The Saratogian, NY
March 23 2006
Brits ‘illimuniate orchestration’ at London Philharmonic concert
JUDITH WHITE, For The Saratogian
03/23/2006
SCHENECTADY – Principal Conductor Kurt Massur was missing from his
London Philharmonic Orchestra’s concert Tuesday at Proctor’s Theatre
in Schenectady due to a viral infection, but his absence didn’t
appear to put a dent in audience satisfaction, nor with the quality
of the performance.
Arabella Steinbacher, an incredibly talented young violin soloist
from Munich, stole the show in her LPO performance of Khachaturian’s
Violin Concerto. Guest conductor Yan Pascal Tortelier was a crowd
pleaser as well. In fact, the audience applauded after nearly every
single movement throughout the concert.
Conductor laureate of the BBC Philharmonic and a frequent guest
leader of orchestras world-wide, Tortelier recently assumed the role
of principal guest conductor for the Pittsburgh Symphony. There’s
nothing brooding or imposing about this tall, good-looking maestro –
he wears his good nature like a topcoat and, indeed, even performed a
bit of a maestro’s version of a touchdown dance during the curtain
call at the end of the show.
In the midst of a short U.S. tour, the entire LPO seemed right at
home on the recently re-appointed stage at Proctors. There were a
good number of young faces in the ensemble, and it’s probable that a
number were subs called in for the tour.
They opened the concert with a gem from their homeland – Benjamin
Britten’s “Simple Symphony” – showing a great blend of sound from the
orchestra’s strings. It’s hard to tell whether Tortelier had time to
put his own stamp on the music for this tour or if he was riding the
tide of earlier preparation. Regardless, the guest maestro didn’t
treat Britten’s work as if it was simple at all. Nor did the
orchestra, whose “leader” (English for concertmaster) shared
appropriate spirit during the best known movement, “Playful
Pizzicato.”
Tchaikovsky’s big, heart-tugging Fifth Symphony filled the second
half of the program with all the drama anyone could want. Tortelier
effected some fantastic buildups and heart-stopping climaxes, and
wrung hearts with the second movement’s passion. The opening clarinet
solo and the second movement’s famous horn melodies were clean and
pleasant. Mostly, though, this was a much more Russian-flavored
delivery than we’re accustomed to in this region – paced and somewhat
plodding in the third movement, and occasionally grumbly.
It was best at achieving a transparency that seemed to illuminate the
orchestration. It was weakest at achieving any long shape to the
music, which sometimes became a series of consecutive sections. The
LPO also gave plenty of color and drama to the Khachaturian work,
which showcased folk-like music inspired by the composer’s Armenian
homeland.
>From its start, the young soloist gave individual treatment to every
tiny phrase, while tossing off even the most difficult technical
passages as if they were lyric possibilities. Fresh and pretty at 24,
Steinbacher is a natural on stage.
Without grandstanding or affectation, her message seems to be,
“Listen: let me tell you this musical story.” Her sound isn’t overly
powerful nor crystalline, but more like yellow than gold, and more
like pewter than silver.
Khachaturian’s Violin Concerto isn’t at the top of most people’s list
of favorites, but played this way, it could be.
From: Emil Lazarian | Ararat NewsPress
