Concerto Budapest Symphony Orchestra
Usher Hall, 7/12/25
Concerto Budapest Symphony Orchestra, András Keller (conductor), Paul Lewis (piano)
The Concerto Budapest Symphony Orchestra was founded in 1907 as the Hungarian Symphony Orchestra and is directed by violinist and conductor András Keller. In a much-anticipated concert this ‘other’ CBSO gave the audience a programme rather like a Christmas dinner: traditional, heavyweight, rich, and full of treats. The menu consisted of two masterpieces by Beethoven (both in melancholic C minor) interspersed with works by Tchaikovsky and Liszt. Lots of Romantic drama here.
In the opening piece, the symphonic fantasy ‘Francesca da Rimini’ Tchaikovsky swept us up and hurtled us down to the second circle of Hell with Dante’s doomed lovers. The foreboding strings, ringing woodwind and brass, and almost hallucinatory percussion created an atmosphere of intense terror and despair. There were delicate moments too, as a plaintive clarinet solo told Francesca’s sad story, before the lovers were once more drawn back into their endless whirlwind dance, overwhelmed by the orchestra’s crashing chords.
After this emotionally exhausting first piece there was a change of mood as Paul Lewis joined the orchestra for Beethoven’s Piano Concerto No. 3. I was pleased to see him fully recovered after his Perth concert in January this year (which I was very much looking forward to) was cancelled due to injury.
In the first movement the long orchestral introduction showcased Keller’s expressive conducting and close relationship with his musicians. The piano spoke, was answered by the orchestra, and the conversation began. Paul Lewis played with his usual thoughtfulness, dexterity, and perfect phrasing. He was completely in control of the music, supported by conductor and orchestra. The second movement contained beautiful contributions from bassoon (Bálint Mohai) and flute (Orsolya Kaczander), with the silken piano sotto voce. Finally, the third movement saw great ensemble work from piano, conductor, and orchestra all ‘’gieing it laldy’.
The second half of the concert began with ‘Les Préludes’ by Hungarian hero Franz Liszt, the piece that introduced the concept of a symphonic poem. The orchestra showed its full range in interpreting this colourful piece. As in all the pieces, timpanist Boglárka Fábry was kept busy, a constant presence perched above the rest of the orchestra even as her fellow percussionists came and went. She was the beating heart of the orchestra.
Finally, it was back to Beethoven and his Symphony No 5 in C minor, Op.67. Keller and the orchestra brought fresh insights to this very familiar work, taking it at a fast pace but keeping control of the music. A dynamic performance full of contrast, energy, and grandeur, with each orchestral section playing as if their lives depended on it. Outside, the weather was vile. Inside, we forgot everything but the music
The two orchestral encores, a Romanian folk dance by Bela Bartok and Hungarian Dance no 5 in G minor by Johannes Brahms, sent us dancing out into the night.
