United Kingdom Sibelius, Shostakovich, Richard Strauss: Vadim Gluzman (violin), Philharmonia Orchestra / Santtu-Matias Rouvali (conductor). Royal Festival Hall, London, 4.2.2024. (AK)
Sibelius – Andante festivo
Shostakovich – Violin Concerto No.2
R. Strauss – Tod und Verklärung, Op.24; Till Eulenspiegel’s lustige Streiche, Op.28
I am not sure if the very interesting but heavy programme of this concert was a good choice for a Sunday afternoon. However, one could argue that a programme like this precisely needs an alert and fully focused audience which a concert at the weekend is eminently suitable to attract. At any event, there was good attendance although I would like to see more children at a Sunday afternoon concert.
The gentle Sibelius piece was beautifully played. It is very much like a song, whether a folk song or a devotional hymn, with the oft repeated two-bar motive (coincidentally identical rhythm with the first two bars of the main motive, fourth movement, Dvořák’s New World Symphony) possibly suggesting hope (or despair?). Originally composed for a string quartet (1922), Sibelius later arranged the piece for string orchestra and timpani (1938) with added double basses mostly doubling the cellos and the timpani joining only in the last four bars to intensify the final climax. Clearly in full sympathy with the piece, Rouvali conducted without a baton and with great sensitivity, the Philharmonia Orchestra’s strings responded with masterly cantilena playing.
The Shostakovich concerto is a big ask from the soloist. Composed for David Oistrakh for his sixtieth birthday, the composition demands physical as well as emotional stamina, virtuoso technique and, last but not least, an understanding of Shostakovich’s musical and factual world. Oistrakh had all these attributes as has Vadim Gluzman …the concerto was in the best possible hands at this concert.
Composed late in his life, in this concerto the greatly ill Shostakovich primarily presents darkness which underlines his melodies, marches, dances, and virtuosity. About half an hour in length, the concerto occupies the soloist throughout, there are no relaxing moments (as generally in violin concertos) while tutti passages would be delivered by the orchestra. Here there is strong interaction between soloist and orchestra; members of the Philharmonia distinguished themselves as dignified and fully able partners.
Gluzman’s violin tone was never forced, his plentiful polyphonic passages were crystal clear, his cantilena sections told the story and his interplay with orchestra (in particular, with flute and horn) was a masterclass in ensemble playing. As for the long and difficult solo cadenzas, words are inadequate to describe Gluzman’s spotless delivery. My guest for the concert was the violinist Gyorgy Pauk who some forty years ago performed the concerto with conductor Kirill Kondrashin, Oistrakh’s conductor for the same piece. At the conclusion of Gluzman’s performance, Maestro Pauk said: ‘this is the way to play it’.
And then, after the half-hour marathon, Gluzman still delivered his encore (Silverstov’s Serenade) with exemplary cantilena voice leading over his polyphonic double-stop accompaniment.
In spite of being of a certain age, this was my first encounter with Richard Strauss’s Tod und Verklärung. I was overwhelmed by the large orchestra – increased to ten cellos and eight basses, plus two harps – but I understood/appreciated the lyrical sections gently delivered by conductor Santtu-Matias Rovali and his forces. However, by and large I was lost in the soundscape: this is, I emphasise, would be my ignorance, probably not the fault of the performance. Nevertheless, I now listened to the composer’s recording (Berlin State Opera Orchestra, 1926) and consequently the structure is clearer to me. However, Philharmonia’s concert master Zsolt-Tihamér Visontay presented his violin solo with exemplary skill and discipline; furthermore, the whole orchestra delivered with full commitment.
Till Eulenspiegel is easier to understand (than the Tod und Verklärung) and over the decades I did come across it a few times. Confronted with even a larger orchestra (than in Tod und Verklärung) – no harps but plenty of percussion instruments – the vast sound of an orchestra often dominated one’s perception. Nevertheless, the humour of the story and Strauss’s music shone through and the virtuosity of the Philharmonia (first and foremost the horn representing Till and again the skills of leader Zsolt-Tihamér Visontay) was evident throughout.
Agnes Kory