BPO and Daniel combine for spontaneous Sibelius and bracing Brahms

Richard,

A Dome crit by Mark Gale. I'd be grateful if you could confirm receipt.

Just received the Hassocks v Arundel report, which I'll sub and send within the hour.

Best wishes,

Chris

It was a bit like going into a restaurant, missing starters and pud, and ordering two main courses. I missed a soloist most, although it should be said the two first symphonies chosen offered plenty of opportunities for individual musicians to shine.

Brahms 1 and Sibelius 1 were intended to show how the symphony had developed in the 20th century, which made it seem odd to start with Sibelius, the later of the two.

No matter, both gave guest conductor Paul Daniel splendid opportunities to demonstate his authority with distinctive reading of major works.

The Sibelius was treated to an expansive performance that conjured up wide, open vistas: the organic nature of the music seemed to swell, newly minted, in spontaneous fashion as it moved forward in broad brush strokes of luminous sound.

The prevailing atmosphere of the work was well conveyed by Wilfred Goddard's opening solo clarinet passage which had an evocative clarity. What followed was a bit like a flight over the Finnish landscape, and Daniel, tall and commanding, drew from the band playing that was always keyed into the music's contrasting moods of turmoil and serenity.

The haunting second movement, in particular, made at least one listener hope that the BPO goes on to perform the other six Sibelius symphonies.

Brahms was less prolific in this form and his long-awaited first effort was dubbed by some critics as Beethoven's 10th, such was that composer's influence on his successor. Daniel was able to illustrate the unfairness of this with a performance that clearly revealed Brahms' deep emotional spirit and the evocative autumnal colouration of his music.

This burst out in the andante with mellow woodwinds in the wake of Alun Darbyshire's stylish oboe and the lyricism of leader John Bradbury's exquisite solo passage.

The true spirit of Brahms' individuality was conveyed in a musical journey of unexpected emotionalism and upheaval before it arrived at its confident chorale of trombones. Then with its bracing echo of Ode to Joy it really did suggest the composer's great inspiration.

Two symphonies in one afternoon was a tough call for conductor and band, but not for a well nourished audience - despite missing their starters.