Review: An American in Paris at Philharmonic Hall ****1/2

Just before the Philharmonic Hall closed for major building work in 2014, the RLPO premiered Poltroons in Paradise – a specially commissioned percussion concerto by The Police’s drummer-turned-film composer Stewart Copeland.

And while the hard-working ladies and gents of the section have had plenty of chances to shine over the intervening decade, another work that puts percussion firmly centre stage (literally) has been a long time coming.

There was an additionally pleasing synchronicity between percussion and closure, and closure and percussion then in this vigorous performance of Danny Elfman’s intriguing and compositionally challenging Percussion Concerto on the newly refurbished Hope Street stage.

Elfman wrote the work for percussionist Colin Currie, and the Scottish virtuoso, American conductor JoAnn Falletta and the Phil recorded it in the city last year alongside the film composer’s Wunderkammer (which the Liverpool Philharmonic Youth Orchestras will play this Sunday).

Elfman’s first love, it turns out, was percussion and as a young man he was in various ensembles which made their own instruments. His studio in the States is full of weird and wonderful gizmos, at least one (dubbed, natch, the gizmo) forming part of the vast bank of varied instruments which flanked Falletta on the Phil’s stage.

With Josephine Frieze and Matthew Brett manning similarly expansive collections on the platform’s edges (Frieze’s arsenal including an anvil) and Scott Lumsdaine, Ed Cervenka, Mark McDonald and timpanist Neil Hitt adding more variety into the mix on the raised sections, it looked monumental and sounded stereophonically cinematic.

In the opening aptly titled Triangle, Frieze and Brett formed crack antiphonal sparring partners with Currie, an engaging showman moving swiftly between instruments in flurry of mallets, drumsticks, brushes and bows, with the movement offering rhythmic echoes of Bernstein amidst its Burtonesque aura.

Above: An anvil was one of the many 'instruments' in use. Top: Colin Currie's percussion instruments at the front of the platform.

Copeland’s work was scored for percussion, timpani and full orchestra, whereas Elfman opted to pare his back to piano and strings – in homage to, as he revealed during a fascinating post-show Q&A, Bartók’s 1936 work for strings, percussion and celesta.

There was a different homage within the title of its second movement, the composer admitting the music of early 20th Century Russians is his ‘sweet spot’ and Shostakovich in particular ‘my God’.

DSCH, named after Shostakovich’s personal musical motif, was informed by the Russian’s compositional patterns and developed in complex shifting rhythmic waves over string melody with Currie engaged in a half-duel, half-duet with Ian Buckle at the keyboard.

A third movement of enchanting ethereal swirls, celeste ripples and the strange and unearthly sound of the waterphone – interrupted by a bruising, discordant burst leading into a syncopated Latin American dance theme in the strings, gave way in turn to an insistent, full throttle, roof-raising finale.

Chapeau to Currie, percussionists, Phil and also to Falletta who drew together the many forces in a perfect, coherent whole with quiet and unshowy skill.

It may have been the headline act, but there was plenty to enjoy too after the interval in this all-American evening, with Falletta and the orchestra performing a pair of favourites from the first half of the 20th Century.

The percussive, energetic vibe continued through an enticing burst of Copland (as opposed to Copeland), the orchestra kicking up its heels in a Four Dance Episodes from Rodeo which was crisply executed, coming complete with a cheery trombone solo from Simon Cowen.

The sense of energy and movement rolled on through a jaunty and swaggering performance of Gershwin’s An American in Paris, Falletta maintaining a brisk pace through the opening section before the orchestra dug deep into one of the greatest of Gershwin’s luscious melodies, given extra depth and shine by the burnishing effect of the new staging design.