The BBC Symphony Orchestra and conductor Clemens Schuldt brought together an eclectic programme of works that, despite some notable highlights, struggled to cohere under the baton.
Joseph Phibbs's cello concerto, however, emerged as a beacon of cohesion amidst the evening's disparate offerings. Written specifically for cellist Guy Johnston, this five-movement work showcased a warm tonality and rich orchestration, with Schuldt drawing out nuanced performances from his forces. The Aubade's shimmering lightness gave way to the mournful Elegy, which provided a haunting contrast to the Nocturne's tense agitation. The Vocalise brought a satisfying conclusion to this attractive new concerto.
In contrast, other works on the programme felt less unified. Tchaikovsky's Hamlet tone poem benefited from Schuldt's clipped, energetic reading, but lacked warmth and character. Meanwhile, Mel Bonis's Ophélie proved that restraint can be a virtue, its harp, strings, and oboe combining to evoke a sense of tragic fate.
The conductor's handling of the anonymous Der Rosenkavalier suite was more mixed. His idiomatic interpretation of the waltz sequences was admirable, but his micromanaging tendencies disrupted the music's flow. The orchestra played well, but Schuldt's tendency to ratchet up the volume only served to emphasize the score's disjointedness.
Ultimately, while some individual works stood out, the evening's programme benefited from Phibbs's cello concerto serving as a unifying thread.
Joseph Phibbs's cello concerto, however, emerged as a beacon of cohesion amidst the evening's disparate offerings. Written specifically for cellist Guy Johnston, this five-movement work showcased a warm tonality and rich orchestration, with Schuldt drawing out nuanced performances from his forces. The Aubade's shimmering lightness gave way to the mournful Elegy, which provided a haunting contrast to the Nocturne's tense agitation. The Vocalise brought a satisfying conclusion to this attractive new concerto.
In contrast, other works on the programme felt less unified. Tchaikovsky's Hamlet tone poem benefited from Schuldt's clipped, energetic reading, but lacked warmth and character. Meanwhile, Mel Bonis's Ophélie proved that restraint can be a virtue, its harp, strings, and oboe combining to evoke a sense of tragic fate.
The conductor's handling of the anonymous Der Rosenkavalier suite was more mixed. His idiomatic interpretation of the waltz sequences was admirable, but his micromanaging tendencies disrupted the music's flow. The orchestra played well, but Schuldt's tendency to ratchet up the volume only served to emphasize the score's disjointedness.
Ultimately, while some individual works stood out, the evening's programme benefited from Phibbs's cello concerto serving as a unifying thread.
Clemens Schuldt and the BBC Symphony Orchestra tried to put on an eclectic show but unfortunately, it just didn't come together. The highlight of the evening was Joseph Phibbs's cello concerto that did bring some cohesion to the programme. However, other works like Tchaikovsky's Hamlet tone poem felt more disjointed. Maybe a bit too much trying to fit everything in made the show feel a bit messy.
! The guy really knew how to balance the different instruments. And then you had these other pieces, like Tchaikovsky's Hamlet tone poem, which was good but lacked a bit of warmth 
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. But what really threw me off was when the conductor just kinda micromanaged during certain parts... like, yeah, I get it, you want to make sure everything sounds right, but sometimes less is more 
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. And can we talk about how some of the orchestration was just so lush and beautiful? I mean, that cello concerto had me swooning 
. Still, all in all it was a solid concert and I'd love to see more Phibbs 
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. I think what really saved the night, though, was that Phibbs cello concerto being this unified anchor that tied everything together.
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, like phibbs's cello concerto, that showcase talented composers 
... but, honestly, the other works on the programme felt kinda all over the place 
... tchaikovsky's hamlet tone poem was pretty energetic 
, and i liked how mel bonis's ophélie used restraint to create a sense of tragedy 
... anyway, the orchestra played well 
. And can we please get some better audio tech on these orchestra recordings? The micromanaging is super distracting 
. And don't even get me started on his handling of those classical pieces - sometimes he just comes across as a bit too aggressive 
. But, you know, there were some real highlights, like that Joseph Phibbs cello concerto... what a beautiful piece! The way it flowed and developed throughout was just magic 
. If they could find a balance between precision and feeling, I think this orchestra would be on to something 
Guy Johnston must be so lucky to have it written specifically for him! The way Schuldt handled the different pieces was pretty interesting... some works were like, totally on point while others felt kinda disjointed 
. Like they were trying to recapture that magic or something 
Clemens Schuldt is still super talented and I love that Joseph Phibbs's cello concerto shone through - it was like the highlight of the whole night 
And omg, Mel Bonis's Ophélie is giving me all the feels 
this conductor's micromanaging tendencies kinda ruined the flow of Der Rosenkavalier suite