Page 340 - Liverpool Philharmonic 22-23 Season Coverage Book

Just very occasionally his raw passion seems to allow the tiniest, infinitesimal fraction of
imprecision into his playing but given the slight mythology around the piece (a debate over
whether Hadyn actually wrote the concerto, only resolved in 1951 when a signed score was
discovered), it unsurprisingly receives rapturous applause – and a surprise burst of Bach as an
encore from the delighted cellist.

The final offering of the day comes from the master of the mystic himself, Tchaikovsky, with
whom the orchestra shares it year of birth. We journey to the mountains for the ‘Manfred
Symphony’, inspired by Byron’s gothic poem of a romantic hero who treks into the alps to seek
forgiveness from the spirits that he invokes, seeking absolution from some unknown burden of
guilt he carries and relief from his mourning for a deceased lover.

Whilst the piece may be one of Tchaikovsky’s lesser-known works (partially driven, one
suspects, by the composer’s own apparent volte face from considering it his best work to
deeming it a failure and destroying most of the score) there are moments where, in the hands of
our expert musicians, his hallmarks gleam through – from echoes of the Romeo and Juliet
overture that he had recently finished, through to the harp glissandos that hint at elements of the
Nutcracker Suite.

It is a wonderfully emotional ride, demonstrating the LPSOs continuing strength and prowess,
with every instrument – from the booming organ to the tiniest triangle – discernable with
complete clarity of sound. And it is a spellbound audience that reluctantly steels themselves to
wander back into the rain, loathe to leave what has been a thrilling afternoon of music.

For more information and what’s on, including further performances from the LPSO,
visit https://www.liverpoolphil.com/

Reviewer: Lou Steggals

Reviewed: 6th November 2022

North West End UK Rating: ★★★★