Came into Vienna for a conference and other meetings this week. Decided to pop into the Musikverein unplanned for what looked like good program of the Tonkünstlerorchester: early and rarely-performed works by Benjamin Britten and Richard Strauss, and Elgar’s Enigma Variations.
I had not realized the history behind Britten’s Sinfonia da Requiem, for which he received a large commission from the Japanese Emperor for a major festive work and instead wrote a melancholic orchestral work inspired by the Catholic mass for the dead. Better to decline the commission than to still accept the money but insult the Emperor for the sake of artistic expression.
The piece, however, is of quite high quality and although I cannot remember seeing it on other concert programs (although I am familiar with it through a recording), it led to a number of other commissions as Britten’s career took off. This afternoon, Danish conductor Michael Schønwandt gave a full-bodied reading. He may be unfamiliar with the acoustics in the Golden Hall, since although he clearly wanted to accentuate the rich lines of individual instruments, he kept the rest of the orchestra playing thickly, meaning the sounds tended to blur. In this hall, such an approach is not necessary to achieve a full sound.
Richard Strauss grew up as the son of the most celebrated hornist of his day, and he clearly understood the instrument. So did the Czech soloist Radek Baborák. The expressiveness appeared to grow from Mozart’s four horn concerti, augmented with late-classical and early-romantic developments from Schubert or Schumann or Mendelssohn, which Baborák approached with versatility, character, and charm. The soloists within the orchestra complemented his playing, and with Schønwandt’s approach good dialogues developed between Baborák and the orchestral soloists. Baborák gave us a little encore as well (although his announcement to introduce what it was was not audible, at least his horn was).
Unlike the first two works, Elgar’s Enigma Variations are often performed and a bit of a warhorse. It remains a lovely work. Tonight’s concert lacked the English sentimentality usually heard with this work, but the Tonkünstler nevertheless played it well. Once again, some of the section soloists had wonderful lines, which Schønwandt allowed them to augment, particularly the first flute and first cello. Schønwandt capped off the concert with the Valse Triste by Sibelius, which the orchestra did play sentimentally and with a melancholic lilt.