Woodrow Wilson's attempts to forge a new international order based on principles of democracy, equal respect for sovereignty and an intergovernmental league with robust powers were futile. His namesake, John Wilson, guest conducting Ireland's National Symphony Orchestra last night, succeeded in forging the musical equivalent, ensuring that even the San Marinos of the orchestra had their full and clear say.
First was Grażyna Bacewicz's Overture written in Nazi-occupied Warsaw. A brass-heavy, varied-tempo opening, a gorgeous brief flute solo accompanied by quiet strings, triangle and pizzicatos, was a foretaste of the volume control, clarity and instrumental dynamics in store for the next two pieces. Wilson is quite the sound engineer. This was evident throughout, but especially when the piccolo soared up violently again and again in the final climax, clearly dominating despite being bombarded by brass and the enitre fortissimo orchestra. Wilson spent a good deal of time facing the woodwinds, literally pointing the baton directly at them as if to share conductorial authority, however briefly.
Next, it was Tchaikovsky's First Piano Concerto with Bulgarian supremo Emanuil Ivanov (pictured above) as soloist. Ivanov, winner of the 2019 Ferruccio Busoni Piano Competition, cut his teeth on the latter's monster piano concerto, so expectations were high. Tchaikovsky had a somewhat troubled relationship with the piano, which he viewed as having an inevitable tension with the orchestra: “There is no tonal blend, indeed the piano cannot blend with the rest, having an elasticity of tone that separates from any other body of sound, but there are two forces possessed of equal right.” This rather Wilsonian respect for equality was evident from the beginning by the orchestra, especially during the pizzicato accompaniment of the main theme. (One thing about the pizzicatos: they were deliciously plump and full-bodied all throughout the piece). When the roles switched and the orchestra played the grand opening theme, Ivanov's playing was bashful, to the extent that you could see his hands hitting the keys, but hear nothing.
He quickly redeemed himself during the interplay with flute and strings shortly thereafter. The bashfulness subsided as the concerto went on, but his playing remained what I'd term "polite". Wilson, a keen pianist himself who when younger played in dance halls, pubs and pantomimes, was very much attuned to volume balance, sometimes crouching when facing the violins, and once briefly shushing the brass, who were otherwise impeccably behaved. Special mention must go to NSOI's principal flautist Catriona Ryan (pictured below), whose crisply lush opening solo in the second movement set the mood immediately, and the precedent for luscious repeats. In the final movement's opening theme, derived from the Ukrainian dance “Viidi, viidi, Ivanku” (Come, come, Ivanka), Ivanov, perhaps responding to this subliminal beckoning, came out of his shell and that's when Wilson's impeccable sound control really came to the fore – trilling piano, Ryan's flute weaving in and out, up and around, and those pizzicatos, all equal, all sovereign. A standing ovation followed, and then the softly spoken Ivanov announced an encore – Medtner's Spring.
Lastly was Rachmaninov's Third Symphony. Any doubt whether Wilson could repeat the quality of his magnificent 2022 Chandos recording with another orchestra in a live setting, his Sinfonia of London, was dispelled by this performance. Wilson paid particular attention to the cellos throughout, turning fully towards them, sometimes appearing to mimic their bowing with his baton. The quiet start of the second movement was played as if the harp had lent some of its tenderness to the horn in return for some of the latter's brassiness, to truly beautiful effect. The mournful violin solo and dialogue with the flute gave Elaine Clark an opportunity to show, once again, why she's orchestra leader.
The final movement was fun. Wilson swayed during the dance-like elements, and the rattling, tambourine, cymbals, snare, xylophone and triangle all had their moments, loud and clear, with the orchestra tamed. And then, those plump pizzicatos so refreshing to the ear. Wilson and Ireland's NSO have a magnetic rapport. I hope it pulls them back together soon.
