrations at the rostrum were never demonstrative, yet always intent on bringing Mahler’s masterpiece to the listener. In all, this was a tremendous concert which revealed the all-round virtuosity and world-class caliber of the LPO. Audiences in Scotland will have another opportunity to hear this great orchestra in 2025 when they visit the Edinburgh International Festival.
Gregor Tassie