United Kingdom Beethoven, Liszt, Tchaikovsky: Paul Lewis (pianist), Concerto Budapest Symphony Orchestra / András Keller (conductor). Usher Hall, Edinburgh, 7.12.2025. (GT)
Tchaikovsky – Francesca da Rimini, Symphonic fantasy after Dante, Op.32
Beethoven – Piano Concerto No.3 in C minor, Op.37; Symphony No.5, Op.67
Liszt – Les Préludes, Symphonic poem after Alphonse de Mallartine’s Méditations poétiques, S.97
On a day when all the elements broke over Edinburgh, one wondered what effect this torrential downpour would have on the concert; however, the undaunted people turned up in their hundreds to hear this top-class Hungarian orchestra. This is their third visit to Scotland in recent years, and on every occasion, the Hungarians present attractive programmes at world-class standards.
Opening, however, with Tchaikovsky’s Francesca da Rimini was a little unusual, demanding a greater degree of music-making than is normal in concert programmes; the passion and intensity of performance is more often left to the latter part of the programme; however, the orchestra rose to the task with exquisite playing from the wind groups, especially from the brass. The large string section was remarkable with their richly nuanced tone, and there was a noticeable golden bloom in the first violins. The violas and cellos were fluent and impressive, evincing all the romanticism of this piece. The narrative of the Fifth Canto from Dante’s Inferno was expressed with outstanding musicality by the clarinet of Gaba Klenyán, and by Kaczander Orsolya on the flute, and special mention too for the timpani of Boglárka Fábry.
In the Beethoven Piano Concerto, the orchestral introduction was heroic and majestic, and the first bars on the Steinway by Paul Lewis were sublime, with the English pianist showing magnificent articulation. Throughout, it was noticeable that there was little eye contact between the conductor and the soloist – but this was the fifth playing of this concerto on this tour, so perhaps little understanding or discussion was required, as everything was prepared in advance. Again, as in the Tchaikovsky piece, the finest playing was from the orchestra’s wind players, especially the clarinet and flute! They were matched in virtuosity by Béla Horváth on the oboe and the bassoon of Bálint Mohai. Following the grand opening, the playing was magnificent, especially in the elegiac slow movement and in the spiritually refreshing finale. András Keller ensured that this work is more of a dialogue between orchestra and soloist, with equal roles and expression shared.
Another novel choice in the programme was opening the second part with Liszt’s Les Préludes, a work of considerable power and a symphonic poem which struggles to win audiences over, yet here the Hungarians were well on top of this powerfully emotive work. The nuancing of orchestral colour by the conductor was quite remarkable here and a highlight of the concert.
Finally, the orchestra kept their best for the Beethoven Fifth, and I have not heard such a powerful performance of this symphony for many years. Keller certainly directed the work as the ‘symphony of fate’ in his direct and forceful interpretation. Rather than take the repeats, the conductor chose to emphasise the power and strength of Beethoven’s ideas, revealing this as a truly revolutionary work.
The famous opening bars of the Allegro con brio were deliberately slower, with Keller allowing the full weight of the opening chords to be heard before driving into the stormy pages of the first movement. Now the strings were playing as if their life depended on it in a very dramatic passage of performance. The second movement (Andante con moto) was distinguished by magnificent solos from the woodwind, especially the flute of Orsolya. Here, the composer’s faith in happiness and beauty came to the fore.
The themes from the opening movement were reprised in the third movement, as the lively dance broke out on the lower strings, yet darkness emerged briefly, and the Allegro finale rose like a beam of sunlight in the darkness. Finally, triumph emerged on the brass for the powers of fate, with the whole orchestra storming to victory. The degree of intensity conjured up by András Keller was outstanding, and the glorious finale was met by a storm of applause. This was quite a remarkable performance led by a great conductor, and his ensemble are virtuoso musicians who could grace any orchestra.
‘Haste ye back’ was a phrase I heard several times on leaving the Usher Hall.
Gregor Tassie
Featured Image: András Keller conducts Concerto Budapest © Valuska Gábor