Damian Thompson

George Gershwin once made a home movie of Arnold Schoenberg grinning in a suit on his tennis court in Beverly Hills but, sadly, never filmed one of their weekly matches. According to one observer, the composer of ‘I Got Rhythm’ played with languid strokes in a ‘nonchalant and chivalrous’ manner against the ‘choppy, over eager’ strokes of the creator of Erwartung. That figures. But how odd that the two men should be friends and passionate admirers of each other’s work. Gershwin paid for the first recording of Schoenberg’s gnarliest string quartet, the Fourth; when the younger man died, Schoenberg described him as ‘a great composer’ and expressed ‘the deepest grief for the deplorable loss to music’.

At the BBC Proms this year, an Icelandic pianist dressed like a Wall Street broker played a slow movement from a Bach organ sonata that had the audience first gasping and then stamping their feet. This was an encore to a performance of the Schumann Piano Concerto that neither milked the poetry nor romped thrillingly through the finale – and that, too, nearly had the Prommers throwing their underwear at the shy soloist. How do you explain the phenomenon of Vikingur Olafsson? At first glance, he fits the mould of the bespectacled scholar-pianist who recoils from vulgarity – a young Alfred Brendel or Richard Goode, say, whose Beethoven or Schubert cycles have the cognoscenti underlining felicities in the score. ‘The Goldbergs are the hardest piece.

Grade: B+ Anton Bruckner wrote 11 symphonies – Numbers One to Nine plus a student exercise and the formidable rejected symphony endearingly known as ‘Number 0’, actually finished between the First and Second. So why does this 200th anniversary cycle conducted by Markus Poschner, divided between the Bruckner Orchester Linz and the Vienna Radio Symphony Orchestra, run to 18 CDs? The answer is that it gives us two versions of Numbers One, Two and Eight, and three of Numbers Three and Four. The composer, generally agreed to have been ‘on the spectrum’, was hypersensitive to criticism and compulsively rewrote his symphonies in an attempt to tighten them up and silence his mean critics.

At a Hollywood party in the 1940s, the garrulous socialite Elsa Maxwell spotted Arnold Schoenberg, then teaching music at UCLA, looking miserable. So she pushed him towards the piano with the words: ‘Come on, Professor, give us a tune!’ I couldn’t help thinking of those words on Friday night, when we heard the first Proms performance of a symphony written in 1847 by a professor at the Paris Conservatoire. The Third Symphony of Louise Farrenc is full of well-crafted melodic lines, neatly configured to fit maddeningly predictable textbook chord progressions. It’s delicately orchestrated, but even the feathery flutes of the Orchestra of the Age of Enlightenment couldn’t disguise the professor’s failure to give us a single memorable tune. This is not a popular opinion.

Grade: A+ Yet another double bill of Mozart’s Piano Concertos 20 and 23! There’s an online database of 185 recordings of the first of these, the brooding K466 in D minor, and the classically perfect K488 in A major isn’t far behind. Can there really be anything new to say about either of them? The answer is yes, and in virtually every bar. Olga Pashchenko, a Russian-born pianist based in the Netherlands, here directs the top-flight period ensemble Il Gardellino in her second album of Mozart concertos. She’s playing a fortepiano, but don’t let that put you off: it’s a sweet-toned instrument whose soft action helps Pashchenko deliver cheeky ornaments at lightning speed. And cheeky is definitely the word.

Grade: B+ Beethoven was proud of his Triple Concerto for Violin, Cello, Piano, pointing out that no one else had attempted such an experiment. He was writing at the height of his youthful powers and the work is stuffed with earworms. Yet I can’t think of any later composers who copied that particular model, and you can’t blame them. This is essentially a concerto for piano trio and full orchestra – not an easy combination, because the soloists keep having to pass the baton to each other while bracing themselves for the next orchestral tutti. Nicola Benedetti, Sheku Kanneh-Mason and Benjamin Grosvenor make a really good job of it; Kanneh-Mason’s cello glows as memorably as it did in his Elgar Cello Concerto.

On 5 August, Ferruccio Busoni’s Piano Concerto will be performed at the Proms for only the second time. It should have been the third time, but a Musician’s Union strike in 1980 forced the cancellation of the concert at which Martin Jones had been booked to give the première. Jones is a fearless virtuoso, still recording in his eighties, but one can’t help wondering whether his disappointment back then was tinged with relief. In one place, the soloist’s fingers must wrap themselves around 128 notes in a single bar Garrick Ohlsson, a long-time champion of the work, describes its difficulties as ‘absolutely immense, and 25 per cent of this piece is the most cruelly difficult writing in any piano concerto’.