SEEN AND HEARD INTERNATIONAL

Elgar: Royal Philharmonic Orchestra's  'Green and Pleasant Land' Series, Nigel Kennedy (vln)  Royal Philharmonic Orchestra - Leonard Slatkin (Conductor) Royal Festival Hall, 12.3.2008 (RC)

Elgar - Symphony No.2

Elgar - Violin Concerto


In a recent interview Nigel Kennedy said that he particularly wanted Leonard Slatkin to conduct him and the RPO in the Elgar concerto, describing the conductor as one who “reads the score, respects what the composer does and works well with musicians”. Undoubtedly many in the large and enthusiastic audience were there to hear (and see) Kennedy in the Concerto. However, in the first half we were also treated to a performance of the Second Symphony which demonstrated Slatkin’s unsentimental, no-nonsense approach to Elgar.

In the Symphony’s first movement Slatkin achieved a convincing ebb and flow between sections, allowing the cellos to sing when required and sensitively shaping the woodwind solos. If the RPO’s playing lacked the last degree of finesse it made up for it in energy and commitment. It was arguably a mistake to allow latecomers into the hall before the Larghetto, creating a disturbance which clearly unsettled Slatkin. The movement failed to achieve the tragic pathos found in the finest performances, and when the cortège resumed after the first climax I found myself wanting greater expressivity in the oboe obbligato. The Rondo third movement was undeniably exciting but again I wished that the lyrical passages were more lovingly shaped. In the final Moderato e maestoso Slatkin recaptured some of the fire of the first movement, and there was some impressive ensemble playing in the development section. The sequential unfolding of the final climax was well handled though the final coda left me slightly underwhelmed.

Kennedy’s approach to the Violin Concerto is highly personal, wringing every last drop of emotion from the music. After Slatkin’s business-like orchestral exposition, the solo entry launched a performance ranging from the most hushed of moments to those of hectic excitement. The Andante successfully projected the complexities of mood found in Elgar’s greatest music, and Kennedy played with such quasi-improvisatory freedom in places that the music almost came to a standstill. The final movement demonstrated some dazzling virtuosity, with Kennedy continually taking risks that mostly paid off. The accompanied cadenza displayed intense concentration and at times achieved a profound sense of peace and consolation. The triumphant close completed a performance that was undeniably compelling in its emotional honesty.

Robert Costin

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