SEEN AND HEARD INTERNATIONAL

Tchaikovsky: Nemanja Radulovic (violin), Royal Philharmonic Orchestra, Grzegorz Nowak, Cadogan Hall, London, 5.10.2010 (BBr)

Tchaikovsky: Polonaise from Eugene Onegin, op.24 (1879)

Violin Concerto in D, op.35 (1877)

Symphony No.6 in B minor, Pathétique, op.74 (1893)

 

In lieu of an Overture, the Polonaise from Eugene Onegin made a marvellously ebullient start to proceedings and raised the temperature to the right level for the Violin Concerto.

 

Nemanja Radulovic (b.1985) is a young Serbian violinist who has won many awards, including the Georges Enescu Competition in Bucharest, the Antonio Stradivari Competition in Cremona, the Yehudi Menuhin Competition in Boulogne–sur–Mer and the Wieniawski–Lipinksi Competition in Poland. The really good news is that here is a musician who is actually worthy of the prizes he has taken for he is a thoughtful, intelligent and fiery player who can, on the strength of what I heard tonight, really penetrate to the heart of the music he is playing. His performance of the Concerto was something special in that he never allowed his obviously spectacular technique get in the way of the music making. The lyrical lines were as rich and warm as possible, and when fireworks were called for he was able to let go and he played like a demon. It’s playing like this that reminds one of the story that Paganini sold his soul to the devil in exchange for his virtuosity. I am sure that Radulovic hasn’t made such a pact with Old Nick, but his technique and musical intelligence seem more than man-made. I marvel at this young man and am more than happy to have been introduced to such a fantastic talent at the start of what, I am sure, will be a towering career.

 

After an interval, essential to allow us to recover from the excitement of Radulovic’s playing, Nowak directed a very fine account of Tchaikovsky’s last symphony. Nowak’s interpretation impressed because he wasn’t going to allow himself to wallow in self pity – an easy thing to do in this work. Starting with the most blissful pianissimo, Nowak built the music to the first climax, which he held back, allowing the second theme really to sing. Only after this did he unleash the violent forces; the development section of the movement was wild and unbridled and the tension was sustained even during the reprise of the “big tune”. The coda was given not as a sorrowful processional but as a restrained comment on what had gone before. The lop–sided waltz of the second movement had the real feel of dance, and Nowak’s light touch was superb here. There’s not much you can do with the famous scherzo but play it and let it run its course, which is what happened and it was all the more enjoyable for it. The finale was regretful but never despairing, fading away into the distance not with remorse but a wistfulness – if I may mangle T S Eliot’s famous words.

 

If the Royal Philharmonic hadn’t secured the services of Charles Dutoit I would be demanding that Grzegorz Nowak be immediately appointed chief conductor for he has a rapport with the musicians and they obviously enjoy playing for him. His concerts are always worth attending and with the RPO on top form we have as exciting a combination of musicians as one could hope for in London. I can hardly wait for the next show when they all get together again.

 

Bob Briggs