Anyone with an interest in live classical music will have the London Philharmonic Orchestra high on their bucket list of must-see ensembles. On Wednesday 22nd January, Southbank Centre’s Queen Elizabeth Hall hosted the orchestra as part of the ‘Moments Remembered’ season. Promising an evening of contrasts, the programme featured modern works by Julia Perry and Evan Williams in the first half, followed by the timeless brilliance of Vivaldi’s The Four Seasons after the interval.

The concert began with Perry’s Requiem for Orchestra (1959), a brief but intriguing piece subtitled Homage to Vivaldi. Although the nods to Vivaldi were subtle, Perry’s use of pizzicato strings and chromatic textures created a compelling atmosphere. The LPO brought an energy and precision to the performance, as expected, but the piece’s short duration, just six minutes, meant it felt more like an introduction than a fully realised statement.

Next came Evan Williams’s Dead White Man Music. With its provocative title, the harpsichord concerto delved into the relationship between classical tradition and modern influences like jazz and minimalism. Harpsichordist Olga Pashchenko delivered a skilful performance, especially in the slow movement, which had a delicate, melancholy beauty. However, while the harpsichord’s role is central to the piece, its traditional nature felt somewhat at odds with the contemporary stylings of the score. The combination didn’t quite work, though the boldness of bringing together such disparate musical worlds was commendable.

As someone who enjoys attending a wide variety of gigs, classical events can sometimes stand out for their brightly lit, formal atmosphere, which often feels a bit stiff and exclusive. The decision to mix things up by including contemporary works alongside Vivaldi was therefore a refreshing and interesting approach, even if it didn’t entirely succeed. While the first half was thought-provoking and showcased the LPO’s versatility, it felt slightly too far removed from the emotional immediacy of The Four Seasons.

After the interval, the concert shifted gears entirely. Vivaldi’s The Four Seasons, arguably the most recognisable work in the classical repertoire, brought warmth and a crowd pleasing vibrancy to the evening. Alice Ivy-Pemberton, the solo violinist, was exceptional. Her playing was full of character, whether in the lively trills of Spring or the stormy virtuosity of Summer. Ivy-Pemberton, appointed Co-Leader of the LPO in 2023 at just 25 years old, boasts an impressive command of Vivaldi’s music, performing with warmth and vitality. Particularly memorable were her delicate phrasing in Autumn and the dazzling precision she brought to the icy intensity of Winter.

Conductor Richard Egarr, directing from the harpsichord, brought a playful energy to the performance. His dual role added a layer of historical authenticity, although I found myself focusing more on the richness of the strings and Ivy-Pemberton’s dazzling solo passages.

Despite the stark contrasts between the halves, the concert was a brilliant showcase of the LPO’s talent. Seeing them live for the first time was a memorable experience, and their performance of Vivaldi’s timeless work alongside contemporary pieces highlighted their ability to balance an innovative programme with the celebration of classical favourites. The attempt to bridge past and present was bold and commendable, even if the balance wasn’t perfect. The evening as a whole was a reminder of how classical music continues its attempts to evolve while honouring its rich traditions.

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