United Kingdom Stravinsky, Bruckner: Leila Josefowicz (violin), London Philharmonic Orchestra / Paavo Järvi (conductor). Royal Pageant Corridor, London, 6.4.2024. (JR)

Stravinsky – Violin Concerto
Bruckner – Symphony No.7 (Nowak version)

Leila Josefowicz is probably greatest recognized for her penchant for the works of up to date composers corresponding to Oliver Knussen and John Adams, so it’s a step again to Stravinsky, and his neo-classical mode quite than the avant-garde. The concerto actually has its technical difficulties, the opening chord to call only one; Stravinsky was a pianist not a string participant and wanted steering on what was playable and what was not. Josefowicz surmounted all of the difficulties with ease. Her flowing multi-coloured costume was a creation completely suited to the piece. The concerto itself, in 4 brief actions, is just simply over twenty minutes lengthy, so compact. It by no means outstays its welcome. There’s loads of time for the soloist to inject vitality, ardour, sensitivity and sentiment and showcase virtuosic expertise – Josefowicz had all of those virtues at hand. Josefowicz and Järvi revelled within the rhythmic opening motion, playful, witty, jaunty – traits which swimsuit Järvi’s persona. Aria I is essentially the most fashionable in nature, Josefowicz made it straightforward listening. Aria II was haunting, Stravinsky should have foreseen what was to unfold in central Europe (the concerto stems from 1931). The motoric finale had Josefowicz the centre of consideration, Paavo Järvi the delicate accompanist. Josefowicz introduced the advanced rating to its energetic shut and rapturous applause. Rapport and affection between conductor and soloist have been evident (Josefowicz is Järvi’s former sister-in-law).

I final heard Järvi and Bruckner’s Seventh two years in the past on the Tonhalle in Zurich along with his orchestra, the Tonhalle Orchester Zürich (assessment right here 27.1.22) which was overwhelming and loud (one critic thought too loud). Järvi first concluded a Bruckner cycle with the Frankfurt Radio Symphony Orchestra and is on his approach to full his second cycle along with his Swiss orchestra in September; his Alpha Classics idiomatic recording of Bruckner’s Eighth Symphony has gained the 2024 Worldwide Classical Music Award for Symphonic Music, praised for its luminosity, gravity and transparency The beautiful and newly renovated Tonhalle is a shoebox gem each visually and acoustically, very clear sound, and loud can appear very loud. That is by no means an issue on the Royal Pageant Corridor the place the sound has loads of house to dissipate: quantity is a advantage not a vice.

Järvi’s studying, unsurprisingly, was an identical to his Zurich interpretation, completely judged tempi, measured beat, grasp of the composer’s architectural construction. The orchestra have been on their greatest behaviour and kind. The coda of the ultimate motion was significantly thrilling. The Wagner tubas excelled within the homage to Wagner, who was on his deathbed as Bruckner composed the symphony. The tuba participant moved centre stage so as to add weight to the horn part. The ambiance of the second motion was suitably reverential (feierlich) and grandiose with the cymbal conflict on the climax of the Adagietto completely executed. The Scherzo had a way of actual enjoyable, Järvi had a steady smile on his face and lots of heads within the viewers have been bobbing. The double bass part had a whale of a time. Rapturous applause all spherical on the finish, particularly for the Wagner tuba gamers – and for Paavo Järvi. Hopefully Järvi will return to the London live performance stage quickly – maybe with Bruckner’s Eighth?

John Rhodes