One of the world’s finest trumpeters, Hakan Hardenburger took to the stage at the Royal Festival Hall with the Philharmonia Orchestra in what was a veritable extravaganza of musical excellence.

Glitterati

Programming Hakenburger to play Gruber’s ‘Aerial’ alongside Mahler’s ‘5th Symphony’ had certainly attracted London’s musical ‘glitterati’ to take their seats in the auditorium - and they were not to be disappointed.

Hardenburger sauntered onto the stage looking too cool for school - only to perform with such intensity that by the close even he wore a few beads of sweat on his cultured brow.

Iconoclastic

Gruber’s ‘Aerial’ is the first of two concertos written for him by the iconoclastic composer, opening with an eerie section of multi-phonics, which feels almost like the piece is being conceived in front of you.

The percussion and woodwind add to the almost inaudible intervals, with the soloist’s control of quiet dynamic, simply breathtaking. 

Much has been made of the sensory ‘cow horn’ section - a typical piece of Gruber inventiveness - even if it remains decidedly odd.  What wasn’t however was Hardenburger’s supreme piccolo trumpet playing that followed; stunning in its purity of tone and razor sharp precision.

Renaissance

The Jazz influenced second movement, was a multi faceted exhibition of atmospheric timbres, whilst the technique required performing on ‘open tubing’ made for an almost surreal, brilliant counterpoint.

A renaissance close - even with such immense sound backing from the orchestra (I counted 60 strings, 14 woodwind, 13 brass, 3 percussion, timpani and piano) was tour de force playing - and a thumping stamp of world class authority from a truly world class performer.

Stunning Mahler

The Mahler was given an absolutely stunning performance by the Philharmonia at the top of their game in the second half. 

The orchestra’s reputation as a symphonic leviathan suited the subject matter perfectly - with Alastair Mackie’s giving a masterclass of almost frightening intensity in the most famous of trumpet solos.

And whilst the other brass leads also performed to a superb level of artistry, (Katy Woolley on horn especially and a sublime trombone section of Peter Moore, Phil White, bolstered by the wonderful Pete Smith on tuba and Dave Vines on bass trombone) it was the majesty of the whole that sent the audience on its homeward journey, completely sated.   

Jonathan Pippen