Venue:
Liverpool Philharmonic Hall
Date: 10/11/2025
For her 89th birthday treat, I took my mum to see Simon Rattle’s homecoming at the Liverpool Philharmonic Hall with his latest band. It’s more than fifty years since the BRSO visited Liverpool and, of course, a young Simon was there witnessing a rendition of Beethoven’s 9th that has stayed with him all his life.
They begin with Schumann’s 2nd Symphony, written when he was on the cusp of a major breakdown. There is a darkness in its heart but, nevertheless, it is beautifully melodic, flows with grace and concludes with hopeful, romantic gestures to his wife. It is by no means a miserable listen. The BRSO are careful to avoid a heavy touch during the sombre parts and being too soft in the lighter ones. It is a tricky symphony to judge well. Rattle and the musicians find the perfect pitch.
Heavy reinforcements are deployed for the complete Firebird by Stravinsky. His score for Serge Diaghilev’s ballet made him a star two years before The Rite Of Spring. He liked a big orchestra. In the end, there are around 120 souls on the stage, including three harps, five percussionists, several large brass instruments, one of which was a huge tuba, and a division of basses. Two cornets are strategically placed in the circle for a surprise spotlight partway through. In the absence of dancers, the BRSO tell the dramatic story through the music alone. All of Stravinsky’s tricks are deployed: lots of plucking, bows bouncing on the strings, sometimes wood side down, tapping on the body of the instruments, a melody line in the strings echoed in the wind instruments. He sees the strings as percussion as well. He makes sure every single instrument is highlighted, often writing the best parts for lesser used wind and brass. He is a master of the loud/quiet, fast/slow dynamic and the BRSO go from a whisper to a scream and from a frantic pace to an almost halt with ease and poise. The trick with an orchestra of this size is to keep its overwhelming power under control but allow it to be unleashed at the right moments. Fifty minutes without pause is quite a test for a piece this detailed and dynamic. The technique, timing and stamina on display is breathtaking. The packed hall rose as one to applaud at the end, Rattle highlighting the horn players for well deserved special attention.
It was an evening that will live as long in the memory as Beethoven’s 9th has done in Simon’s.
The audience:
I prefer the stalls at the Phil. It is quite an intimate theatre but the circle feels far away. My mum sat to my left. An older lady, on her own, took the seat to my right. I was one of the youngest there, with probably 90% older, and any worries I had over prostate proved unfounded.
It made me think..
By contrast, the orchestra was a lot younger. I counted ten grey heads and would guess the average age to be late thirties. A few barely seemed to be out of their teens. Classical music is in good hands. These youngsters are fantastically talented.
There is nothing quite like being in the presence of a great orchestra in full flow. The BRSO is undoubtedly a great orchestra
I’ve used the cover of their latest LP for fear of breaching someone’s copyright. It’s a belting album, one of the best releases of the year. Highly recommended.
The BRSO are indeed a very fine orchestra. I envy you and your Mum this I’d have loved to be present. I concur with your opinion on the Mahler 7. Rattle has previously recorded it twice before but this along with his recordings with the BRSO of the fifth and ninth are easily his finest attempts. Hopefully he’ll complete the cycle sometime.
Sounds great. The Liverpool home band are in pretty magnificent form at the moment as well…