Tag Archive for ‘London Symphony Orchestra’
Capo di tutti capi. If you must have a gang invade your turf, let it be a gang of scintillating Russian conductors. The UK is in that enviable position – for some reason the Russians haven’t made real inroads in America – and Valery Gergiev in particular has London at his feet. All but the critics, that is. They are grumpy about Gergiev, and admittedly he is a grandstander. His first concert this summer was a program of almost amusing arrogance as he led the World Orchestra for Peace in the Mahler Fourth and Fifth symphonies. One knew in advance that it would be too much of a glorious thing. The mega-wattage of the orchestra, which draws its roster from the great orchestras of the world (even the back bench violins are first and second desk players at home) insured an evening of thrills. This ad hoc ensemble premiered in 1995, the brain child of Sir Georg Solti, who wanted it to symbolize harmony among all peoples. High-flown sentiments, but on the rare occasions when the World Orchestra assembles, with Gergiev now at the head, even the citizens of Berlin and Vienna have to take notice. This is orchestral playing of sizzling virtuosity.
Daniel Harding, Renaud Capuçon, and the LSO play Bruch’s Violin Concerto No. 1 and Bruckner’s Seventh
Dandies and philosophers. I hate the use of the word “warhorse” to describe beloved music that is taxed by being overly familiar. But almost nobody refers to the Bruch violin concerto in any other way. It’s a frayed Victorian valentine, relying on luscious melody, the scent of heliotrope, and moonlight over the Tyrol as its claim to fame. The young French violinist Renaud Capuçon accepted this without a blush or smirk. He was determined to give a reading as gorgeously romantic as taste would allow. His success centered on a honeyed but never syrupy tone. More than that, he knew how to blend into the orchestral strings, which served not to drown him out but to amplify his sound. (Here I think Capuçon was taking advantage of the three years when he served as first among equals as concertmaster of the Gustav Mahler Youth Orchestra.)
The Scottish composer James MacMillan is not nearly as well-known in the United States as he is in Britain. Hence it is a good thing that an outstanding recording of his St. John Passion is available from LSO Live for purchase as discs or as an iTunes download, as the BSO prepares to perform it under Sir Colin Davis, who commissioned the work as part of his 80th birthday celebrations. There is no better introduction to a composer or to a work than simply to listen to it, and a recording fills the requirement nicely, especially of a performance by Sir Colin, who has a special gift in presenting unfamiliar music with the passionate convication that it is the very best of its kind.
London Symphony Orchestra, The Barbican, Sir Colin Davis conductor, Nikolaj Znaider violin: Jan Sibelius, Les Océanides, Violin Concerto, Symphony No 4
Ugliness, thy name is Barbican. No other great orchestra has been miserably consigned to a concrete mausoleum of art except the London Symphony. I went to hear them last night in an all-Sibelius program under Sir Colin Davis. One approaches the Barbican by trudging through an underpass with four lanes of traffic two feet from your elbow and banks of jaundice-colored sodium vapour lamps overhead. The building itself looks like something airlifted intact from East Berlin. The architectural style is a spawn of Brutalism, a masochistic favourite with the British in the post-war era, but without being quite as punitive.
Two of the best recordings of Messiah are among the most recent. They could not be more different; one is is an eclectic text performed by larger forces using modern instruments, Sir Colin Davis’ most recent version, a live performance recorded at the Barbican in December 2006, the other a performance of the Dublin version of 1742 by a small consort using historical performance practices; but they are unquestionably among the finest performances of Handel’s masterpiece ever, and only a listener who has a seated prejudice against one mode of performance or the other could have any reason to choose between them. One must have both. And don’t forget Malcolm Sargent’s classic 1945 performance with the Liverpool Philharmonic and the Huddersfield Choral Society, available in a superb transfer on Dutton Records, for something completely different!