Paavo Järvi ‘s fine Bruckner cycle continues with the Tonhalle Orchestra Zurich
Seen And Heard International
John Rhodes
07/11/2022
Photo Credits: © Marco Borggreve
Paavo Järvi ‘s fine Bruckner cycle continues with the Tonhalle Orchestra Zurich.
Messaien – L’Ascension (Four symphonic meditations for orchestra)
Bernstein – Serenade after Plato’s ‘Symposium’
Bruckner – Symphony No.3 (Third version, 1889)
Messaien has his fans and Paavo Järvi is clearly one of them. Järvi performed L’Ascension(Four symphonic meditations for orchestra) in 2019 in the Tonhalle and I did wonder why in this concert he chose to repeat it so quickly. Messaien composed L’Ascension at the age of 24, in 1932. It is a surprisingly mature, sophisticated work and Messaien’s unique soundworld is already clearly audible. The work is in four sections, all with religious subtitles alluding to Christ’s admiration for his father or hallelujahs for souls searching for heaven. The first section is for brass alone, a long chorale which has its technical challenges for the trumpet section, very well mastered by principal trumpet Philippe Litzler. The second movement is given over to the woodwind, Messaien adding whirring strings. The third and uplifting movement brings some levity, Messaien adding percussion, cymbals and tambourine. Finally, in the last movement, a string lament. Orchestral colours shimmer throughout; many in the audience were clearly much taken by the work.
Bernstein’s Serenade after Plato’s ‘Symposium’ hails from 1954 and is for solo violin, strings and no fewer than six percussionists. Bernstein read Plato and drew inspiration from Plato’s Symposium, a dialogue of related statements in praise of love. The violin is prominent, representing the speaker, and it is virtually a violin concerto. Bernstein composed in many different styles and genres; such was the genius of the man. The Serenade has hardly any fun: this is the Bernstein of the Harvard lectures, not the populist Bernstein of West Side Story, Candide, On the Town, and not every listener takes to his more meditative, academic writing. It does not have instant appeal; the mood is mainly serious. There is a short Scherzo/Fugatosection which is entertaining, and a lyrical Adagio (Fourth Section) where Jansen had the lightest of touches. Jansen skittered over her instrument with consummate skill, it was a tour de force which garnered huge acclaim from audience and orchestra alike. The orchestra blended its dialogue with the soloist to perfection; I highlight (fairly) new cello principal Paul Handschke’s fine solo at the start of Section Five. Only at the end of the final section does Bernstein let his hair down, all six percussionists coming to the fore.
Bruckner’s Third Symphony was one which benefited, after a disastrous première, from a much later revision by the composer and his pupil Franz Schalk, shortening it considerably. It is Bruckner for beginners, simple, basic melodies, much charm, and trademark full stops at regular intervals. Järvi and his orchestra gave a performance of recording quality; indeed, it was recorded for the Bruckner cycle. You can guarantee that – despite warning signs in the foyer – during almost any recording of a live concert, there will be a shuffling in the audience and a mobile phone will go off in the quietest passage, a challenge to the engineers.
The first performance of this symphony in the Tonhalle was in March 1903 conducted by Richard Strauss. Although played regularly ever since, its last outing in the Tonhalle was in 1991, so over thirty years ago. It has become much less popular than Bruckner’s later symphonies and really only comes out if a cycle is in preparation. A shame, as it is a fine early work, far superior to those which came before it (query whether symphonies 0, 00, 1 and 2 will be in the boxed set).
Järvi played the symphony loud as is his wont, but there was much grandeur, especially in the Adagio, where the trumpets shone out. The Scherzo was most entertaining, a joy from beginning to end, aggressive and jaunty, with intermediate accentuated dance-like sections which Järvi relished. The second violins made their mark.
The final movement was the least coherent, perhaps the most crudely composed, but the performance received rapturous applause and will make a fine addition to the recorded cycle, when finally released.
John Rhodes
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