SEEN AND HEARD INTERNATIONAL

Prokofiev, Gubaidulina:  Anne Sophie Mutter (violin); LSO
conducted by André Previn. Barbican Hall, 27.10. 2007 (CC)

The last time I heard Prokofiev's Fifth with this orchestra was under the baton of John Eliot Gardiner back in April 2003. That was an impressive event, but André Previn trumped Gardiner on almost every count. Previn recorded this very work with this same orchestra back in 1974, while MusicWeb's own AR caught Previn's Oslo account at the 2004 Proms. From the evidence of this concert, Previn's conception has not changed significantly. Detailing was clearly a priority, with Previn revealing penetrating insight into Prokofiev's orchestration and pacing.

Previn conducted from a seated position. His ecomony of gesture (possibly enforced, given his age and frailty) seemed perfecty apt to a reading that was obviously the result of deep consideration. The deep, lava-like mass of strings that moved unstoppably at the first movement climax could be heard as a true statement of intent, a recognition of this work's stature. In keeping with this outlook, the Allegro marcato second movement was mischievous rather than manic (in fact, it was rather balletic). Previn had one marvelling anew at Prokofiev's miraculous orchestration in the Adagio before the finale headed towards its zany conclusion.

It was for Sofia Gubaidulina's In tempus praesens ('In the present time', her Second Violin Concerto) that I for one had turned up, though. Anne-Sophie Mutter's credentials in modern music are unparalleled; indeed, this work was dedicated to her (Gubaidulina's first violin concerto, Offertorium, was dedicated to Gidon Kremer). This was the UK Premiere of In tempus praesens, and the composer was present.

Gubaidulina omitted orchestral violins in her scoring, highlighting the solo. The composer's use of her orchestra was masterly. Harpsichord and a battery of percussion was deployed with an expert hand, while horns doubled on Wagner tubas for tonal variety. Mutter simply revelled in the lyric opportunites afforded to her. Long lines were as lovingly phrased as the purest Bach might have been. If occasionally the piece presented itself as a long sequence of cadenzas with a recurring buzzing violin transmuting itself into harpsichord gesture, there is little doubt that this work will seriously repay repeated listenings (will Mutter record this?. There were microphones present, but given Mutter's DG contract I suspect they were either there for an LSO Live Prokofiev Fifth or for the LSO's own archives). One extremely  impressive passage was one that featured funeral march-like repetitions of a particular rhythm (repetitions that bordered on the obsessive). The climax of this extended area led to a magnificently placatory violin solo.

This was memorable music making. If the Prokofiev was impressive, the Gubaidulina was simply jaw-dropping for the sheer expanse of the composer's imagination and for Mutter's heartfelt response to it.

Colin Clarke

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