Hough’s work dazzles at Poole Arts Centre in a programme that breathed new life into Elgar’s perennial favourite Enigma
At Poole Arts Centre to a very nearly capacity house, Stephen Hough’s Piano Concerto sizzled, shimmered and bedazzled. In this taut and efficient work Hough’s trademark concision is proudly displayed both in its melodic invention and technicolour orchestration. There are hints of Copland, a smattering of Mahler, a golden sweep of Korngold, and a gripping spar with Rachmaninov and Lutoslawski. There’s a glimmer of Richard Adinsell, and a big back slap to Richard Rodney Bennett too — music crafted by a composer in his element delivering to his audience. Glittering entertainment with a whiff of palm court orchestra nostalgia. Hough is the complete package. Knowing what he wants, what the audience wants and what they’ll respond to. The classical music poster boy we need right now. National treasure status duly conferred.
Bournemouth Symphony Orchestra’s Brahms Symphony No. 3 was a bold concert opener that worked programmatically. Brass stood out above a sometimes muddy string section in the first movement, with the ensemble coalescing in the second movement and heartfelt promises in the third. Chief Conductor Mark Wigglesworth’s specially compiled text spoken by Walter van Dyk breathed new life into Elgar’s perennial favourite Enigma Variations, giving space and time for all to contemplate not only each muse, but also Elgar’s remarkably succinct musical portraits – creations sometimes taken for granted when the work is heard in full. The catharsis in Nimrod was almost too much to bear. Magical playing deftly summoned.
