Pianist-conductor Stephen Kovacevich is presenting a nine-programme Beethoven cycle, spread over fourteen months, with the excellent London Mozart Players. This concert was the second programme in the cycle.
As per the pre-concert publicity, the concert should have started with the Leonora Overture No. 2, followed by the Piano Concerto No. 4. The second half of the concert was meant to consist of Symphony No. 5. However, in the event we first heard the concerto, which was followed by a short break while the piano was removed from the platform (and during which time LMP orchestra leader David Juritz bravely addressed the audience asking for charity donations) and afterwards the Egmont Overture, not the Leonora Overture No. 2. This change in the programme as well as its order did not seem to affect the artistic quality of the performance but it indicated a possible lack of careful planning regarding either the pre-concert publicity or the physical possibilities of the venue.
As Kovacevich explains in the programme notes, there is an argument in favour of performing the first movement of the Piano Concerto 'at a much slower tempo than is commonly played'. On the strength of his performance I am in agreement. Ironically, the only untidy piano playing in this movement was a two bar phrase (bars 79 and 80) - usually pretty fast with its semiquaver sextuplets - which should have been easier at this slower speed. I hasten to add that similar passages later in the movement were fine.
Perhaps the Cadogan Hall is not suitable for conducting from the piano. The instrument was positioned in the usual way, with the first and second violins behind Kovacevich and the cellos at the other side. Though the piano lid was on a short stick, I doubt if the cellists and some of the other orchestra members behind the lid could see the pianist/conductor. However, it so happens that - more often than not - Kovacevich indicated entries with his head and the members of the orchestra listened carefully.
I am not sure why the opening four bars of string tutti in the second movement had to be played with such a dry, even ugly, sound. Yes, the passage is marked forte and staccato as it contrasts with the poetic, cantabile response from the solo piano. But with such beautiful playing from Kovacevich, the orchestra did not need to sound quite so beastly to provide contrast with the beauty. On the other hand, in the last movement of the concerto the two solo violas (Cian O'Duill and Oliver Wilson) played their few bars of duet with a lovely warm sound.
My score of the Piano Concerto (Peters edition) suggested some dynamics and pauses which Kovacevich did not deliver and occasionally some of his playing was untidy. Nevertheless, his concept seemed that of a great and caring musician.
Even when not directing from the piano, Kovacevich still conducts without a baton. He indicates musical directions with expressive body movements but his conducting technique is not crisp enough to secure tight rhythmic control in ensemble playing. This was a problem both in the overture and in the symphony. As a conductor, he drives the music forward energetically but he leaves little (if any) room for intermittent relaxation. However, precisely because of this approach, on this occasion we heard aspects of Beethoven's music which connect with the composer's personality as we know it.
Special mention must be made of LMP timpanist Scott Bywater. His strong rhythm and reliable technique contributed significantly to the success of the evening.
Kovacevich is a musician of stature and his Beethoven interpretation is of great interest. I am looking forward to the rest of his Beethoven cycle with the London Mozart Players.
By Agnes Kory