Veljo Tormis (1930-2017)
Saturday, October 5, 2024
Berliner Philharmonie, Herbert-von-Karajan-Straße, Berlin
Paavo Järvi conducted Bruckner’s First Symphony during this year’s Proms. As there he led a purposeful performance (of the Linz score, preferable to the later, more thickly orchestrated, Vienna version) in Berlin, dynamic and detailed, the thrilling thrust of the first movement (papering over a few structural cracks), riposted by the beatific slow one, a daringly fast Scherzo (total ensemble, antiphonal violins sticking together) and a powerful Finale, during which episodes arrive abruptly, which Järvi gave leeway to while building a noble peroration that the composer curtails without ceremony.
The twists and turns of the voluble Shostakovich Concerto were brilliantly conveyed by Seong-Jin Cho and Guillaume Jehl (the latter a familiar face from the ranks of the Philharmoniker) – whether sarcastic, troubled, soulful, or a parody of B-movie chase music, suggesting the Keystone Cops (Shostakovich had been a silent-film pianist) interrupted by an episode reminiscent of “I’m h-a-p-p-y” before the riotous (anarchic) conclusion. For an encore the soloists played Leonard Bernstein’s Rondo for Lifey, short and sweet, and witty.
The twelve-minute mid-1950s opening work by Järvi’s fellow-Estonian (and a pupil of Shostakovich) Veljo Tormis made a big impression in its dramatic mien, vivid colours and eloquent expression, with some rhythmic correspondences to Sibelius, athletically and sensitively played.
Veljo Tormis Overture No.2
Shostakovich Concerto in C-minor for Piano, Trumpet and Strings (Piano Concerto No.1), Opus 35
Bruckner Symphony No.1 (Linz version; ed. Nowak)