Beethoven, Tchaikovsky and Schumann: Tamsin Waley-Cohen (violin) / Royal Philharmonic Orchestra / José Serebrier (conductor). Cadogan Hall, London. 22.5.2007  (ED)

 

It should never be forgotten that Beethoven’s Egmont overture was written to accompany a drama by Goethe. Although heard most often separately from the play, the overture is nevertheless inherently dramatic. This is something José Serebrier clearly bears very much in mind, as his conducting of the Royal Philharmonic Orchestra on this occasion amply demonstrated.

Such a spirited opening raised hopes that something other than the routine might transpire within Tchaikovsky’s violin concerto. Such hopes were only partially fulfilled, as Tamsin Waley-Cohen’s account of the solo part can best be described as a work in progress. She was clearly most at ease in the middle movement, giving her line there with a greater degree of musical confidence and technical assurance that was to found in the taxing outer movements. Having impressed me before in Bruch’s concerto, the different scale of projection required for Tchaikovsky’s work, together with its specific tonal shadings within the part, have to be fully mastered. But for a violinist of barely 21 years old, there is still time for her to let the work take shape.

From the audience’s angle it can be tempting to concentrate more on the solo part of a concerto, but the orchestral parts can often be just as interesting. Whether it was in his choice of slightly slower than usual tempi- they were never over-consciously deliberate – or his precise attention to the balancing of orchestral sonorities, though never at the expense of the music’s grand sweep and ability to gather passionate steam when needed in outer movements, José Serebrier showed that being a practicing composer can help deliver a fresh approach to even the best known repertoire. The Royal Philharmonic sounded to have enjoyed the experience also, with practically all orchestral departments making notable contributions along the way.

The issue at the centre of Schumann’s fourth symphony is one of form rather than nuance of sonority, though of course that plays a major role – particularly between the two versions of the work that exist. Sticking to the later version, with its thicker textures, Serebrier encouraged a reading that was full of vitality. Having the major themes reoccur in a variety of guises across the movements can often pose problems for conductors regarding the choice of precise tempi and the interrelationship of moods as a consequence. There was none of that confusion here though as Serebrier’s experience paid dividends. He made Schumann’s tricky transitions into particular points of interest and used them to effectively unify the work’s overall structure. Appropriately, passions grew inexorably towards the final movement climax, which surged with full bodied vigour in the brass particularly.

A final reflection is worth mention: Scottish audiences have long appreciated the quality of José Serebrier’s musicality, but for the London public this was the first opportunity for a number of years. Hopefully more concerts will be forthcoming down south before too long.

 

Evan Dickerson