Sibelius, Paganini, Schostakowitsch
The 2017 winner of the Salzburg Festival’s Young Conductors Award, the Brit Kerem Hasan, had his victory concert this evening with the Vienna Radio Symphony Orchestra in the Felsenreitschule.
The conductor I suppose has to work with what they give him. This orchestra is fine, if not exceptional – and the same could be said for tonight’s instrumental soloist, the violinist Augustin Hadelich. Hasan did not rise to the occasion, so we got a perfectly decent if unexceptional concert. Could he have done better with better forces? Possibly. But there really was nothing wrong with these (even if they aren’t stars) so it would be nice if he could have inspired them to do more.
Hadelich displayed excellent versatility for the Sibelius Violin Concerto, but plays with an over-abundance of legato. So rather than a robust sound, he came up soft (not in terms of volume – he was loud enough – but rather in his approach). This blended rather well with this particular orchestra, itself known for a somewhat muddy tone. So while it all sounded nice and together, it has no forward propulsion, and Hasan did not provide any. A beautiful playing but dragging along lacking much of substance.
Hadelich did provide Paganini‘s Capriccio #21 as an encore, and for this his softer approach seemed better-suited than for Sibelius, his instrument singing along in an Italianate lilt.
Schostakowitsch‘s Symphony #10 started where the Sibelius left off, at least in terms of where Hasan was. But as the symphony went on, Hasan became more confident, and slowly provided a bit more drive (and the orchestra eventually started following). If the first movement began a bit ragged and opaque, the fourth ended excitedly and together. Hasan made this Symphony into a series of off-kilter dances on the grave of Stalin: the composer had outlived the brutal dictator and now affairs in the Soviet Union thawed slightly under Stalin’s henchman Krushchev (life inside the Evil Empire was indeed all relative), and this symphony marked the composer’s return to public life after nearly being purged.