Tschaikowsky, Bach, Elgar
Back to the Great Festival House for the third night in a row – but this time a different orchestra, the Stuttgart Philharmonic on the stage, under Israeli-American conductor Yoel Gamzou. The concert was merely OK – far less rewarding than the Norrköpingers who appeared the previous two nights.
The first half of the concert featured Russian violinist Andrey Baranov, who may be the first Russian I have heard who seems not to get the Tschaikowsky violin concerto. He came out with a halfway sugary tone (not quite all the way in that direction, but still a bit too much), which contrasted – actually, more conflicted – with the orchestra’s harder edge. Indeed the orchestra sounded more authentically Russian than Baranov. After the first movement, Baranov and Gamzou conferred briefly with each other, which seems to have resulted in Baranov trying something different for the second and third movements – trying to achieve a more striking sound, however, Baranov was not quite authentic to himself, and still did not quite mesh with the orchestra although Gamzou clearly also tried to make adjustments.
Baranov gave us two solo encores (not sure what the first one was, but he told us the second was Bach), in which he reverted to his original sweet tone. Playing without orchestral accompaniment, where he determined the sound, gave him a little more success. But I still wouldn’t rush out to specifically see him perform.
After the break came Elgar‘s Second Symphony. I suppose there is a reason this work is rarely performed. It’s long (almost an hour), big (full orchestra plus), and never gets to much of a point. Periodically the brass try to get a melody going, but then the music just decides it isn’t necessary and wanders off aimlessly. For a tonal and late-romantic work it really should say something, but fails repeatedly.
That said, the orchestra sounded very good. Gamzou, a protege of Carlo Maria Giulini, seemed to have inherited much of the orchestral control of his mentor – with broad but clear sweeps of his body and cascading arms, that the orchestra itself responded well to, with a clear sympathy between conductor and musicians.