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Kelvin Brewster reviews Shrewsbury Symphony Orchestra's Spring Concert, which included a compelling rendition of Beethoven’s Piano Concerto No. 4 by Russian soloist Nikita Lukinov, with an intricate cadenza featuring elements of Beethoven's Fifth Symphony.

A packed audience at the Allington Hall was treated to an exceptional concert featuring the music of Weber, Beethoven and Brahms. This excellent orchestra of almost seventy players produced a memorable, and enjoyable evening of music featuring the young, multi-award winning Russian pianist, Nikita Lukinov, as guest soloist. It was a privilege to have this astonishing and sensitive musician playing with the orchestra, and he certainly didn’t disappoint with his enchanting interpretation of Beethoven’s Piano Concerto No. 4 in G, Op. 58.

The concert opened with Weber’s overture to ‘Der Freischütz’. The French horns set the scene with their impressive ensemble playing and the sensitive accompaniment from the strings with their wide range of dynamics led seamlessly into the Allegro. A beautiful clarinet solo heralded the main melody on 1st violins, with fine dovetailing of parts leading to intricate solos from the upper woodwind. In a triumphant tutti, the brass section joined in, and the music swelled confidently to the end, mixing the main themes together. Applause was spontaneous as the hall erupted in enthusiastic appreciation. 

Next on the programme was Nikita Lukinov, who instantly developed a friendly rapport with the audience by sharing his thoughts on how his cadenzas were developed from his own ideas, as well as those of Beethoven and Brahms. With that, he sat calmly at the Steinway grand piano to begin a faultless performance. 

Allegro Moderato 

Unusually, the piano begins before the orchestra, with the opening theme. Sensitive woodwind interjections followed with lovely flowing reactions to the pianist’s musical line. Beautifully executed scalic passages and quieter moments followed as the movement took shape and Nikita allowed the violins to come through subtly in places whilst almost taking a back seat himself. Arriving at the cadenza, he demonstrated magnificently how his own artistic thoughts combined with the composer’s. Journeying through the keys, the famous theme from the Fifth Symphony appeared briefly, much to the delight of the audience. Next followed a softer section which rose in dynamic towards the main theme, with the orchestra waiting attentively to rejoin the soloist towards an exciting conclusion. 

The brief Andante con moto began with its jagged chordal introduction from strings with a distinctive dotted rhythm, followed by a gentle theme from the piano. This short movement, accompanied only by the strings, ended quietly.

Rondo: Vivace 

With the orchestra playing as one (and enjoying themselves thoroughly), the entire work suddenly came to life in the final movement. Violas, ‘cellos and basses demonstrated precision, magnificent timbre and immaculate intonation. Another intricate cadenza followed, played with mastery by the soloist, who romped to the finish at breakneck speed - a stunning performance: Bravo!

After two or three well-deserved ‘curtain calls’, Nikita treated us all to an encore, asking the audience whether they would prefer Brahms or Bach. Of course, the audience all had their own individual preferences, so he tossed a coin, and Bach won the day. Our fine soloist gave us a gentle, and moving interpretation of Prelude in C# minor from The Well Tempered  Clavier, Book 1. He had certainly won over the audience, who again gave him the applause he so richly deserved. 

After the interval, there followed a wonderful performance of Symphony No. 4 in E minor, opus 98, by Johannes Brahms, in which the orchestra shone throughout, giving us a stunning performance of this massive work. 

The Allegro non troppo began with confident playing from the woodwind, brass and horns from the outset with the strings equally matched and working as one. The woodwind pairs took care to make intonation perfect whilst the timpanist waited patiently for his moment to shine towards the end of the movement.

Andante moderato

The movement opened with a broad theme, introduced majestically by the horns. The clarinets followed prominently, accompanied by precision pizzicato in the strings. There followed a beautiful ‘cello melody, sensitively played, as the upper strings’ filigree lines intertwined. With great support from the double basses to the rhythmic discords at this point, there was extremely fine playing from the entire orchestra. 

Allegro giocoso

The joyful third movement began with the orchestra coming together  to introduce the first theme, followed later with interjections from the woodwind, with prominence of the bassoons especially. The theme was repeated, with focus and accuracy from all of the players. After that, a brief section with long separated chords leading to complex runs, was played masterfully by all of the woodwind. Next, the music became gradually less intense, the movement slowed, and the French horns played a steady, rich melody, with subtle interjections from the first oboe. Just as the audience were becoming relaxed, the brass woke everyone with a jolt, and a fanfare of triplets from the trumpets brought us back in. The strings took over with gusto, expertly reminding us of previous themes. Then, the first horn had another say, before the whole orchestra swept the movement to its conclusion, ending very positively on three short powerful chords. 

Allegro energico e passionato

Brass, horns and woodwind, aided by the percussion, opened the final movement. Next, a slower paced section which introduced the most intense string music of the symphony so far was followed by themes ably developed by the whole orchestra working as one. At this point, a quieter section emerged, with the first flute playing a beautiful, lyrical melody, delicately highlighted by the violins. This led to fine solos from the clarinet, oboe and flute. Next, a slow passage from the trombone section and bassoons dovetailed neatly into another horn solo and a gradual increase in pace became ever more exciting, revisiting all the previous themes, and moving the symphony to its grand conclusion. 

Even before the last chord had died away, the audience were applauding, showing genuine appreciation. The conductor, John Moore, returned several times to ‘the podium’, and invited soloists and sections to stand and acknowledge their well-earned congratulations. Shrewsbury should be extremely proud of its symphony orchestra. It was an amazing night, and we were treated to music of the highest calibre. 

Finally there was a fond ‘thank you and farewell’ given to Peter Road-Night, the SSO’s celebrated 1st bassoonist, who has played with the orchestra for over 30 years. Tonight was his last concert with the Shrewsbury Symphony Orchestra and all present were able to wish him the very best for the future. 

In summary, a stunning concert played with total commitment and fine performances from everyone involved, resulted in a truly enjoyable and memorable evening. 

Kelvin Brewster