Page 51 - Final_CBSO's 100th Birthday Celebration

had been for the CBSO to celebrate its centenary in Symphony Hall, their home since 1991.
However, that venue remains closed and instead the orchestra took over PRG’s Live Stage
Studio, Longbridge, a substantial former warehouse, I believe. Though no audience could be
present, the size of this venue at least meant that the full orchestra could assemble.

One might have expected that the CBSO’s Osborn Music Director, Mirga Gražinytė-Tyla
would have been on the rostrum for such a concert but she is currently on maternity leave.
Her place was taken by Sir Simon Rattle. In many ways that felt fitting because it was under
Rattle’s long leadership (1980-1998) that the CBSO advanced to the stature that it currently
occupies in the world of music. It turned out to be a particularly happy choice for another
important reason. Unlike many of his colleagues, Sir Simon has conducted quite a few
concerts during the Covid emergency, including a fine BBC Prom with the LSO just a few
days ago (review), and so has more experience than most in conducting under the constraints
of social distancing.

Wisely, no attempt was made to replicate the programme given in 1920. Richard Bratby
detailed the musical bill of fare in his splendid centenary history of the CBSO (review); it
was a long programme. However, one piece was carried over from 1920 to 2020: Elgar’s
delightful Serenade for Strings.

The programme began with Schumann’s overture to his opera Genoveva. I may be wrong, but
I don’t think that Simon Rattle conducted much Schumann during his time with the CBSO
but he’s become a keen advocate of the composer with both the Berlin Philharmonic and the
LSO. The performance of the overture was a good one. The slow opening was suitably
brooding, after which the main allegro was spirited and well played.

The Elgar Serenade received a lovely performance. The first of its three short movements
was delicately done; the music had a nice spring in its step. The slow central movement was
played with affection and warmth. Rattle moulded the music with great care for the dynamics
and he also ensured that the performance flowed. The last movement was happy and smiling.
I must admit that I found this account of the Serenade very moving. In part that was due to
the music itself and the quality of the performance but also it was the association with that
very first concert that tugged at the heart strings.