City Halls, Glasgow
When it comes to reflecting on Thomas Dausgaard’s 6-year tenure as principal conductor of the BBC SSO, it could very well be that his swan song will be seen as his greatest moment. At least, that was the immediate impression gleaned from last Thursday’s concert. It marked the midway point in what should have been his valedictory vision of all six Nielsen symphonies – he called off January’s opening performance of the Third, but made it for the Sixth in March – which ends this coming Thursday with a mighty two-pronged finale of Nos 1 and 4 (The Inextinguishable).
In this case, we heard the Symphony No 2, The Four Temperaments, one of the composer’s most gritty and direct, placed in the second half as a plain-speaking riposte to the burning fervour of Bartok’s ballet score The Wooden Prince. From the word go – an impatient and decisive downbeat that carried the ballistic shock effect of an Olympic starting gun – Dausgaard had the SSO playing with penetrating rhythmic bite and an immediate sense of propulsion that foretold the unceasing excitement about to unfold.
Each movement relates to four Ancient Greek temperaments – Choleric, Phlegmatic, Melancholic and Sanguine – their characteristics filtered, in Nielsen’s case, through crude images he observed on the walls of a rural Danish pub. What transpires is a sequence of edgy, to-the-point musical representations, devilishly curt in both expression and length, but all the more visceral and entertaining for it.
The journey from feverish impetuosity in the opening Allegro collerico and dismissive charm of the scherzo-like Allegro commode e flemmatico, through the ultimate resignation of the slow movement (Andante malinconico) to carefree exuberance of the concluding Allegro sanguineo, was a thrill-a-minute rollercoaster ride.
Before that, the 1932 shortened version by Bartok of his The Wooden Prince, asked naturally for more expansive treatment, which it received by way of Dausgaard’s impassioned but unobtrusive approach. More than he often does, and without losing a hold over the big picture, he allowed the SSO ample scope to shape its own take on the descriptive tale of a prince whose ruse to win the heart of a princess by creating a puppet of himself initially backfires when the princess falls for the puppet.
The music itself was revelatory, Bartok dipping into a sea of derivatives, from Wagner to Stravinsky, yet marking his own presence with signature affirmation. If there was room for Dausgaard to exercise some of the same ferocity he applied later to the Nielsen, there was plenty in this performance to signal its fascination and extreme worth.
This concert was recorded by BBC Radio 3 for future broadcast, after which it will be available for 30 days via BBC Sounds