Prom 40: Mozart.
Lawrence Power (viola) / UBS Verbier Festival Chamber Orchestra / Maxim Vengerov
(violin/conductor), Royal Albert Hall, 13.08.06 (ED)
Mozart
Violin Concerto No. 2 in D major,
K211
Sinfonia Concertante in E flat major, K364
Violin Concerto No. 4 in
D major, K218
Symphony No. 29 in A major, K201
In acting as
director/soloist and conductor there was no doubt that
Maxim Vengerov would leave his stamp right across this
concert, but although there was an element of showmanship
to his presentation, Mozart retained a place of importance
throughout proceedings. One might think that being in
its 112th season the Proms would have heard
every major work by Mozart at least once by now, but not
so. The second violin concerto received its first Proms
performance at this concert, although the palpable sense
of anticipation had more to with Vengerov’s presence.
Vengerov established
the direction of each concerto as much with a glance and
a nod to the orchestra as any standard conducting beat.
The second concerto set in train also the impression of
jewel-setting that these readings were to have. The orchestra,
being well trained, was able to attend to the details
of the overall setting with minimal fuss when Vengerov’s
attention turned to setting his solo line before the audience
with all the sparkle possessed of any brilliant diamond
line. The concertos second movement showed variation of
approach in emphasising the many half-lights and shades
possessed by the orchestral and solo parts. The rondo
finale gave way in due course to Vengerov’s own cadenza
– absolutely virtuosic in its exploitation of double stopping
– at the very end though Mozart re-established his rightful
position in the work.
The fourth violin concerto
- also in D major and dating from 1775 - brought a certain
muscularity in the orchestra’s performance with the relative
weightiness of tone they showed. This time Vengerov’s
cadenza explored the lower tonal reaches effectively,
before bringing simplicity of line to bear in the second
movement. If occasionally soloist-orchestra balance was
found wanting, it was a minimal deficiency in overall
terms. That said, in some respects Vengerov’s performance
was a quixotic one: sometimes very aware of his loving
audience and at others almost insular and private to and
for himself. His reading of the third movement illustrated
clearly the latter tendency, with the lingering solo part
teasing out links within the orchestral material.
If Lawrence Power was
awestruck at sharing the platform with Vengerov he didn’t
show it; the two have, after all, been regular partners
in Mozart’s Sinfonia Concertante. Often taking a sultry
line in the first movement as a means of finding effective
contrast with Vengerov’s bright-toned violin Power established
a convivial conversational feeling in his tone. The cadenzas
(Mozart’s own this time) had the soloists well matched
in mood and temperament, backed by the unassumingly sure
context of the orchestra. The final movement was given
with some exuberance, although was not devoid of feeling
for the music’s inner weighty implications. Power and
Vengerov are due to record the work in the not too distant
future: that could well be a disc to look out for.
The Symphony saw Vengerov
as conductor, a role he clearly relishes and displays
some natural aptitude for, if this concert was anything
to go by. Admittedly he did not stray too far from the
beaten path in his choice of tempi, but he did show some
inventiveness in encouraging a relatively strong-boned
performance. Restraint, stateliness of tone, textural
variation, balance and thoughtful placing of diminuendos
all contributed to a reading full of life.
The programme
commented on the ‘special relationship’ Vengerov shares
with this orchestra, and it’s certainly much in evidence.
Their willingness to follow the general direction he imparts
does achieve some pleasing results. It is worth noting
that the UBS Verbier Festival Chamber Orchestra and Maxim
Vengerov are booked to appear at the Barbican in the 2006/7
season, performing all five Mozart concertos in a single
evening. Quite some undertaking, but no doubt attractive
to many a Vengerov fan.
Evan Dickerson
