“Lyric” is the link between the two works and Mark Wigglesworth crafted sinuous Schubertian songs without words from all sections of the BSO on top vocalising form, significantly highlighting the burgeoning symphonic romanticism taking root in Vienna at the time. No lingering here, but transparent articulation and energised forward motion with a compelling sense of purpose and contrast in both movements. Special mention for beautiful woodwind solos throughout, especially heart-stopping from principal oboe Chris Vettraino.

“No lingering here, but transparent articulation and energised forward motion with a compelling sense of purpose and contrast in both movements.”

Fast-forward through Wagner, Bruckner, Richard Strauss and Mahler to Zemlinsky’s Lyric Symphony – a bold programming decision that reignited a flame beneath the musical boiling pot of Secessionist Vienna. The heat of inspiration throughout the seven songs alternating between baritone and soprano burned on full or medium intensity throughout.

Much enhanced being either side of the conductor, soloists Roderick Williams and Claudia Boyle rode the orchestral tidal waves with command and sensitivity, emphasising that the Tagore texts are not a dialogue, but a progress of states of love through longing to rejection and acceptance.

“…the Orchestra glittered like Klimt, just as sensitively as they had accompanied the soloists and teemed with overwhelming opulence in the orchestral interludes”

Only in the final song of resignation does underlying tension subside into wordless serenity, especially evocative and moving in this performance. Here, the Orchestra glittered like Klimt, just as sensitively as they had accompanied the soloists and teemed with overwhelming opulence in the orchestral interludes that looked forward to the Hollywood of Korngold and Steiner. Maybe a follow-up BSO concert programme sometime?

Critic Ian Julier

This concert is available to watch for 30 days here