Review – Benjamin Grosvenor joins Andrey Boreykov and the London Philharmonic Orchestra

Sibelius captivates, Mozart charms—virtuosity and nuance in a night of compelling musical storytelling

The concert opens with a rewarding discovery. Sibelius’ ‘En Saga’ from 1892/1902 is new to me but commands immediate attention with an arresting opening statement of atmospheric strings and unexpectedly dissonant chords. As the musical story unfolds it becomes clear that this Sibelius off the beaten track. The unorthodox orchestrations take us on an unconventional excursion with an intense moment of quiet and stillness towards the end commanding attention from the near 1600 strong audience. For a concert opener to achieve this kind of focus so readily is unusual in my experience — certainly in UK concert halls. Conductor Andrey Boreykov — a stand in for Karina Cannelakis — has hit the ground running.

A warm reception greets Benjamin Grosvenor as he strides onto stage for Mozart’s Piano Concerto No. 21. He beams in response to the applause. A hard-working musician who balances visibility with artistry, making him a consistently strong box office draw, setting the stage well for a much-loved work.

After the innovation in Sibelius’ En Saga, Mozart’s material – especially in the comparatively long first movement – feels a little twee. Grosvenor offsets this with characteristic fluidity and nuance. His exchanges with the woodwind – carefully crafted statements at the keyboard responded to with delicacy – demonstrate his trademark precision and instinct for collaboration. The sublime second movement brings everything together with wispy strings and a crystalline piano line that create a porcelain delicacy. The sprightly third movement concludes the work with a suitable flourish, Grosvenor’s unfussy industry at the keyboard a particular delight.

Tchaikovsky’s fourth symphony is a crowd-pleasing romp peppered with late 19th century melodrama that rouses the rabble and warms the heart. The score makes a whole host of virtuosic demands on musicians too, making a performance viewed from the stalls appear like a near Olympic achievement. A clarion call opens the work, followed by an angst-ridden and tempestuous to and fro. A mournful slow movement provides some melancholic self-reflection. After that a fast-paced frenzied dance combines pizzicato strings, searing woodwind and punctuating brass in a glorious technicolour pizzazz. The best performances deny you the opportunity to catch a breath before the final movement gets underway. Eight or so minutes of high octane virtuosity follow. Musical fireworks abound. If you’re not applauding like a muppet on speed after the final chord then you’re a cold hearted so and so. Tchaikovsky’s trademark invention of small musical ideas is evident throughout. Repetition could so easily make the listening experience boring, yet Tchaikovsky avoids this trap with subtle adjustments that subvert expectations. Whether it be harmonies or orchestration these adjustments beg for attentive listening and reward with a sequence of ever more satisfying musical twinges. You’d be forgiven for thinking it was all about the good tunes Tchaikovsky packs in, but listen more closely and the intricate details reveal themselves – evidence of the perfectionist showman doing fine fine work.

In concert this was a satisfying performance conducted by Andrey Boreykov, leaning heavily into the militaristic elements but which might have exploited the reflective moments more. Loud, determined and resolute as it sounded in the fortissimos, it was the more deliberate subdued sequences where Boreykov’s strategy paid dividends — clearly where he felt most at ease. Boreykov’s intent was more discernible in the second movement, the cellos responding to the opening oboe solo with a reassuringly ‘red wine’ warmth. The third movement was prompt, tidy and entertaining; the clearly discernible shape of the whole hinting at an increased collective confidence on stage. Boreykov’s storytelling was strongest in the fourth movement where the contrast between bombast and restraint yielded a more rounded character, saving something for a gratifyingly wilder conclusion.

This concert was filmed for release via Marquee TV on Saturday 26 July 2025, at 7.00pm. Its free to watch for 48 hours after release, after which its available on subscription. The LPO are offering 50% off Marquee subscriptions too. Visit discover.marqueetv/50lpo to find out more.