For any orchestra, a Beethoven cycle is a major undertaking - and the Royal Philharmonic's latest series is two cycles in one. Daniele Gatti will conduct all nine symphonies over the next few weeks, with Freddy Kempf the soloist in the five piano concertos. Currently the underdog among London orchestras, the RPO has more to prove than most. But Gatti, its chief conductor, knows how to bring out its best.
The opening bars of the Egmont Overture - robust, fiery string chords giving way to shapely wind phrases - set the scene for the First Piano Concerto. Kempf's approach suited that of Gatti: neither can be described as apologetic performers, and both seemed more interested in the bold, vibrant aspects of the music than in making it politely elegant. But, while Gatti never lost sight of the music's graceful charm, in Kempf's most forceful moments his playing grew so ballistic that the phrases lost shape.
Even so, Kempf is an exhilarating, communicative performer. When he was not overdoing the force there was an exciting ping to the notes at the tops of phrases, and the lighter passages of the first movement bounced along skittishly. The other four concertos should be excitingly individual - if Kempf stops trying quite so hard.
The innocent, clean slate that opens the "Pastoral" Sixth seemed a good place to start the symphonic cycle. Geniality shone through the first two movements, the second flowing along almost waltz-like. The characterful wind solos in the third gave way to a fluster of bows bouncing off strings as the orchestra wound up to the most chaotic moments of the "merry gathering", before a "storm" movement full of tension, cracks of thunder coming through violently from the timpani.
The violins had perhaps peaked too soon, and in exposed passages could have blended more effectively. But all were absorbed into the calm richness of the finale. Other symphonies will doubtless bring a more passionate, belligerent aspect to Gatti's conducting. But this time the RPO could bathe in the Pastoral's rosy glow.
