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SEEN AND HEARD INTERNATIONAL
CONCERT REVIEW
Ravel : Mother Goose
Szymanowski : Violin Concertos Nos. 1 & 2
Roussel : Bacchus et Ariane Suite No. 2
Here's fantastic programming: Both of Karol Szymanowski's
Violin Concertos in one evening and Albert Roussel's "Bacchus et
Ariane" as dessert. In light of that Maurice Ravel's Mother Goose
as the appetizer (pâté?) may not be a necessary addition to this
already rich fare, but in Stéphane Denève's tender, empathetic,
variously hushed and lively rendition (albeit one far away from
the percussive world of the original two-piano version) it
certainly whetted the appetite for what was to come.
I don't remember last seeing Szymanowski on a concert program in
Germany [actually, I do remember now: it was a little over two
years ago,
with the same orchestra in the same town], and perhaps he has
the occasional outing, but they must be few, and far between. A
pity really, because his romantic-impressionist idiom, tempered by
folk rhythms à la Bartók, is an alluring and unique mix. Frank
Peter Zimmermann apparently thinks so, too, which is why he-as the
Bavarian Radio Symphony Orchestra's Artist in Residence-programmed
the two violin concertos for himself to perform… and picked
Stéphane Denève, the new man at the helm of the SWR-RSO Stuttgart
where he succeeds Roger Norrington after 13 wildly successful
years, to conduct the program.
The two concertos, presented before and after intermission in
chronological order, show off the various sides of Szymanowski's
compositional style-and the contrast between them-very nicely. The
First, op.35 from 1916, displays the flittering romanticism of a
restless Debussy with perhaps a hint of the more conventional
style we find in his contemporary Josef Suk. The 16 years younger
Second Concerto, op.61, shows more of the rough and angular
additions to Szymanowski's vocabulary.
Zimmermann has long championed these works and in 2009 he added
his recording (Sony) to the slowly growing catalog that used to be
dominated for years by Thomas Zehetmair's excellent performances
with Simon Rattle on EMI. In performance 'FPZ' is-in the best
sense of the word-redoubtable… always his seemingly invariably
excellent and tasteful self. In concertos that don't need any
glitz added to shine, his clear perfection can carry the day
alone. In this case he added searing urgency, navigated the
cadenzas-both written by the dedicatee and collaborator of these
concertos, Paweł Kochański-with consummate skill and brazing
gruff, growling with excitement at one point.
The slow opening of the Second Concerto is rich and heartrending
and seems to continue, more or less, the voice of the First. But
soon the chugging rhythms challenge the lyricism-a back and forth
that goes on to dominate the sinuously tense concerto throughout.
It was a treat and well recognized by the BRSO's grateful audience
which-thanks to the slightly more daring programming of that
orchestral body-is the most open minded among Munich's three big
symphonic orchestra's. (The truly explorative ears subscribe to
the Munich Chamber Orchestra.)
It would have seemed that adding anything else after such a
complex and rewarding meal might have been well intentioned
overkill. And perhaps it was, but Albert Roussel's Second Suite
from Bacchus et Ariane was done too magnificently to complain.
There was more color in the playing this evening-and particularly
in the Roussel-as one might otherwise get in an entire BRSO season
as Denève went all out trying to get atmosphere from every section
while benefitting from the orchestra's technical excellence along
the way.
Jens F. Laurson
Jens F. Laurson is the Critic-at-Large for
Classical
WETA 90.9, Washington DC