Sydney Symphony Orchestra | Javier Perianes performs Saint-Saëns
Wednesday 30 July, 2025, Sydney Opera House, NSW
KEVIN JOHN EDUSEI conductor
JAVIER PERIANES piano
ROSSINI (1792–1868) Overture William Tell
SAINT-SAËNS (1835–1921) Piano Concerto No.5 in F major, Op.103, The Egyptian
SHOSTAKOVICH (1906-1975) Symphony No.15 in A major, Op.141 (1972)
Shostakovich’s 15th Symphony is a work that after experiencing it, and preferably at a concert, can haunt the listener for a long time. The dreamlike, indeed, at times circus-inspired nightmare music of the opening movement with its rollicking quotes from Rossini’s William Tell Overture can lull the audience into thinking this is a work of lightness and not much consequence, though in this movement there are moments of music that hint at a darker world. As the symphony unfolds the music takes on layer upon layer of musical meaning and due to the often slow pulse and at times wildly varying dynamics indicated by the composer, it is music that shocks then calms and always intrigues.
Solos abound in the work and flautist Emma Sholl started proceedings with a ripping little riff and further great contributions came from concertmaster Andrew Haveron, cellist Catherine Hewgill, trombonist Scott Kinmont and quite a few more. The horn section with principal Samuel Jacobs leading from the front had a dream night here and in the other works. They are truly a jewel in the SSO.
The section that has so much to contribute in Symphony no.15 is the percussion, led by the brilliant Rebecca Lagos and with her stunning colleagues Joshua Hill, Timothy Constable, Tim Brigden, Brian Nixon and Mark Robinson they dazzled and coaxed and mesmerised. I have often pondered on what makes a particular composition memorable and many factors obviously come into play but with this work the performance that led to it being one that enchanted and to use that word again, haunted me was the SSO under Louis Frémaux in 1980. The memory is the lonely sound of the woodblock and the pinging high notes of the glockenspiel and the repeated notes on the vibraphone and the celeste. Throughout this performance conductor Edusei had a vision of the work that the orchestral players responded to with utmost dedication. I know this version will resonate in my memory for a long time.
The concert opened with the Rossini William Tell Overture that is quoted in the Shostakovich Symphony. Five cellists, with major solos by Hewgill and Simon Cobcroft, luxuriated in their totally lush romantic sound as they set the scene for the excitement to follow.
Javier Perianes was exemplary as the soloist in the Saint-Saëns Piano Concerto no. 5. His technique allowed him to traverse all the challenges of the work creating pianistic colour at will. This was a work that does not dwell on the lyrical as much as other Saint-Saëns piano concerti instead pursuing energetic musical ideas.
Edusei is a conductor who lets the music breathe and his phrasing in all three works pleased the audience and, I expect, the orchestra too.
Photo credit: Ken Leanfore
