Haydn and Schumann with Paavo Järvi and the DKAM in Bremen

          Crescendo Magazine

Haydn and Schumann with Paavo Järvi and the DKAM in Bremen

by Thimothée Grandjean

           06.05.2023 

This Thursday, May 4, the Deutsche Kammerphilharmonie Bremen will be performing with its artistic director, Paavo Järvi. On the program, the Concerto for Cello and Orchestra in A minor, op. 129 by Robert Schumann as well as two of Haydn's London symphonies: Symphony No. 93 in D major Hob I:93 and Symphony No. 104 in D major Hob I:104 "London". The soloist of the evening is none other than the Argentine virtuoso, Sol Gabetta.

The concert begins with Haydn's Symphony No. 93 in D major, Hob I:93. This is the first of the 12 London symphonies, although it was composed after Symphonies No. 95 and No. 96. The introduction, Adagio, of the first movement is solemn before the Allegro assai comes to animate the interpretation that the orchestra delivers. The latter is 100% involved. There is an obvious cohesion between all the musicians, especially in the strings where each of the five desks has a perfectly homogeneous sound. The Largo Cantabile begins with a beautiful trio consisting of Jonathan Stone (konzertmeister), Marta Spārnina (head of the second violin section) and Friederike Latzko (head of the viola section). The beginning of the movement, quite quiet, becomes much more imposing with the arrival of the timpani. The harmony comes out well as does the beautiful oboe solo towards the end of the movement. This end is made somewhat humorous by the conductor Paavo Järvi, which does not fail to make the assembly laugh. The third and fourth movements are full of contrasts. A joyful energy governs the musically well-crafted interpretation of these last two movements.

After this symphony, which the audience was delighted to hear, came Robert Schumann's Concerto for Cello and Orchestra in A minor, Op. 129. This three-movement work is performed without breaks between parts. We find the talented cellist Sol Gabetta as soloist. The interpretation is masterfully mastered by all, each knows his role. Thus the orchestra is an unfailing support for the soloist which allows her a certain freedom. She skillfully expresses the musical text with contrasts of character and nuance. Thus the first and third movements are played with deep conviction. Precision is the order of the day, both in the various interventions and in the accuracy of the cello's high and low registers. The second movement is approached with lyricism, as are the duets with the cello leader, the Belgian Marc Froncoux.

These are welcome moments of complicity and musicality. The transition between the last two movements intensifies more and more to bring us to the last part. As its name suggests, Sehr lebhaft, this last movement is very lively. Towards the end, a cadenza style allows Sol Gabetta to show once again the talent she has. She lives the music intensely, as do the musicians of the orchestra and Paavo Järvi, accompanying her sometimes with attention, sometimes with vigor and brio in the tutti passages of the concerto.

A great success with the public which acclaims for a long time the artists by ovation and by tapping of the feet. To thank the audience, Sol Gabetta, Paavo Järvi and the Deutsche Kammerphilharmonie delicately performed a piece by Tchaikovsky: Lensky's Aria.

After the break, the Symphony No. 104 in D major, Hob I:104, known as "London", is performed. This work, composed in 1795, is the twelfth and last of Haydn's London symphonies. Like Symphony No. 93, the performance of this symphony is excellent. Each movement has its own character: the first is joyful, the second is intense, the third is rousing and the last is fiery. There is not a dull moment, and this mischievous interpretation captivates us from beginning to end. These two Haydn symphonies are the quintessence of Haydn's music, and of classical music at that. The audience is not mistaken and cheers loudly the artists of the evening.

In conclusion, Paavo Järvi and the Deutsche Kammerphilharmonie showed musicality by building intelligently each piece. The musicians are totally committed to their performance. The harmony stands out by its accuracy and the solo interventions while the strings play with a rarely seen intensity. And the timpanist, through his interventions, subtly colors the musical discourse.

The full house is rewarded with a cheerful encore: Tritsch-tratsch polka by Johann Strauss II.

https://www.crescendo-magazine.be/haydn-et-schumann-avec-paavo-jarvi-et-le-dkam-a-breme/