Moscow-born
conductor Vladimir Jurowski launched his international
career with a performance of Rimsky-Korsakov’s
May Night at
the Wexford Festival in 1995. Thirteen years later he is
principal conductor of the London Philharmonic and music
director at Glyndebourne Opera, two high-profile posts
that will surely enhance his reputation even further. And
if this DVD is anything to go by behind those dark, somewhat
ascetic, good looks and smart Nehru suit lurks a very promising
musician indeed.
Disc
1 includes a 50-minute interview with the conductor, Disc
2 a special ‘conductor cam’ version of the concert. The
latter, a picture-in-picture displayed at the bottom of
your screen, allows you to watch the conductor as if you
were in the orchestra. I’m normally a little sceptical
about these ‘extras’ but I was actually rather fascinated
by his conducting style. I imagine conducting students
might find this particularly interesting but the novelty
does wear off after a while.
It
seems more concert DVDs are offering ‘add-ons’, some of
which are more successful than others. Semyon Bychkov’s
Vision
Mahler (see
review)
has an abstract visual ‘interpretation’ of Mahler’s
Second
Symphony and Kent Nagano’s performance of Richard Strauss’s
Alpine
Symphony (see
review)
has unusual bird’s-eye and macro camerawork. The visuals
are quite compelling in the Mahler but I wouldn’t want
to watch them again; in the Strauss the camera angles seem
a little gimmicky at first but it’s such a riveting performance
that any misgivings are soon forgotten.
This
Jurowski concert was recorded live in the newly refurbished
Royal Festival Hall last September. One of my very favourite
places on earth this post-war concrete-and-glass monstrosity
has a quirky character that’s endeared it to generations
of concertgoers. I’m not sure the revamp has improved the
space, and listening to a Philharmonia concert last December
I felt the promised acoustic enhancements hadn’t been delivered
either.
My
doubts about the acoustics were quickly dispelled by a
luminously beautiful rendition of the prelude to Act I
and Act III finale of
Parsifal. I was most impressed
with Jurowski’s finely calibrated performance, the LPO
responding magnificently to his every demand. There may
be a few minor fluffs – it’s a live performance, after
all – but the music has an inner glow that is both thrilling
and deeply moving. On ‘conductor cam’ I found myself mesmerised
by the conductor’s long, spatulate fingers as they shape
the music. He certainly has a powerful podium presence,
refreshingly free of distracting antics or mannerisms.
By
all accounts Berg’s
Three Pieces for Orchestra, written
for Schoenberg’s 40
th birthday on 13 September
1914, had a difficult gestation. The composer was still
very much in awe of his teacher, so perhaps it’s not surprising
that only the first and third movements were ready in time.
The second,
Reigen, followed in 1915. One would
never guess at all this indecisiveness and soul searching,
such is the remarkable clarity and assurance of this seminal
score.
Präludium, marked ‘Langsam’, is economically scored, spare yet not quite free
of its Romantic roots. The murmur of percussion at the
start may signal a different sound world but Jurowski’s
warmly expansive reading emphasises the music’s links to
the past; just listen to those Mahlerian
Ländler in
the second movement,
for instance. The LPO brass
are grotesque here, but discreetly so.
Given
Jurowski’s treatment of the score so far I was curious
to hear what he’d make of the gaunt but massive
Märsch.
I needn’t have worried because he brings out all the weight
and thrust of this music, the echoes of Mahler’s doom-laden
Sixth Symphony all
too audible. The audience respond with enthusiasm to this
stirring performance, and rightly so, but I imagine Mahler
is the big draw here.
The
cantata
Das klagende Lied (The Song of Lament) was
begun in 1878, completed in 1880 and revised in 1898. In
a letter to the Viennese critic Max Marschalk, Mahler wrote: ‘The
first of my works in which I found myself as “Mahler” is
a fairy tale for orchestra, chorus and soloists,
Das
klagende Lied. This work I designated as my op. 1.’
This
early piece, steeped in the dark, supernatural world of
the brothers Grimm and Weber’s pivotal opera
Der Freischütz, is
also the seedbed for many of Mahler’s later works. The
first version, submitted for the Beethoven Prize in 1881,
is not as sleek or accomplished as the later one but it
does portray the composer at his most rustic. It also shows
him adapting folk tales, in this case
The Singing Bone.
