The 12th of January saw the arrival of Mark Elder and the Hallè to Leeds Town Hall. The program included Mozart's much loved 23rd piano concerto and Shostakovich's 8th symphony.

Leeds Piano competition winner Eric Lu was to tackle the Mozart concerto. Despite the obvious decline in the standard of Leeds International Piano Competition winners, I had high expectations for Eric having heard his fantastic Schubert Impromptus on disc. And to sum it up quickly, I wasn't disappointed nor particularly 'moved'. There is no questioning Lu's virtuosity, his hands jumping and twisting, no mistakes visible. Also, his soft playing was excellent. However, his communication through the piano was hindered by Elder's approach. The piano, to an almost ridiculous extent, took an accompanying role. For large parts it was inaudible, and the emphasis in the calls and responses was, it seems, strongly on the orchestra. I recall Elder once saying in a masterclass that Mozart Piano Concertos should be approached like operas, clearly he has forgotten his own wisdom on this matter.

Elder began Shostakovich's 8th symphony with a small speech. As you will know if you have seen his masterclasses on YouTube, Elder is an extremely talented orator, therefore it was a pleasent surprise. Elder suggested the symphony represents Shostakovich's greatest achievement in music (quite a claim, but not one I disagree with), and asserted the listeners to the various suffering voices you hear throughout the symphony. I have no issue with conductors introducing works in that manner even though it may be unconventional. There will have been many 'non-classical music people' in the audience, and for the conductor to assign some meaning to what is otherwise a rather difficult work, is very considerate and very welcome.

The Hallé played exceptionally well (for the most part). The strings were peircing and violent but very melodic and tame when the music warranted it. The brass was wagnerian, majestic and deafening... The woodwind very independent of the rest of the orchestra, taking very much a singing role. Elder was fully intent on bringing out the very graphic imagery of the work. In the second half of the 1st movement where the upmost misery is exhibited, Elder slowed down the orchestra. He grinded and grinded the point home and rubbed the salt in the wound. You could say these moments were exaggerated, but I believe it would be sacrilegious to not exaggerate the aggressive violence in the 8th symphony. This approach is especially apt when you consider how much of the symphony is quiet and dwindling, the loud sections have to be played with intent, and Elder achieved this with flying colours. The various marches throughout the symphony were loud, bombastic ironic and comedic, exactly as they should be.

In the seconds after the folkish sounding last movement, which was played beautifully, there was a collective feeling of great emotion in the hall. All the players refrained from smiling or communicating, all sat like statues looking to the floor in reflection as though that was the first time they'd ever heard orchestral music. Elder was tearful, and looked almost paralysed. The audience left their seats and headed for their trains and coaches, profoundly touched by Shostakovich's requiem.