Seong-Jin Cho gave a supreme performance of Beethoven’s Fourth Concerto with Ed Gardner leading the London Philharmonic Orchestra at the Royal Festival Hall.
Regrettably I was sat high up in the balcony, in the last row to be exact. Tickets for concerts with star Korean pianists are often hard to come by, and I didn’t exactly do myself favours by booking last week.
Royal Festival Hall acoustics do wonders almost akin to magic in being able to allow me to hear the piano above the orchestra even when it is at its softest, as if we were in a small intimate room rather than a grand hall. Yes, I am testifying to the quality of balcony seats for piano concerto performances in this great hall!
Although Cho’s flawless technique still fills me with awe and quite a bit of envy (I was listening closely thanks to those wonderful acoustics and still I couldn’t detect one single wrong note; not one!) it wasn’t his perfect performance which impressed me. I had reviewed his Barbican solo recital last year and despite not dropping a single note I wasn’t as impressed as I was tonight. (My review for Seen and Heard International is here.)
His interpretation of this incredibly well-known concerto was surprisingly fresh. The tempo of the first movement was surprisingly brisk, and this seemed to be one agreed on by Ed Gardner, whose flow was completely in sync with Cho’s. In fact, so together was the piano with the orchestra that it felt very much like a collaboration between musical minds rather than an orchestral accompaniment to a musical diva. It was as if they had rehearsed a lot rather than meeting for the first time, which was actually the case, since this is the first time Cho is playing with the LPO and Ed Gardner.
Cho’s playing, incredibly controlled and nuanced, was completely devoid of any kitsch sentimentality, a trap many pianists fall into in the first movement during moments of release. Cho kept the tension and drama throughout and there was not a boring moment. This was perhaps in line with the more “historically informed” and “classical” approach of this performance of Beethoven 4. Period instruments were utilised (the timpani and the trumpets) and as mentioned, the tempo chosen was noticeably faster. Sparse pedalling and more emphasis on the rhythmic vitality of the music rather than trying to create beautiful colours revealed to me the more dramatic side of the concerto. There was a certain raw energy, the sudden bursts of unbridled power between moments of exquisite lightness, that created hair-raising drama only a master of the keyboard like Cho could do. Under Cho’s fingers and Gardner’s baton, the music seemed more compact and taut, and very gripping.
Cho’s playing has an indescribable attractive quality. He makes you really want to listen and see what he does. It’s not indulgent or trying to draw attention to itself, but he definitely knows how to make his audience lean in to listen. It’s like K drama, which draws its power from being able to hold its audience in suspense! There is a sensational quality in his playing that doesn’t descend into vanity yet at the same time is aware of its power to charm and ensnare.
Cho’s interpretation, alongside Gardner’s great intellect, made for a very unique performance of Beethoven’s Fourth Concerto, one of great energy and force, one that showed me this piece is not yet overplayed, and that there are always new ways of looking at Beethoven’s popular pieces.
I am in awe of Cho’s technique, which makes this concerto (a tightrope walk for many) seem like a brisk jog in the park, but I am more in awe of the fact that this incredible control he has, when combined with great energy, can create performances only he can deliver.
After the interval, Gardner led the LPO through an amazing performance of Tippett’s Second Symphony. Gardner’s intellect is intriguing to me; he was able to make such complicated music so accessible to the uninitiated listener. For sure I will keep a lookout for more Tippett performances in the future…
Featured photo credits to the London Philharmonic Orchestra.
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