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SEEN
AND HEARD CONCERT REVIEW
Mussorgsky, Bruch, Liszt, Dvořák: Lara St John (violin), Royal Philharmonic Orchestra, Josep
Caballé–Domenech,
Cadogan Hall, London, 14.10.2008 (BBr)
Mussorgsky, arranged by Rimsky–Korsakov:
Night on the Bare Mountain (1866)
Max
Bruch:
Violin Concerto No.1 in G minor, op.26 (1864/1866 rev 1868)
Liszt, arranged by Martin Kennedy and Lara St John:
Totentanz (1838 – 1849 rev 1853 and 1859)
Dvořák:
Symphony No.9 in E minor, From the New World, op.95 (1893)
Here’s a well planned concert of popular classics which has much to
offer. Starting with a hair–raising performance of Rimsky’s version
of Mussorgsky’s Night on a Bare Mountain the RPO, on top
form, threw itself into the fun of the game with a vengeance. How
much better it would have been to have had Mussorgsky’s original
version which is truly startling and doesn’t have a pretty ending.
But I’m happy with what we got for it was very well done.
Bruch’s Concerto is a well trodden path but tonight Canadian
Lara St John really gave herself to the piece and produced as fine a
performance, occasionally throwing caution to the wind, as I have
ever heard. The slow movement was meltingly beautiful and the finale
full of fireworks. The wind section must be mentioned here for it
was magnificent throughout.
It cannot be denied that Totentanz is a magnificent work for
piano and orchestra and I am of the opinion that the reason Liszt
wrote it that way is because it would simply
not work as a work for violin and orchestra. Lara St John has said
however,
“I have long been rather miffed at (Liszt) for not having written
anything for violin and orchestra, and I consider this Totentanz
(arrangement) a solution to that small oversight.” One of the
important things about the Liszt original is the amount of
weight he gives to the left hand of the piano, especially when it
joins with the heavy brass, an impossibility in
a version for violin. All that this arrangement does is show off
St John’s fabulous technique well enough, but not much of her
musicality. In the end, this arrangement is a piece
which does Ms St John no real favours and to
show off the whole of her undoubted talents, she might have done
better to have approached one of Canada’s many superb composers for
a new work, perhaps John Estacio, Christos Hatzis, Andrew P MacDonald or
Rodney Sharman to name only a few. Any one of them could
have supplied a work showing off Ms St. John's gifts to the
full.
Dvořák’s
New World was played “without frills”. The conductor chose
not to impose anything on the music and what we got was a straightforward account of this great work which didn’t explore any new
avenues or unearth any hitherto unknown secrets. The brass really
came into their own here and special mention must be made of the
section, also special plaudits for Leila Ward for her beautiful
playing of the famous slow movement theme.
I have known the work of Josep Caballé–Domenech from both live radio broadcasts and
records but this was the first time I had seen him at work. He
delivered finely rehearsed performances which made musical sense and
were satisfying but just occasionally I wanted him to tell me
something I didn’t know about the music. The RPO responded to him
with some fine playing, especially in the Concerto where they
did more than just accompany. Not
a total musical success, perhaps, but still an enjoyable night in
the Concert Hall.
Bob Briggs