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Britten, Sibelius, Elgar: Lisa Batiashvili (violin), London Philharmonic Orchestra, Martyn Brabbins, Royal Festival Hall, London, 21.1.2009 (BBr)

Britten: Four Sea Interludes, from Peter Grimes, op.33a (1945)
Sibelius: Violin Concerto in D minor, op.47 (1903 rev 1905)
Elgar: Variations on an Original Theme, Enigma, op.36 (1899)


The indisposition of Yuri Temirkanov brought Martyn Brabbins to the podium and, to be honest, I was somewhat disappointed for I really wanted to hear the Russian’s interpretation of such a quintessentially English work as the Enigma. In the event, with no disrespect to Mr Temirkanov, I think that we had the better deal.

Brabbins’s view of the outer pieces was that they were to be heard as single spans. The Sea Interludes were full of the salty tang of the sea, and coming in from a wet and miserable London evening, passing the River Thames, with the smell of salt water in our nostrils, one felt it all the more strongly. Allowing each piece to start as the previous one was still either playing or ringing in the ears, the single span really made for a satisfying whole culminating in a kind of Concerto for Orchestra in the concluding Storm – a truly frightening vision.

The Concerto was a revelation. I am always moaning about a lack of real pianissimo in performance but tonight Brabbins achieved what I was beginning to think was the impossible – such quiet playing that the sound was almost inaudible but yet clearly defined: the quietude was truly miraculous, the soloist barely a murmur on her first entry; everything was hushed and magical but full of expectation. Indeed, the sound was so quiet that you could have heard a feather drop. And from this astonishing start Brabbins and his soloist built a first movement of strength and majesty. The slow movement was no less well done, there is a more continuous orchestral web here and the LPO made the most of it, Batiashvili, by turns, winsome and passionate. The finale isn’t really up to the rest of the work in terms of inspiration but it makes a fun conclusion and a good time was had by all. This was a fine performance in every way and Brabbins proved himself to be superb accompanist, both finely tuned to what the soloist was doing and ensuring a full, but never overpowering, accompaniment.

The show ended with a gripping account of the Enigma Variations. As with the Sea Interludes Brabbins chose to give this as an almost continuous whole – only making a short pause after Nimrod – and, hitting almost perfect tempi throughout, this old friend appeared bright and shining. It is easy to forget, because of our long knowledge of the music, the many felicitous touches Elgar brings to his orchestration – the use of solo stringed instruments, the chattering woodwinds, the carefully placed brass phrases and the introduction of the organ at the climax of the whole piece – but tonight we were reminded of them all. We also had the pleasure of the RFH organ and, even if it was almost always covered by the orchestra’s climax, one felt the pedal entry which heralds the close. It was a thrilling moment.

Unfortunately, the sound was a bit lacklustre, a fault of the hall not the musicians. But Brabbins’s work just gets better and better and this was a show of which both he and the LPO can be proud.

Bob Briggs


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