The
long instrumental prelude to
Waldmärchen (Forest
Legends) brims with vitality, the folk-like tunes played
with great lilt and affection by the LPO. This is as disarming
as anything Mahler ever wrote and hearing it for the first
time in years reminded me of its manifold charms. That
said it’s not flawless and the work does have its
longueurs. But
as Jurowski points out, the composer is ‘more cutting edge,
more avant-garde’ in his unrevised scores, a view justified
by the daring harmonies and naturalistic effects of
Das
klagende Lied.
The
LPO play with great concentration and produce some ravishing
sounds, but the soloists are a tad disappointing. Hendrick
and Michaels-Moore don’t seem terribly engaged, but then
the recording does set them rather far back. Of the female
soloists Montalvo sounds a little pinched at times, Fassbender
generally steadier and more ingratiating. The chorus also
seem a bit distant, which made me long for a crisper, more
incisive sound.
Despite
these shortcomings the instrumental prelude to
Der Spielmann (The
Minstrel) is delightfully done, with some lovely string
playing; even the soloists seem to have settled down somewhat.
Only the boy soprano David Christopher Ragusa looks and
sounds a little nervous. Jurowski finds the elusive Mahlerian
pulse in this movement, the LPO alert to the rhythms and
embryonic musical ideas that emerge, fully formed, in the
symphonies.
The
rumbustious start to the
Hochzeitsstück (Wedding
Piece) is crowned by thrilling cymbals and underpinned
by thundering timps, yet it still retains a wonderful sense
of transparency and focus. In full cry the chorus sound
splendid too, Fassbender’s ‘Why is the king so pale and
silent’ sung with great feeling; the
echt-Mahlerian
horns that follow are glorious, the trombones dark and
throaty. At this stage of the evening there is an air of
concentration in the hall, a real sense of live music-making
at its best. Ragusa still struggles with his high notes,
but really this isn’t enough to blight an otherwise remarkably
intense performance. The applause and cheers, although
not ecstatic, are certainly appreciative and must augur
well for Jurowski’s future with the LPO.
Inevitably
this blossoming relationship between orchestra and conductor
is touched upon in the accompanying interview with Medici
Arts president Stephen Wright. Jurowski puts it all down
to the ‘chemistry’ he felt when he stood in for Yuri Temirkanov
in 2001. He feels the orchestra has many fine qualities,
among them the ability to ‘abandon themselves to the music’.
This may seem a strange comment, given the LPO’s warm,
cultured sound, but anyone who has heard this band over
the years will know they do take risks – for
the right conductor. Just think back to Klaus Tennstedt’s
all-too-brief tenure with the LPO and the memorable Mahler
coverts they did together. Clearly Jurowski wants a similar
relationship with the orchestra and it will be interesting
to see whether this ‘chemistry’ continues to work in the
hall and the studio.
Although
Jurowski seems reasonably relaxed and articulate Wright’s
questions and interviewing style is too formal for comfort,
even a little wooden. Nevertheless Jurowski doesn’t duck
the difficult questions, chiding the major recording companies
for only concentrating on repertoire that sells. Given
that he is committed to new and unfamiliar works it will
be interesting to see how he squares that particular circle.
Technically,
the picture quality of this DVD is excellent but Rhodri
Huw’s video direction is a little pedestrian, with close-ups
of instruments we can’t actually hear at that point. To
be fair it’s a common problem with filmed concerts and
a mildly irritating one but it’s not enough to spoil an
otherwise satisfying concert. Sound quality is also fine,
although I had difficulty selecting the PCM stereo option
from the main menu. That may account for the soft-grained,
somewhat veiled sound I remarked on earlier. I really do
prefer uncompressed PCM stereo, as it’s usually much crisper
and better focused.
Don’t
expect a lavish booklet or song texts because all you get
is a trilingual pamphlet that contains little or no useful
information. And then there’s the double gatefold box,
which is flimsy and will soon show signs of wear and tear.
Really, I would prefer more substantial literature and
sturdier packaging to ephemeral ‘extras’. Given that this
set retails for around £20 it isn’t particularly good value.
Caveats
aside, this is a concert – and conductor – that’s well
worth watching.
Dan
Morgan