Weber, Mendelssohn, Saint Säens: Tasmin Little (violin), Hallé orchestra/Louis Langrée (conductor) Bridgewater Hall, Manchester, 15.03.2007 (RJW)


Weber: Der Freischütz overture

 
Mendelssohn: Violin Concerto

 

Saint Säens: Symphony No. 3 (Organ)

 

 

This programme was given four performances (Manchester and Bradford) in the same week and this review relates to the second performance. We are told in the publicity that the choice of programme is to ‘link together some of the most triumphant moments in the history of music’. True, all works are popular ones and represent a wide spectrum of ideas in romantic music composition. To my mind a commonality of programme is preferred to ones that sneak in a modern token piece in the hope that familiarity will breed its acceptability. It came as no surprise to find that the hall was around 95% capacity for this 19^th Century classical programme.

 

The Weber overture is a particular favourite, with a dark beginning that contrasts nicely with the unfolding melodies that follow to heighten the vitality of the central and finale sections. The success of this German opera owes everything to the existence of its haunting melodies that are promoted in its overture.

The Mendelssohn violin concerto, composed between 1838 and 1844, was first performed in Leipzig in 1845. It is certainly one of the most frequently performed violin concertos and was the last orchestral work Mendelssohn completed having agonized over its final form for six years! The concerto takes the revolutionary step of running the movements together without a break and thus enhances both a cohesive framework and flow. Its endearing popularity is based on its sentimental themes and passages of melancholic sweetness to stir the emotions although the extent to which this was communicated by the conductor would be a question to consider. For me, it certainly hit a chord in the tender Andante which was sensitively handled and nicely paced by Langrée.

 

Violinist Tasmin Little has a wide repertoire and is very much at home with Mendelssohn having recorded this Concerto in 2005 with the BBC SSO under Solyom (for the BBC Music Magazine). Here at the Bridgewater Hall, she gave a confident performance from the outset and enchanted us with her soaring tops. Once or twice the filigree of her playing in Mendelssohn’s trance-like development section of the Allegro molto appassionato was masked by a heavy orchestral backing, but this did not mar enjoyment unduly. A spirited Allegro molto vivace finale bustled with focused activity and frenetic coda. The audience were very appreciative with heavy applause for the Tasmin Little at the end. It came as a surprise to see her turning to the orchestra and signalling for them to stand (this is always the conductor’s prerogative, not the soloist’s).

 

Commissioned by the Royal Philharmonic Society in London, the ‘Organ’ Symphony No. 3 in C minor Op. 78 was completed by the composer in 1886 when at the peak of his career. In its composition, Saint-Saëns said that he had ‘given everything to it I was able to give’. The symphony uses an orchestra effectively to provide a wide spectrum of colour and texture; and it suitably impressed the public during its first performance. The original scoring was for an orchestra half the size of the Halle, which numbered 80 players for this programme.

 

The sound was sumptuous and in certain passages quite electrifying. The pace was energetic and would have flattered the composer. Care had been taken to allow the short virtuostic piano passages to be properly audible. A build up of excitement in the Maestoso section was well handled by Langrée to allow the myriad of colours to be fully exposed.

 

Despite the strength of the large orchestra it must be said that the Bridgewater organ was, in the triple forte sections, sufficient to drown the orchestra apart from the brass and tympani. Of course, the organ does need to be forwardly placed, but perhaps not quite so much as on this occasion particulalry as an opportunity was available for its rank couplings/swell to be reassessed after the previous night’s performance. The thunderous climax to the Allegro finale was matched by thunderous applause from an appreciative audience. All in all, the evening provided a memorable occasion.

 

Raymond J Walker