Exactly 50 years ago to the day, Semyon Bychkov fled the Soviet Union for Vienna, carrying a score – Shostakovich’s Fifth Symphony in D minor, Op 47. Like Shostakovich, he too had become the subject of criticism for his outspoken views. Quite a story which he shared with the orchestra earlier in the day. Coupled with Shostakovich’s First Cello Concerto in E flat major, this all-Shostakovich programme with British cellist Sheku Kanneh-Mason commemorating the 50th anniversary year of the composer’s death was the latest leg of the Czech Philharmonic’s 2025 European tour taking in Amsterdam, Vienna, London, Paris and Bruges.
But concerts such as these from visiting orchestras are about more than music. The notion of nationhood stood front and centre. As Slavic tongues thronged the corridors, friends old and new came together to support one of their nation’s greatest exports visiting the Concertgebouw for the first time in twenty-three years.
The programme
The concerto
Dressed simply in a casual light-blue shirt, Kanneh-Mason took a moment to soak the atmosphere before his opening theme crept in. At times he had to compete against an intensely colourful orchestral accompaniment, full of throaty, throbbing bassoons, a ruthless timpani, groaning double basses, piercing woodwind and a heroic, all-conquering horn. But he carefully drew the orchestra close, leaving them little option other than submit to his will as he adjusted to the tricky Concertgebouw acoustics. The result: an attractive chamber-music feel, peppered with delicate yet intense pianos.
Sheku works his magic
In the Moderato Kanneh-Mason found his true voice with huge, whispering phrases producing music of great intensity and maturity. Cello harmonics at the close, perfectly matched the celeste. Intensity continued in the contemplative, quasi-religious Cadenza. Almost a conversation with some greater being – the cello seemingly carrying the pain of the entire world on its shoulders, almost begging for forgiveness. Resonant pizzicatos reverberated around before passages chased up and down the fingerboard in a staggering technical display. A hugely exciting Finale thrust us forward: the cello high in the register and the horn blasting forth the opening theme’s return. This was a nuanced and highly sophisticated performance from the young 25-year-old who quite deservedly received a rapturous reception from the Amsterdam audience.
The encore
Kanneh-Mason played a prelude by British composer Edmund Finnis for whom he has just written a Cello Concerto. It will be premiered with the LA Philharmonic in November 2025.
The symphony
Conducting Shostakovich’s Fifth Symphony from memory, Bychkov found a rueful stillness after the opening’s aggression. He enabled to the Czech Philharmonic musicians to do what they do best, to just play. He skilfully built exciting climaxes – huge orchestral swells seemed to be a speciality – and with the help of the harp, celeste and glockenspiel, offered glimpses of hope.
Indeed, the whole performance seemed to be a metaphor for the current international political uncertainty. The yearning strings in the Largo; the slightly out-of-tune flute overtones; mighty timpani rolls giving much needed release; and an oboe solo almost seeking forgiveness of a whole nation’s ills. Shostakovich’s music felt raw and his narrative in this Russian classic felt incredibly real.
© Petr Chodura
Immense French horns were definitely a force to be reckoned with, transporting us to more plaintive plains. Bychkov cleverly used his extensive experience conducting the Royal Concertgebouw Orchestra (sixty-eight times over the past forty years) to position the percussion snugly under the organ to maximise their power and resonance. Rasping and reverberating trombones did not disappoint either. Such a shame then that the trumpets failed to cut through, and even split the final (and much anticipated) top D. Maybe they were saving themselves for London.
The encore
It was the encore though which left a lasting impression. Any European orchestra that can move one of the few Brits in the audience with a performance of Elgar’s Nimrod, is ranked high in my eyes. Over the past five years living away from my homeland, I have learnt that the phrasing in this short theme from the Enigma Variations is neither as expected, nor logical to musicians who do not have Elgar’s music deep in their veins. Tonight, however, from the very first note, this reading was something special. Thank you Semyon Bychkov and the Czech Phil for making me immensely proud to be British.
Further listening
Kanneh-Mason works his magic in 2016
French horn, Ben Goldscheider and saxophonist and TV & radio presenter, Jess Gillam.
In rehearsal earlier in the day…
Fun facts from Bachtrack about the busiest performers and orchestra. Look at the cellists…
He is in good company!
More about the symphony
The trumpet part
Listen along on Spotify
© By kind permission of the New York Philharmonic
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This concert was reviewed in the Concertgebouw, Amsterdam on 5th March, 2025
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