Canada Stravinsky, Prokofiev: Leila Josefowicz (violin), Vancouver Symphony Orchestra / Otto Tausk (conductor). Orpheum Theatre, Vancouver, 29.11.2024. (GN)
Stravinsky – Violin Concerto in D major
Prokofiev – Symphony No.1 in D major, ‘Classical’, Op.25; Symphony No.7 in C-sharp minor, Op.131
Any appearance of Canadian-born violinist Leila Josefowicz is an occasion – she can execute and bring to life so many difficult modern pieces that have other violinists recoiling in fear. Last time, it was Philip Glass’s Violin Concerto; this concert, it was one of her go-to pieces, the Stravinsky Violin Concerto. Josefowicz gave a performance of disarming technical precision, delivered with gusto and remarkable in its line and intensity. It would be most appreciated by those who see Stravinsky as a truly modernist composer; others might prefer something more relaxed. Otto Tausk and the orchestra served up a fine complement: Prokofiev’s evergreen ‘Classical’ Symphony and the composer’s final symphony, the Seventh. The former unfortunately lacked sparkle, but the softer, balletic approach to the latter was convincing.
Josefowicz brings great energy and stage presence with her, and that was certainly true here. The opening Toccata of the Violin Concerto was literally propelled out of the gate, with the feeling of a coiled tiger. The focus was on drive and momentum, though it was remarkable how many little wisps of detail she picked up on the way. Her lean tone delivered superbly clean execution throughout, with whiplash sforzandi and rhythmic thrusts delivered with an almost Glassian insistence. While quick and always highly projected, one offshoot was the degree of structural integration she achieved. Aria I was also played quite dramatically; the softer moments come in Aria II, which starts from that wonderfully enigmatic orchestral chord. This movement featured Josefowicz’s most refined textures, with a careful etching of the lyrical lines and admirable control at soft volumes. It was a nice contrast, though I did not think her lyricism expanded that much, nor did I find much tenderness or sense of mystery. The closing Capriccio tended back to the earlier style, featuring stunning address, bravura and perhaps a touch of the manic from the violinist.
This was formidable, high intensity violin playing, and any audience (such as this one) could only be taken in by its visceral presence. My companion at the concert, however, found it ‘a bit unrelenting’. So, what might be the problem? First, the orchestra put in their best efforts to keep up with the soloist, but their response was a bit too slow and bulky to allow Stravinsky’s (chamber music) interactions between the violin and sections of the orchestra to come out transparently. Second, the reading was often too fast and linear to capture the composer’s distinctive Neoclassical jog trot, or find its vertical contrasts, caprice and rustic colour. In fact, the performance rather ran over this dimension. Where was the ‘human’ element, so distinctively captured in the classic Stern, Oistrakh, Grumiaux and Perlman readings? Well, there wasn’t much: this performance almost seemed to dampen that element, perhaps to modernize the work.
Overall, there is no doubt that Josefowicz’s performance provided a real experience, and I am glad I saw and heard it. I defer to the composer’s own words in making a judgement: ‘…virtuosity for its own sake has only a small role in my Concerto, and the technical demands of the piece are relatively tame’. (Stravinsky and Craft, 1963). Of younger contemporary violinists, I would likely choose the more emotionally varied and characterful approach of the estimable Baiba Skride.
Prokofiev always mixes well with Stravinsky, and two of the former’s symphonies were something to look forward to. Otto Tausk’s opening ‘Classical’ Symphony, however, did not leave much of a mark: it was too studied and sober in the opening Allegro and lacked colour and sensuality in the two middle movements. The effervescence of the finale was better caught, but still did not present with the sparkle and joy that it should.
Symphony No.7 was better. The Russians have always highlighted the steel and pugnaciousness in Prokofiev’s orchestral scoring but, as the work is the composer’s swan song, written a year before his death, there is room for the softer, more moderate approach that Otto Tausk took. No one would pretend that this symphony has the weight and stature of Symphonies 5 and 6. The conductor’s opening Moderato understandably gave primacy to the continuous interplay of the soaring bittersweet string lines, while the middle movements were relatively light and balletic, making transparent the link to Cinderella, the composer’s famous ballet. The finale had a fine sense of frothiness in it, starting from the ‘big tune’ that had plenty of energy, working through its melodic lines and finishing with quiet Cinderella allusions. Perhaps this performance was still a little too pretty and manicured to capture the truculent nature of the composer, but it worked relatively well as a coherent whole, albeit as a more positive statement. The orchestral playing was nicely assured.
Geoffrey Newman