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Berg, Mahler:  Christian Tetzlaff (violin); Philharmonia Orchestra/Esa-Pekka Salonen. Royal Festival Hall, London, 28.5.2009 (CC)


The solo part to the Berg Violin Concerto must be one of the toughest nuts to crack in the repertoire. Unfortunately, the main problems with this performance lay with soloist Christian Tetzlaff, who began with an ungrateful tone and failed to project enough. Once he had got the measure of the acoustic, there was plenty to admire, from the virtuoso harmonics through the superb stopping (especially in the second part cadenza). The problem was that the ear was constantly drawn to the orchestra, not because of imbalance, but because what was going on there was so perfectly delivered. The opening arpeggiations were given at an almost inaudible level that reduced the audience to complete silence. The orchestra was warm-toned but everything was beautifully delineated. Nods to “topics” (to borrow a term from Kofi Agawu’s recent book, Music as Discourse - references to pre-extant forms as expressive devices, in this case predominantly waltz and chorale) were supremely integrated into the Bergian fabric. Hauptstimmen and Nebenstimmen were audibly clear, as was the shattering import of the climactic Hauptrhythmus. The work’s final chorale statements emerged as redemptive balm in context, their function underlined by the Expressionist complexities that preceded them. Salonen’s conducting of the opening of the second part was exemplary, too, his clarity ensuring accents bit as they punctuated the Urschrei. Without doubt, with a better soloist this could have been an overwhelming experience.

So, although a vast improvement on Mullova/Jordan (again with the Philharmonia) in 2006, this performance was far from revelatory from the soloist’s point of view. Salonen, in his keen understanding of the orchestra’s role, his ear for detail and his sheer grasp of the piece,  far outstripped most rivals (interestingly, Brüggen, back in 2003 accompanying Benjamin Schmid, was almost his equal). Still, Tetzlaff thought that the audience liked him, because he gave a brief encore, the Largo from Bach’s Solo Sonata No. 3.

The Mahler Sixth revealed just how special the Salonen/Philharmonia relationship is rapidly becoming. Salonen’s fluid but intensely clear beat means that he can do, technically, anything he wants. Rubato was superbly judged and controlled. Plus, he clearly inspires the musicians to give their best. The brass section was superb throughout, not least in the opening March. Properly heavy, this movement included some passages that could only be described as harrowing.

The second movement was less convincing. Salonen puts the Scherzo second but he softened its impact. The tempo seemed slightly restrained, and nightmarish elements were minimised. In compensation came a fine Andante (special mention due here to the solo oboist, Christopher Cowle) shot through with warmth and approachability. The climax was a blissful outpouring.

The long finale began on the brink of disintegration. Superb tuba solos (Peter Smith) made full impact, but after such a fine beginning, one missed the sheer frenzy of many later passages. Salonen steered his forces with utter confidence through this great final movement, culminating in a spine-chilling cry before the final thud. The third hammer blow was omitted.

Salonen is achieving magnificent things with the Philharmonia. This was not a Sixth that left one shattered (as Bernstein’s VPO DG account assuredly does, DG Galleria 427 697-2), but it was one that was intensely satisfying. Salonen has yet to record the Sixth. Perhaps he is biding his time - a wise decision. There is a truly special Sixth bursting to get out here.

The concert is scheduled for broadcast (Radio 3) on June 2^nd at 730pm.

Colin Clarke


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