Sibelius, Paganini, Schostakowitsch, Elgar
I returned to the Golden Hall of the Musikverein for another visiting orchestra, this time the best one from Russia: the St. Petersburg Philharmonic under the baton of its music director Yuri Temirkanov. It did not disappoint. In contrast to the Berliners on Sunday, the St. Petersburgers played with a passion, if not always the precision. But they still managed even better clarity than the Berliners in the wonderful Golden Hall (could this be perhaps that their own hall in St. Petersburg is better than the Phiharmonie in Berlin, which is supposedly cavernous? I guess I will find out when I hear the Berliners in their home later this month).
German violinist Julia Fischer joined the orchestra for the Sibelius violin concerto. The simmering strings at the work’s introduction cooled off the hall on an unseasonably humid night, and then Fischer waded into the icy waters. She entered with caution at first, but her sound grew with the development of the piece, and a full robust tone rose from the deepest notes in her register. The performance had just the right amount of melancholy, drawing its power from its lyrics. The orchestral accompaniment grumbled menacingly during the final movement.
To add some excitement, Fischer returned with an encore: Paganini’s Capriccio #24, which though seldom performed itself is well-known as the subject for Rachmaninov’s famous rhapsody. On the violin it requires more dexterity than on Rachmaninov’s keyboard, and jumps around in its styles including an impossible (but possible for Fischer) pizzicato.
After the intermission, Temirkanov led the orchestra in a soul-crushing interpretation of Schostakowitsch’s Fifth Symphony, probably close to how the composer heard the work inside his own head. Schostakowitsch is on record as saying that Yevgeny Mravinsky, who premiered this work with this same orchestra, was not smart enough to understand it, and Mravinsky’s interpretation came across as triumphant when Schostakowitsch meant it to be tragic. Of course, had he performed it in 1937 the way Temirkanov did tonight, then possibly the composer, conductor, and entire orchestra would have been carted off for execution – and this is exactly why it was so tragic. However, the work was designed to be mock-triumphant, which is what produces its inherent tensions. Tonight, Temirkanov took the whole work at slower-than-normal tempi, with no mock triumph in sight – but this also deprived the work of the little message of hope Schostakowitsch embedded in it – that the soul could somehow survive the oppressive regime. The accentuated timpani blows carried out the execution of that hope tonight, leaving little doubt that there is no room for resistance.
Roaring applause called for an encore. And they delivered a lush version of “Nimrod” from Elgar’s Enigma Variations. However it now seems like I hear an orchestra use this excerpt as an encore almost every month. Wonderful piece, but why has it suddenly become the encore everyone plays?
This orchestra and conductor have, as far as I am aware, stayed out of Russian and geo-politics, in contrast the the opera orchestra and conductor (and one-time Temirkanov protege) on the other side of their city. Schostakowitsch may be inherently political, a voice for justice from within an evil empire, but Temirkanov and his orchestra should be commended for making music as it was meant to be.