It was a privilege to be invited to view the London Philharmonic Orchestra’s rehearsal yesterday morning, and then to review the evening performance of their programme of Brahms and Tchaikovsky, conducted by Edward Gardner.
Julia Fischer is one of the world’s most celebrated violinists, having played professionally since the age of 12. In that career spanning more than 3 decades, she has interpreted works by a variety of composers.
Here, she turns her attention to Brahms and his 1878 Violin Concerto. Regarded by many as one of Germany’s 4 great violin concerti, it represents great depth and virtuosity.
It was presented alongside the Manfred Symphony by Tchaikovsky, inspired by Lord Byron’s epic poem. The tale of the Gothic hero, Manfred, and his desperate journey through the Alps to heal, and possibly atone for the death of his muse Astarte.
It is always eye-opening to see an orchestra, casual and relaxed, yet strictly professional, rehearsing the concert on the day. As Southbank Centre Circle members, it is something we enjoy doing, but this was the first opportunity to do both rehearsal and then the concert as a critic.
The rehearsal opened with Fischer and the Brahms. In a Royal Festival Hall populated by just a handful of people, the sound is very different from a full hall. Technically brilliant and atmospheric, certainly – and with few pauses on this occasion for corrections or clarifications. Orchestra members listen, make notes, and watch.
Yet a venue needs to breathe with life for a Symphony to truly fly, and have the added flair of an Orchestra in white tie and tails and a soloist in a floor-length gown. A rehearsal gives a glimpse into the hard work behind the finished product.
In full performance, both the Brahms and Manfred hold an incredible amount of power. The latter offers harp, oboe, and organ alongside the strings and basses. Cymbals stun and sigh; violins and violas bring a sad undertone to the loss of the beloved Astarte.
In the former, the violin solos are almost as discordant as they are melodic – deliberately so, with its calm contemplation chasing a brash virtuosity, before ending in a dramatic dance in dedication to Hungarian violinist Joseph Joachim.
Fischer has been playing the violin since the age of 3, and her total command of the instrument is clear. If Brahms really did intend his Symphony to be “difficult, awkward or impossible to play” as per the programme notes, she more than rises to his challenge. Her solo rendition of Paganini’s 24th Caprice as encore was equally well-received.
The Manfred in rehearsal has elements of restraint, with elements replayed and sections smoothed out. There is even a sense of levity. On the night, the percussion offers a suggestion of mountain animals, the cellos give off a doomful delicacy – what Gardner describes in his video essay as “a deep, dark epic” gains urgency and potency.
This programme is a perfectly balanced duo of pieces designed to bedazzle and stretch the listener. The LPO – with some 90 people on the stage by the end – are a formidable ensemble. By the time the first note of Manfred sounded in the hall, Fischer was in the audience, another spectator and surely as enthralled as everyone else.
5 stars.
Julia Fischer Plays Brahms, with the London Philharmonic Orchestra, was at the Royal Festival Hall on 21 Oct.
For more on the LPO, visit their website.
For more on Julia Fischer, visit her website.
The Royal Festival Hall’s Classical Season continues: listings here.
Production photo credit: Julian Guidera