Switzerland Brahms, Beethoven: Leonidas Kavakos (violin), Royal Concertgebouw Orchestra / Daniel Harding (conductor). Tonhalle, Zurich, 15.11.2022. (JR)
Brahms – Violin Concerto Op.77
Beethoven – Symphony No.6 ‘Pastoral’ Op.68
The Royal Concertgebouw Orchestra are coming to the top of a short European tour with this live performance, which they carried out in London a short time in the past. A really regulation programme clearly designed not solely to fill the live performance corridor (it was certainly full to the final seat and encouragingly with many children, together with music college students) but in addition to point out off the famend heat of the RCO’s orchestral sound. It was paired in London, on one other night, with Mahler’s Ninth Symphony, however we had been disadvantaged of that individual pleasure on this whistle-stop tour spherical Swiss cities, kindly sponsored by Migros Kulturprozent Classics.
The Brahms Violin Concerto has many technical difficulties, double-stops, compound chords and vast leaps; Greek violinist Leonidas Kavakos isn’t any stranger to this work, and masters the hurdles with ease. Kavakos additionally has full command of the construction of the work, moulding every phrase with care. He turns to the Leader of the primary violins to co-ordinate entries and retains a agency eye on the conductor when wanted. This was an exemplary efficiency; I can’t think about a finer one. It was muscular and virile; the thrilling first motion was completely mesmerising. The lengthy cadenza and the tender sluggish motion had the viewers spellbound. Daniel Harding accompanied with grace and sensitivity, however all eyes and ears had been on the soloist. The livid finale had Kavakos attacking his instrument with gusto, often at the price of some intonation, however all the time bounding together with joyful abandon. It was massively satisfying and was met with the loudest applause I’ve heard on the Tonhalle for an extended whereas. We had been rewarded by a prolonged extract from Bach’s Sonata No.3; Kavakos has described Bach’s music because the most interesting music ever written.
The Beethoven which adopted made us think about the orchestra. Harding positioned the gamers antiphonally, with the second violins to his proper, the cellos centre and the 5 double basses lined up alongside the again. The result’s a homogenous string sound, with specific prominence given aurally and visually to the hard-working double basses. Strings are mellow somewhat than clear, and fantastically blended. Characterful woodwind soloists stood out; I point out only one, Russian oboist Alexei Ogrintchouk. His solely weak spot is to ostentatiously raise his bell somewhat too usually.
The sluggish motion stood out for the gossamer high quality of the string taking part in, notably by the second violins. The principal clarinet, flute and oboe continued to astound with their approach and stylish sound. The orchestra made us hear afresh to this work, so acquainted to so many however surprisingly uncommon in live performance these days, when many hanker for a ‘heavier’ symphony within the second half of concert events.
The storm interlude was most spectacular, with the timpanist altering to laborious sticks. This was taking part in of the very best order, cementing the RCO’s place as undoubtedly one of many world’s most interesting orchestras. Daniel Harding clearly has a wonderful rapport with the orchestra. Harding’s consideration to element, his command of the dynamics and his phrasing had been all admirable.
The orchestra is in an extended interregnum interval, as they wait for his or her new Finnish Principal Conductor Klaus Mäkelä to begin his reign in 2027. Harding is clearly (and rightly) a favorite of theirs within the meantime.
During the interval, the Swiss Friends of the Concertgebouw Orchestra held a reception within the Foyer; this efficiency ought to have added to their variety of members.
John Rhodes