SEEN AND HEARD INTERNATIONAL

SEEN AND HEARD UK  CONCERT  REVIEW
 

Beethoven, Bruch and Sibelius: Fenella Humphreys (violin), London Phoenix Orchestra, Levon Parikian, St John’s, Smith Square, London, 3.11.2010 (BBr)

Beethoven: Overture Leonore No.3, op.72a (1805 rev 1806)

Bruch: Violin Concerto No.1 in G minor, Op. 26 (1866)
Sibelius: Symphony No.2 in D, op.43 (1902)

 

The London Phoenix Orchestra got its new season off to a fine start with a very positive account of Sibelius’s mighty Second Symphony. Whilst there was no lack of tension, Levon Parikian seemed more interested in the natural aspects of the first movement and the story-telling feel of the second and fourth. The opening allegretto conjured up a nature scene – a troubled landscape to be sure, but one which held no terrors. This was very nicely paced. The slow movement was full of mystery at the start, with distant, ghostly pizzicato in the celli and basses, then the bassoons beginning the tale. There were thrills a–plenty, supplied by some full voiced brass playing, which was matched by the most restrained and idyllic string playing in the beautiful B major section.

There’s not a lot you can do with the scherzo except play it; it’s a rather weak movement overall, but the transition into the finale is an example, in embryo, of what Sibelius would achieve when revising the first and second movements of his Fifth Symphony into one, and here Parikian screwed up the pressure until the big tune of the finale burst forth in all its blazing glory. I was very impressed with the way Parikian slightly held back the cortège sections, so as to allow for maximum contrast with the big theme and then he could build the final climax with an intensity and power which crowned the whole work. Also, this way he managed to avoid letting the music descend into bombast. My only complaint is my usual one for this venue: it was impossible to achieve a pianissimo and the volume was occasionally too much for the music, but St John’s is a big acoustic and there’s not a lot you can do to combat that. I know the work of this orchestra and the players’ commitment and enthusiasm cannot be questioned; they threw themselves, heart and soul, into the music.

Before the interval, Fenella Humphreys gave a strong and well-delineated account of Max Bruch’s most famous work. Nothing here was routine; she had worked out what to say and how to say it. Parikian understood what Ms Humphreys wanted to do and gave solid support, but he never let the orchestra get in the way of her flights of fancy. The slow movement was graceful and very beautiful and the finale was full of fireworks. How I wish to hear her playing the Brahms; she would seem to be the right fiddler for that great work, for with her attitude and thoughtful playing it might have been tailor made for her.

Beethoven’s third Leonore Overture had lots of good things in it, including a nicely distanced solo trumpet and a brilliant coda, and it got things off to a rousing start. This was a nicely planned and executed show and there’s lots more to come this season.

Bob Briggs