Saturday, October 12, 2024
Berliner Philharmonie, Herbert-von-Karajan-Straße, Berlin
Now in his mid-eighties, Marek Janowski might be described as a master of the Austro-German classics, not least the Symphonies of Bruckner. This Seventh started as a whisper, growing in intensity regarding volume and sound, transitions and tempo modifications (i.e. Nowak’s edition) handled as integral, the space afforded the opening movement entirely natural; no lack of lyrical shape, either, or drama, such as the timpani’s first entry (roughly seventeen minutes in, a long-held crescendo–diminuendo). The Adagio avoided excessive solemnity, the Moderato episode flowing in contrast, yet Richard Wagner in memoriam was soulfully apparent, and the cymbals-capped climax was reached organically, with a sense of ceremony, only to be contradicted by baleful horns and Wagner tubas. The Scherzo strode with rhythmic purpose, the Trio heartfelt (many years ago, during a rehearsal, Wyn Morris advised the orchestra to “play it like Tchaikovsky”). Janowski took the Finale as a going-places through-line, embracing sacred tread, brass processionals, and a heady conclusion, luminous strings continuing to shine. No applause until a now-statuesque Janowski signalled the performance had finished, silence just as important.
Beforehand, Mendelssohn’s (second) Violin Concerto (there’s an earlier one in D-minor) was given a poised, unforced and whimsy-free account by Augustin Hadelich, lively, tender and spirited, romantic overall if classically encased, with a detailed accompaniment, the first-movement cadenza belonging to the whole, the central Andante generously songful, and the Finale sparkled. For an encore Hadelich offered Orange Blossom Special by Ervin T. Rouse (1917-81,”fiddler and songwriter … the greatest fiddle player to ever put rosin to a bow”, who spent his remaining days, in South Florida, busking for a few cents); amazing playing from Hadelich.
Feb 18…