SEEN AND HEARD INTERNATIONAL

Grieg, Bruch and Beethoven: Sarah Chang (violin), Philharmonia Orchestra, Joji Hattori, Royal Festival Hall, London, 7.5.2009 (BBr)

Grieg: Peer Gynt Suite No.1, op.46 (1874 – 1888)
Max Bruch: Violin Concerto No.1 in G minor, op.26 (1869)
Beethoven: Symphony No.7 in A, op.92 ((1811/1812)


A very pleasing programme of well known works, obviously aimed at getting a full hall – nothing wrong with that. Hattori’s interpretation of the 1^st Peer Gynt Suite was absolutely spot on. Morning was delightful, a real daybreak with gorgeous solos from principal flute and oboe – Kenneth Smith and Gordon Hunt. Death of Åse brought some ravishing pianissimo string playing as well as rich sonorities and Anitra’s Dance was suitably light and fleet of foot. The final In the Hall of the Mountain King was well built, from its quiet opening, into a furious rush of trolls, shouting and screaming as they chase Peer out of the castle of the king of the Dovre. This was a superb performance, the music really coming alive and appearing very fresh and not the work we’ve been taking for granted for years.

Because of this I felt that the rest of the show would be of an equal standard. Bruch’s well known Violin Concerto received the première class treatment. Chang went all out for the piece, singing her lines lovingly and bringing a special feel to the work, again, as if seeing the music anew. The slow movement was especially heart rending, the solo line soaring above the orchestra as if in ecstasy.  It was in the finale where I felt that something was not quite right. Although Ms Chang ended her performance with a big smile on her face I had the feeling that the music had been pushed too much, and thus, although very exciting, it wasn’t musically satisfying. But this was a passing thought and I assumed that I must simply have misunderstood the interpretation.

As soon as the Beethoven started I knew that I had been right about the finale of the Concerto. The Poco Sostenuto introduction to the first movement was too fast and insufficiently sostenuto and the ensuing Vivace, because of its speed, simply didn’t speak as it should. Indeed, all three fast movements seemed quite wilful in this interpretation. There were fine gradations of volume, but there was no light and shade – the music never relaxed and, worst of all, it never smiled; Beethoven might have been a bit of a curmudgeon but he knew how to have a laugh! Strangely, in the slow movement I had a feeling of Brechtian alienation, such as the straight forward reading of the music, and it worked very well, but it was swept away by what followed. On the plus side, Hattori repeated the first movement exposition and the second section of the scherzo.

At the end the audience unleashed an ovation, and the performance, by a superb Philharmonia Orchestra, certainly deserved it, Hattori’s interpretation, however, did not.

Bob Briggs


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