THE problem with hybrid concerts is that the various elements so often neither sit comfortably together nor cohere; in a sense that applied to last weekend's "photochoreographed" performance by the RSNO of Smetana's Ma Vlast, which was neither one thing nor the other.
When a hybrid does work, and it's usually unpredictable, it can be brilliantly fresh, unexpected and exhilarating. Such was the case at Perth Concert Hall on Monday.
Star pianist Benjamin Grosvenor loves the hall's piano and wanted to play there again. He also wants to play chamber music. James Waters, director of the Perth classical programme, wants to use his space as an opportunity to showcase emerging talent as well as established figures.
So on Monday he brought all the ingredients together, with Grosvenor having the first half with Bach and Beethoven, then the pianist joined by the young Royal Conservatoire-based Maxwell String Quartet in a performance of Brahms's mighty Piano Quintet in F minor.
There was no reason why it should have worked, but it resulted in an enlightening and enthralling musical experience for the small audience.
Grosvenor's beautiful playing of Bach arrangements by musicians as diverse as the great Beethoven pianist of yesteryear, Wilhelm Kempff, and composer Saint-Saens, were light years from the mechanistic Glenn Gould school, as was Grosvenor's light, lyrical and poetic playing.
The Brahms Quintet, with Rachel Spencer (reviewed here throughout her student career) leading the Maxwells, and Grosvenor in sparkling form, was taut and concise, if lacking a shade of power from the strings. A superb enterprise though. More of these adventures, please.
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