Szymczewska, LPO, Vänskä, Royal Festival Hall

An exciting new advocate for Walton's First Symphony

by Edward SeckersonThursday, 14 October 2010

Osmo Vänskä: Bristling with nervy anticipation

The flurry of fanfares at the start of Magnus Lindberg’s Al largo (UK premiere) sounded almost Waltonian. Or maybe that was because the prospect of Osmo Vänskä in Walton’s First Symphony was such an enticing one that premonitions of its highly distinctive sound-world were already being suggested in the somewhat predictable pyrotechnics of the Lindberg. Lindberg is a great showman and an accomplished technician, but against Walton’s startling originality (circa 1935) he sounded, well, old hat - like a man rapidly losing his edge.

Temperamentally speaking, this piece always had Vänskä’s name on it. Bringing it to the boil was sport for him

Buy

Find Osmo Vanska on Amazon

Explore topics

Share this article

The future of Arts Journalism

You can stop theartsdesk.com closing!

We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d

And if you can forward this information to anyone who might assist, we’d be grateful.

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

more Classical music

Classical CDs: Vitamins, kings and magic spells A neglected ballet score, romantic piano concertos and contemporary British music

Kavakos, Philharmonia, Blomstedt, RFH review - a supreme valediction forbidding mourning Nonagenarian conductor provides the flow, his players the passion, in Mahler's Ninth

Perianes, Orchestre Symphonique de Montréal, Payare, Barbican review - elegance and drama but not enough bite Often dynamic Venezuelan conductor misses the darkness of the 'Symphonie fantastique'

La Serenissima, Wigmore Hall review - an Italian menu to savour Tasty Baroque discoveries, tastefully delivered

Roman Rabinovich, Wigmore Hall review - full tone in four styles Fascinating Haydn, Debussy and Schumann, odd Beethoven

Wyn, Dwyer, McAteer, RSNO & Choirs, Diakun, Usher Hall, Edinburgh review - ebullient but bitty ‘Carmina Burana’ is fun in parts, but Langer’s ‘Dong’ doesn’t flow

Gerhardt, BBC Philharmonic, Chauhan, Bridgewater Hall, Manchester review - from grief to peace Anna Clyne, Shostakovich and Richard Strauss tell us about loss, struggle and healing

Bach Brandenburg Concertos, OAE, QEH review - forever young Zest, dash and fun in rejuvenated favourites

First Person: Alec Frank-Gemmill on reasons for another recording of the Mozart horn concertos On ignoring the composer's 'Basta, basta!' above the part for the original soloist

Andrej Power, LSO, Mäkelä, Barbican review - singing, shrieking rites of darkness and light Radical masterpieces by Sibelius and Stravinsky have never sounded more extraordinary

Mailley-Smith, Piccadilly Sinfonietta, St Mary-le-Strand review - music in a resurgent venue Neglected London church now the home of a vibrant concert series

Classical CDs: Mandolins, multiphonics and multiple pianos Classical horn concertos, a Gallic record label celebrated and Seventies pop meets the French baroque

Follow @theartsdesk