Franck&Ravel

 Then came one of my desert-island-disc works: Ravel’s Piano Concerto in G major, that irresistible cocktail of wit, theatrical flair and sheer Gallic glamour. Ravel’s orchestration remains a masterclass in style — crisp, teasing, and entirely unique. One can even hear hints of Gershwin’s New York mingling with the scent of a Parisian café. (Ravel and Gershwin, after all, were mutual admirers and one can only imagine their conversation ....). Bavouzet approached the concerto with the elegance and energy of a man thoroughly enjoying himself dispatching the glittering outer movements with precision, even at what felt like breakneck speeds. However, the second movement, that famously haunting Adagio, lacked a satisfying balance between piano and orchestra, being somewhat blurred, also being a touch forced in tone, possibly the sort of challenge pianists face when meeting a new concert grand with a heavy action. Still, this is the eternal dilemma of the touring virtuoso: every piano has its own temperament, like an unpredictable Parisian lover. Nevertheless, this was an electric performance demanding an encore from the enthusiastic audience and Bavouzet obliged by choosing an additional work by Ravel, one of the complete works by Ravel for piano solo he has added to his repertoire for his extensive touring engagements world-wide.

The performance brought to mind an old story — I can’t recall which pianist — who once insisted on having his favourite piano shipped to the concert hall for a much-anticipated live recording of this concerto. The result? A magnificent performance ... marred only by one woodwind player landing a notoriously sour, out-of-tune phrase in a poignant passage. One can only imagine the mood backstage afterwards. C’est la vie!

To complete the evening a la Francaise, the orchestra played a dynamic version of Cesar Franck's Symphony in D minor. Though he was born in Belgium, Franck changed nationality in order to accept the post of a resident organist position in France, being well-recognized as an expert in the field. It's a complex symphony, composed later in his life, and reflects his admiration for German composer Richard Wagner being less distinctively French in flavour in comparison to many of the works of his contemporaries. It was also not popular with Ravel himself. There is much to be admired in its orchestration and use of harmony, though on first hearing tends to lack an organic sense of fluidity and temperament. Bringuier coaxed a fine performance from the QSO, balancing Franck’s solemn architecture with flashes of brilliance. The orchestra worked diligently, each section contributing to the symphony’s slow-burn majesty. By the final movement, Bringuier was in full flight — all energy, flair, and joie de vivre — and the packed auditorium responded with well-earned enthusiasm.

This concert was a satisfying addition to the QSO’s growing list of triumphs for the 2025 season. With Bringuier’s zest, Bavouzet’s brilliance, and a program that celebrated a choice picking of French flair and finesse, the evening deserved to end with the pop of a cork and a generous pour of one's favourite French bubbly ......

Brian Adamson

Photography by Sam Muller