Alina Ibragimova (violin, above), Il Pomo d’Oro (below) / Frederico Guglielmo
Michael Haydn Violin Concerto in G major (c1757-64)
Mendelssohn String Symphony no.10 in B minor (1823)
Mendelssohn Violin Concerto in D minor (1822)
Wigmore Hall, London; Tuesday 7 November 2017
Written by Ben Hogwood
A relatively rare Tuesday lunchtime treat from the Wigmore Hall took the form of an hour of music from the late classical period from Il Pomo d’Oro, their concertmaster Federico Guglielmo and violinist Alina Ibragimova.
It would have been all too easy for them to program Mendelssohn’s much-loved Violin Concerto in E minor as the main work, but Ibragimova has a special affinity with a much earlier work in the same form. The Violin Concerto in D minor, accompanied by a smaller force of string orchestra, was written when the composer was just 13, and is a spiky, energetic piece channeling the spirit of C.P.E. Bach’s ‘Sturm und Drang’ period from the 1770s.
In this performance the notes fairly leapt from the page, with quick tempo choices demanding and receiving dextrous fingerwork from all the string players. Il Pomo d’Oro were an equal match for Ibragimova’s pyrotechnics, which were delivered with deceptive calm but communicated the passionate music within the fast movements. A sanguine slow movement offered sunnier, breezier climes before the energetic finale took a catchy tune and spun it so that Mendelssohn’s melodic invention stayed rooted in the mind long after the concert.
Providing a rather lovely contrast was the Violin Concerto in G major from Michael Haydn, Franz Joseph’s older brother. Often the poor musical relation of the family, he nonetheless wrote some fine works himself, particularly in the choral field, with memory recalling a fine Requiem performed relatively recently by the King’s Consort at the BBC Proms.
This performance at the Wigmore Hall was notable for its lively interplay and distinctive melodies, and the interactions between violinist and orchestra showed their mutual enjoyment of Haydn’s music, especially in the jaunty finale. Here Ibragimova took the lead, as she did in the aria-like slow movement, where the violin sang more graciously, ideal in the hall’s acoustic.
Between the two concertos we heard the String Symphony no.10 in B minor, another remarkable example of Mendelssohn’s promise as a teenager. This one was written a year after the Violin Concerto, and quite how a teenager could achieve such an assured standard with such substantial melodies remains a mystery! The language again is direct, as are all the minor key works from this period. Il Pomo d’Oro played with poise and guile, paying sensitive attention to their melodic phrasing through selective vibrato, led by Guglielmo. It helped define their colourful sound, a complete rebuff to those who might suggest ‘period instrument’ ensembles are lacking in subtlety and variation. Here we had those qualities in abundance, the best possible advocates for Mendelssohn’s well-spent youth!
Unfortunately this concert is not available online, but you can listen to clips of Alina Ibragimova’s recording of Mendelssohn’s Violin Concertos at the Hyperion website. Meanwhile a Spotify playlist including the works from this concert can be enjoyed below: