A world premiere cello concerto by Joseph Phibbs proved to be a rare highlight in an otherwise disjointed concert at the BBC Symphony Orchestra under Clemens Schuldt's baton. The concerto, which showcased Guy Johnston's impressive solo abilities, demonstrated a remarkable sense of cohesion, standing out from its disparate program.
Phibbs' work is characterized by five contrasting movements that bask in a warm tonality and boast an intricate orchestration. While the overall score may not be without its flaws, it was notable for its nuanced string writing, imaginative wind, brass, and percussion effects, and Johnston's pensive yet powerful cello lines.
Schuldt delivered a compelling performance, guiding his forces with mindful control that neatly framed Johnston's solo line in each movement. Standout tracks included the shimmering Aubade and mournful Elegy, which demonstrated a clear sense of musicality, while the haunting Nocturne added a tense, agitated quality to the proceedings.
However, not all was successful. Tchaikovsky's Hamlet tone poem received a brisk, if somewhat clipped, treatment from Schuldt, whose stentorian reading sometimes came at the expense of warmth and character. In contrast, Mel Bonis's Ophélie proved that restraint can be an effective approach, its gentle harp accompaniment and melancholy oboe perfectly capturing the doomed heroine's tragic fate.
The anonymous Der Rosenkavalier suite, meanwhile, suffered from a tendency towards micromanaging on Schuldt's part. Despite excellent orchestral playing, his tendency to amplify the volume created a sense of bluster that undermined the score's inherent charm.
Phibbs' work is characterized by five contrasting movements that bask in a warm tonality and boast an intricate orchestration. While the overall score may not be without its flaws, it was notable for its nuanced string writing, imaginative wind, brass, and percussion effects, and Johnston's pensive yet powerful cello lines.
Schuldt delivered a compelling performance, guiding his forces with mindful control that neatly framed Johnston's solo line in each movement. Standout tracks included the shimmering Aubade and mournful Elegy, which demonstrated a clear sense of musicality, while the haunting Nocturne added a tense, agitated quality to the proceedings.
However, not all was successful. Tchaikovsky's Hamlet tone poem received a brisk, if somewhat clipped, treatment from Schuldt, whose stentorian reading sometimes came at the expense of warmth and character. In contrast, Mel Bonis's Ophélie proved that restraint can be an effective approach, its gentle harp accompaniment and melancholy oboe perfectly capturing the doomed heroine's tragic fate.
The anonymous Der Rosenkavalier suite, meanwhile, suffered from a tendency towards micromanaging on Schuldt's part. Despite excellent orchestral playing, his tendency to amplify the volume created a sense of bluster that undermined the score's inherent charm.
I love how the BBC Symphony Orchestra brought out the best in Joseph Phibbs' cello concerto, especially with Guy Johnston taking center stage 
The Aubade movement was mesmerizing and had me hooked from start to finish 
What really stood out for me though was how Schuldt balanced his control over the ensemble with letting Johnston shine in each movement - it was like they were having a dialogue on stage 
Not all the classical pieces got the same treatment, tho... like Tchaikovsky's Hamlet tone poem which felt kinda rushed 
Can't help but wish for that warm, rich sound in other pieces too 
. The Aubade was like whoa, so beautiful and shimmering 
. I loved how Schuldt controlled the whole orchestra to highlight Johnston's lines, it was really well done 
. And, yeah, that Der Rosenkavalier suite felt like he was trying too hard to micromanage it 
. Still, overall it was a cool concert, and I'm glad they took risks with new music 
!
The stats are pretty interesting too - 75% of reviewers praised Guy Johnston's solo abilities 
, and 62% thought the cello lines were pensive yet powerful 
. On the other hand, Clemens Schuldt's performance was more of a mixed bag 
... did you know that 71% of critics agreed he delivered mindful control, while only 38% said his reading of Tchaikovsky's Hamlet tone poem was brisk and clipped? 
Some stats to think about: 57% of reviewers mentioned the Aubade as a standout track 
...
. But, man, that Tchaikovsky thingy got butchered 
. I mean, Clemens Schuldt's gonna be famous for the Phibbs concerto, not some messy Hamlet tone poem 
. On a good note, Mel Bonis' Ophélie was super emotional - it felt so raw and tragic 
I don't know what happened there, but Schuldt just overdid it on the volume 
. Overall, though, that Phibbs concerto is gonna make my day 
just watched this concert and I'm so underwhelmed 
Clemens Schuldt's direction was all over the place - one minute it's beautiful, next it's like he's trying too hard 
.
and ophélie was actually really nice, mel bonis knows her stuff 
i dunno, maybe the der rosenkavalier suite just wasn't meant to be under schuldt's baton 
And Clemens Schuldt did a great job bringing out the emotions in each piece, especially Aubade - I was like 'oh no, this is beautiful' every time. But what really got me was how Schuldt balanced the different moods, it wasn't too much drama or anything that felt forced. Although, Tchaikovsky's Hamlet tone poem did feel a bit rushed... like he just wanted to get to the next part already 
... I get that he's trying to be bold and all, but sometimes less is more, right? 
at least the Phibbs concerto was cohesive and well-written, but the rest of it felt like a hot mess