United Kingdom Higdon, Prokofiev, Berlioz: Arabella Steinbacher (violin), Royal Philharmonic Orchestra / Vasily Petrenko (conductor). Royal Festival Hall, London 10.5.2023. (JR)
Jennifer Higdon – blue cathedral
Prokofiev – Violin Concerto, No.2 Op.64
Berlioz – Symphonie Fantastique, Op.14
American composer and flautist Jennifer Higdon, now in her early sixties, wrote her orchestral concerto blue cathedral nearly 25 years ago as a commission to commemorate the 75th anniversary of Philadelphia’s Curtis Institute of Music but it emerged as something much more personal. Her younger brother, Andrew Blue Higdon, had just died of skin cancer and that event seeped into the piece. The short work has become one of her most performed and it is easy to hear why when played like this by the Royal Philharmonic Orchestra under Vasily Petrenko. Higdon has created a sonic trip through space and into heaven. The music is reflective, contemplative, with chimes and ringing percussion; glasses part filled with water, orchestra members holding and gently rotating tiny Baoding (aka Chinese health) balls. There is also very tender writing for the strings and Peter Grimes instantly came to mind. Fragmentary chords for flute (Andrew Blue’s instrument, immaculately played on this occasion by Emer McDonough) and clarinet (Jennifer Higdon’s instrument, played perfectly now by Katherine Lacy) intertwine and engage tenderly; ultimately the mood darkens. The movement then, however, becomes more optimistic as the journey gains momentum. Higdon’s compositional style has been described as neoromantic (though there are no discernible melodies), and sticks to tonality. It is very easy listening modern music, and occasionally has been criticised for that. Often, with modern music, you just cannot win.
Part German, part Japanese violinist Arabella Steinbacher delivered a fine performance of Prokofiev’s Second Violin Concerto before the interval; the concerto is more conventional than his earlier, bolder compositions (such as his First Violin Concerto, composed some 18 years earlier), with melodies based on Russian folk tunes. Prokofiev needed to appease Stalin as, in 1935, Prokofiev wanted to leave Paris and the United States and re-settle in Russia. Steinbacher recorded both concertos with Petrenko and the Russian National Orchestra some ten years ago to great critical acclaim. In the opening Allegro moderato, Steinbacher was in turn vivid and warm, though occasionally I wished for greater volume. Steinbacher held us spellbound in the central lyrical Adagio, then entertained us in the final exhilarating dance, with its unusual references to Spain and clacking castanets (the première of the concerto was held in Madrid). Petrenko was clearly very much at home with the work, and his orchestra followed his instructions to the letter, holding down the volume as much as possible. Petrenko and the RPO have forged an excellent partnership. Steinbacher’s engaging style won over the audience and we were rewarded with an encore, part of Prokofiev’s Sonata for Solo Violin.
Berlioz’s Symphonie Fantastique was described by Leonard Bernstein as the first musical expedition into psychedelia and that is how the orchestra advertised this whole concert. History suggests Berlioz composed at least a portion of it under the influence of opium. The orchestra were on absolutely their top form, across all sections and playing like this the orchestra can certainly compares favourably with any of the world’s finest ensembles. Petrenko conducted with finesse, clarity bordering on almost military precision; the strings in particular sounded superb, the last two movements were thrilling and crisply executed. Kiyomi Seed, second timpanist, caught eye and ear throughout, so rhythmic and engaging to watch. The growling tuba made us all smile. This was a wonderful concert and I already look forward to their next at the Royal Festival Hall (Shostakovich’s mighty Eighth Symphony, on June 7th).
John Rhodes