Tschaikowsky, Schostakowitsch, Elgar
I popped down to London to hear the Tschaikowsky Symphony Orchestra under Vladimir Fedoseyev perform in the Royal Festival Hall. With this team, it is always a treat. Fedoseyev has led the orchestra for forty years as of this year, so it is very much his instrument.
The instrument that opened the concert, though, belonged to violinist Vadim Repin. Repin does not have a big tone, but he does have a beautiful one. Fedoseyev had the orchestra provide him appropriately delicate backing in the Tschaikowsky Violin Concerto, not too robust as to overwhelm him. Fedoseyev painted an overall picture using pastels rather than bold colors, colorful yet restrained. Tschaikowsky might have appreciated more energy, however.
Where the Tschaikowsky Violin Concerto was light and sweet, the Schostakowitsch Symphony #8 after the intermission was dark and bitter. I heard this symphony with the Tonkünstler a month ago, but it forms a more usual part of this orchestra’s repertory, and they knew how to dig into the soul. The solo lines scattered among the industrialized music representing the faceless Soviet regime soared with great beauty. Around them sounded devastation, Russia in rubble and its people under oppression.
The concert promoted the opening of the 2014 UK-Russia Year of Culture, so the orchestra knew it had to warm the home crowd with some Elgar encores. A strongly sentimental Nimrod from the Enigma Variations showed they could communicate the message. The Pomp and Circumstance March #1 which concluded the set came across as a tad regimented and less academic, but nevertheless roused the crowd. In between came a encore I did not recognize, which sounded like someone’s quite fun attempt at imitating Spanish music. The audience reacted delightedly to the encores – I am not sure they understood the Russian works, however.