Lutoslawski festival -  Salonen and Zimerman turn on the style 

Lutoslawski: Musique funebre
Lutoslawski: Piano Concerto
Ravel: Daphnis et Chloe ballet
 
Philharmonia Orchestra
Philharmonia Voices
Esa-Pekka Salonen conductor
Krystian Zimerman piano
 
30 January 2013, Royal Festival Hall, London
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Lutoslawski with Salonen

Lutoslawski has been a particular favourite of mine since I discovered his stunning 3rd Symphony – Beethoven for the late 20th century.  So it is a particular pleasure that Esa-Pekka Salonen and his Philharmonia Orchestra are playing a full tribute to the Polish composer on the 100 year anniversary of his birth in 1913.
 
The first concert of three at the Royal Festival Hall kicked off with the work that grabbed international attention for the composer at the second Warsaw Autumn Festival in 1958.  The Musique funebre has a tone equivalent to Strauss’ Metamorphosen and commemorates the 10th anniversary of the death of Bela Bartok.  It remains an arresting composition and Salonen was a model of restraint, emphasising the subdued and intimate atmosphere it generates. 
 

Lutoslawski and Zimerman performing together

From this followed the much later Piano Concerto of 1988 and we were treated to a typically polished and prepared performance from the work’s dedicatee – Krystian Zimerman.  Lutoslawski first discussed the project with Zimerman in 1976 so it had an extended gestation.   Thinner, often luminous orchestration is coupled with much surprisingly traditional writing for the piano.  Zimerman evoked the sparse, probing opening with the crystalline beauty we have come to expect, and revelled in the passacaglia finale which contains writing of a Lisztian bent.  In between it was possible to imagine that Chopin or Brahms were involved, but Lutoslawksi’s characteristic structural clarity, superb orchestration and magica improvisatory qualities were everywhere evident.  Kissing the score, Zimerman departed the stage after an ideal performance of this fine work.

After such concise, focused brilliance in the first half, it was perhaps unfair to throw out one of Ravel’s most bloated scores.  Fair or not, Daphnis well outstayed its welcome, however brilliantly it was played and sung by the Philharmonia Orchestra and Voices.   The orchestration was at times ravishing of course, but much of the ballet feels like sub- Rimsky-Korsakov and the worldless vocalising of the chorus has not dated well.

Bring on more Lutoslawski!

Prom 57 - Bach feeds 5000

Wagner: Parsifal – Act 3 Prelude and Good Friday Music

Berg: Violin Concerto

Richard Strauss: Der Rosenkavalier – suite

Ravel: La valse

Gustav Mahler Jugendorchester
Daniele Gatti conductor
Frank Peter Zimmermann violin 

26 August 2012, Royal Albert Hall, London

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The Gustav Mahler Youth Orchestra was founded in 1986 by Claudio Abbado and draws its members from the UK to Russia.   With the normal Proms programme, concert-goers were handed a separate programme covering the GMYO's 2012 Summer Tour.  Having two parallel programmes was actually quite instructive.  The GMYO's was a heavily corporate production on the orchestra's 25th anniversary, complete with words from the sponsors, president etc, and even a rather earnest Mission Statement ("Talent with professionalism, Musicianship without borders, Dedication and enthusiasm", in case you were wondering).  There were also some nice clashes: the GMYO was "the leading youth orchestra in the world" in its own brochure, but only "one of the world's leading youth orchestras" in the Proms programme.

Parsifal at Bayreuth in 2010 conducted by Daniele Gatti.  Photo: Enrico Nawrath

Gatti chose Wagner and Parsifal to open the concert.  In 2010 he directed the opera at Bayreuth and is booked to return again to the Wagner mecca. The GMYO sections are impressive units, and Gatti coaxed a nicely blended sound out of the group as a whole, although some on the woodwind were rather under-projecting their solo lines.  The concluding sections of this luminous music were beautifully shaped by conductor and orchestra.

Frank Peter Zimmermann

Alban Berg

With the Berg we were in for a treat with Frank Peter Zimmermann playing the solo part. Even after many listenings, Berg's melancholy and disturbing Violin Concerto has lost none of its mysterious power.  Sub-titled "To The Memory of an Angel", it was composed following the death at 18 of the daughter of close friends. The heart of the work comes as Berg quotes Bach's chorale Es ist genug ("It is enough!") in the woodwind.   And Bach reappeared, unexpectedly, as the highlight of the evening.  Zimmermann delivered an encore, the gently rocking Andante of Bach's A Minor Solo Violin Sonata.  It is music of simple, profound genius, and it was indescribably moving to see the Albert Hall - that 5000 capacity Colosseum - unified and transfixed by Zimmermann's hushed lullaby. 

The second half brought a cavalcade of waltzes.  First up was the pastiche of doubtful authenticity taken from Richard Strauss' opera Der Rosenkavalier.  Here too the competing programme notes diverged.  Did Strauss have no involvement in it and probably would have disliked it (Proms notes) or did he compose it possibly with some assistance from others such as Artur Rodzinski (GMYO notes)?  Personally I prefer the Proms version, as Strauss would surely have loathed the way it does not follow his own poetic conclusion to the opera but instead reprises high spirits from Act 2, and some of the gear changes between contrasted operatic moments are laughably insensitive. 

Things were taken to a whole extra level of sophistication with Ravel's masterwork La valse.  It was conceived as a homage to the great waltzes of Johann Strauss, but the First World War intervened and by its completion in 1920 Ravel had rounded it off with a violent climax which breaks the waltz with a terse, military conclusion.  It is a classic example (along with Bolero) of Ravel setting up a strictly rhythmic musical structure which then goes haywire at the end.  The GMYO brought an impressive, lithe sophistication to the piece with excellent contributions from the brass section, but Gatti rushed his fences at the end which substituted a frenzy for what should be a shocking change of rhythm - a virtual waltz-murder.

Peter O'Byrne