Life-Affirming Nielsen from Dausgaard and the BBC SSO

A pair of matched concerts were to be Thomas Dausgaard's farewell to the BBC Scottish Symphony Orchestra, whom he has led for the last six years. A Beethoven Piano Concerto, a Nielsen Symphony on both nights: tonight, Beethoven's Piano Concerto No.1 and Nielsen's Symphony No.3 'Sinfonia espansiva'.  First on the plate, however, was Ravel's La Valse, a piece full of drama and infectious style. All played as if they were soloists, which certainly brought a vibrant orchestral colour palette, though one that was perhaps a little too heavily laden, becoming almost indulgent, dangerously luxurious and heavy, as Dausgaard laid layer upon layer on the waltzing line, making it difficult to imagine the ballet Ravel envisioned.  

The performance of Beethoven's Piano Concerto No.1 proved no such problems. Light, punchy natural trumpets punctuated the BBC SSO, ensuring that the orchestra kept up with soloist Behzod Abduraimov's wit and play, refusing to be mere accompanists. Indeed, I often find natural trumpets a danger for orchestras, it being too easy for them to be overbearing and, put simply, too loud. No such issues here; Dausgaard energised the orchestra with them, proving true partners to Abduraimov's natural and fluent playing. Especially worthy of note was his interpretation of the concerto's second movement, its intimacy brought out with care and respect to every note. A spirited, exciting finale ensured that playfulness was the byword of Abduraimov's performance.

This continued into a spirited encore of Mercutio from Prokofiev's Romeo and Juliet, leading the Prommers to applaud wildly. But wait! His wagging finger reminded us there was still the coda to go! A few bars later, laughter and deserving applause broke out in its entirety. I shall never shake my head at clapping too early again...

Thomas Dausgaard wants his sound this big
Photo credit: BBC

Nielsen's rarely-performed Third Symphony followed the interval. Indeed, this work was receiving just fourth appearance at the Proms, and its first this century, being last performed in 1999 under the baton of Jukka-Pekka Saraste and the BBC Symphony Orchestra. Based on tonight's performance, it's a work that certainly deserves more outings. The brass particularly distinguished themselves, carrying an immense energy throughout, with a distinctively Scandinavian firmness and edge that made the performance so compelling. 

A particular high point was achieved in the second movement. Nielsen wrote two wordless vocal parts, for soprano and baritone, which sing and float above the orchestra, with ethereal results. Elizabeth Watts and Benjamin Appl's placement, in opposing bays of the gallery, surrounded the Albert Hall in music that was simply otherworldly. Many looked up and gazed in wonder. A calling from the rafters, from beyond. Perhaps it was this which Nielsen meant by his subtitle: 'sinfonia espansiva'. If it was, Dausgaard achieved it in fine form. 

It was a simply life-affirming finale. With a heroic, noble opening tune that recalls Beethoven and Brahms in a 'Scandinavian Ode to Joy', unfurling to boundless energy and conviction, all left with smiles and cheers.