In his years with the Metropolis of Birmingham Symphony Orchestra, Simon Rattle confirmed he had an actual affinity with the symphonies of Haydn. Extra just lately, we've heard much less of him in that composer, however he started his newest look with the London Symphony Orchestra with one of many six symphonies that Haydn wrote for performances in Paris in 1786-87, No 86 in D main. With trumpets and timpani within the scoring, it’s one of the imposing of the Paris set, however usually Rattle’s efficiency, all the time lithe and energised, belied something grandiose in regards to the music. He as a substitute emphasised its quiet good humour, simply as in Mozart’s B flat Piano Concerto K456, with Imogen Cooper because the soloist, it was the music’s class that got here throughout most clearly, regardless of the occasional splashy second.
This was, although, a live performance of two very distinct halves, and after the interval the LSO’s forces doubled in quantity for works by John Adams and George Gershwin. The Adams was a London premiere: I Nonetheless Dance is an eight-minute exercise for big orchestra, composed in 2019. Its rippling G minor arpeggios, cross-cut with more and more insistent stabbing interventions, appear to have a distant relationship with Bach, however in different respects it appears extra like a bit of self-reflection, wanting again to Adams’s music of the Nineteen Eighties, the time of Nixon in China and, particularly on this case, of Brief Journey in a Quick Machine. The extrovert Gershwin works that framed it have been the Cuban Overture, stuffed with Latin rhythms and lashings of unique percussion, and An American in Paris, which supplied the LSO’s woodwind and brass with loads of alternatives for moments of bluesy indulgence in addition to some convincingly transatlantic glitz.
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