Sibelius, Dvořák, Beethoven, Schubert
I had bad luck with the Camerata Salzburg this year: they had a great subscription series, which I had tickets to, but then I always seemed to be away whenever the concerts took place (I did get to one of their non-subscription concerts). So, this evening, the final concert in the series was my first – Andrew Manze conducted. At first glance, the musical selections looked a little odd set out in reverse chronological order. On hearing them interpreted by Manze and the Camerata, however, it became clear that these works were more original the earlier they were written.
Leading off was a suite from Sibelius‘ Rakastava scored by the composer for strings, timpani, and triangle. I’m used to this chamber orchestra having a larger sound than its numbers would imply. But this performance came across surprisingly thin, missing Sibelius’ sonorities. A relatively early work by the composer, it is seldom performed (I’d honestly never even heard of it). Is it a poor work? The music seemed indicative of Sibelius, but maybe the scoring just failed?
It could hardly be an orchestral failure, as the orchestra was nothing short of exhilarating for the rest of the concert. Joshua Bell joined the Camerata as soloist in Dvořák‘s violin concerto, jumping in completely with an aggressively physical performance that nevertheless had real subtlety and warmth. Manze and the Camerata supported him fully in this approach. Here was also the richness I’d usually expect from Sibelius, transferred back three decades. This is a standard work in the repertory, deservedly so, but when made this lively it remains fresh.
The last programmed piece was Beethoven‘s Symphony #2, from eight decades earlier, and a rarely performed early work by that composer. But Beethoven was a genius, and with this symphony he brought music kicking and screaming into the 19th century. In structure it is reasonably conventional – in composition it is anything but, and Manze emphasized all the deviations from convention. The Camerata played with energy and vigor, and was in on all of the musical jokes, eclipsing even Bell’s performance of the Dvořák, with even more transcendent edginess and angularity.
Both halves of the concert contained encores to allow the heartbeats to return to normal with more sedate, romantic, sonorous performances of a violin trio by Dvořák (Bell and the Camerata’s two first chair violins) before intermission and an excerpt from Schubert‘s Rosamund at the end. Made me very sorry to have missed so many other concerts by the Camerata this year.