United Kingdom Mozart, Bruckner: Leif Ove Andsnes (piano), London Symphony Orchestra / Nathalie Stutzmann (conductor). Barbican Hall, London, 8.2.2024. (JR)
Mozart – Piano Concerto No.22 in E-flat major, K482
Bruckner – Symphony No.7 in E major, WAB 107 (ed. Benjamin-Gunnar Cohrs, Urtext Edition)
The almost inevitable Mozart piano concerto preceded the Bruckner symphony. They are now almost standard counterweights to monumental Bruckner symphonies, at least the shorter ones and whilst both composers were Austrian, they do not make ideal bedfellows: though it seems to ensure a full house.
No.22 is melodic, but the first two movements are rather overshadowed by its joyous and high-spirited finale. The piano gets a real workout in the outer movements and the orchestra hardly gets a note in. Leif Oves Andsnes sped through the work with his usual commanding technique, full of deft lightness of touch and playfulness, but I detected little involvement. The sonorous woodwind nearly stole the show in the slow movement, Mozart employing clarinets for the first time in a piano concerto. The performance was full of grace and elegance, aided and abetted by string principals in a peaceful serenade. Nathalie Stutzmann’s real test (in the Bruckner) was yet to come; in the Mozart she accompanied Andsnes with sensitivity. Andsnes’s encore, a Brahms Intermezzo, had the audience enthralled.
Stutzmann has been known, to date, as a French contralto of considerable talent. Her switch to conducting a few years ago in the United States (mentored by Sir Simon Rattle) has led to her being appointed as Music Director of the Atlanta Symphony Orchestra and Principal Guest Conductor of the Philadelphia Orchestra. Stutzmann made a spectacular debut at the 2023 Bayreuth Festival with Tannhäuser receiving a standing ovation and receiving a ‘Best Conductor’ award at the 2024 Oper! Awards. She has been invited back to Bayreuth this year. She also made an acclaimed debut at the Met in both The Magic Flute and Don Giovanni. The fact that the London Symphony Orchestra put her in charge of two major Bruckner symphonies for the 200th anniversary of the composer’s birth speaks volumes for the high regard in which Stutzmann is held by the orchestra’s management. Stutzmann cites Bruckner as one of her three favourite composers.
Having said all that, Stutzmann’s Bruckner is unique and will probably not be to everyone’s liking. Tempi change constantly, there is plenty of Gallic emotion where phrases are dissected and infinitely caressed, micro-management to the expense of the architectural whole. On the positive side, Stutzmann had an impressive grasp of every small detail, and the orchestra dutifully followed her lead. The LSO were on the very best form, particularly the horn section (all nine of them) and the blazing brass. I liked the way Stutzmann placed the nine double basses across the back of the stage – visually this made a great impact, though one hears them better when they are to the side, with the principals near the front. It gave the opportunity to bring the percussion nearer the audience, the cymbal player (for his single clash) and the triangle on the left, the timpanist to the right. Woodwind were characterful, I highlight the clarinet of Oliver Janes and Olivier Stankiewicz’s oboe.
Stutzmann was in fine command of dynamics, from ppp to fff in the twinkling of an eye and with impressive ease. Grace and sensitivity shone through as did Stutzmann’s clear love of Bruckner; Stutzmann danced through the rustic Scherzo, but the raw energy and shattering effects, particularly in the final movement, were missing. I came away rather underwhelmed. Stutzmann returns on Sunday evening to tackle Bruckner’s unfinished Ninth Symphony followed by a performance of his Te Deum.
John Rhodes