Julia Fischer (violin, below), London Philharmonic Orchestra / Vladimir Jurowski (above)
Royal Festival Hall, London, Wednesday 29 November 2017
Chausson Poème, Op. 25 (1896)
Respighi Poema autunnale, P146 (1925)
Marx Eine Herbstsymphonie (1921) [UK premiere]
Reviewed by Richard Whitehouse
Vladimir Jurowski continues to ring the changes in terms of repertoire, with this evening’s concert by the London Philharmonic Orchestra no exception in featuring the UK premiere of Eine Herbstsymphonie, the most ambitious undertaking from Austrian composer Joseph Marx.
Although best remembered for his substantial output of songs, Marx (1882-1964) spent the decade after the First World War essaying large-scale orchestral works – chief among them being this Autumn Symphony premiered (by Felix Weingartner) in Vienna during 1922 but which went unheard as a complete entity for eight decades after its 1925 revival. Marrying impressionistic harmonies to a Mahlerian formal expansiveness, this is an evocation of its season both in descriptive and philosophical terms – in music as opulent as it is engulfing.
What it lacks is any sense of a cumulative or even over-arching momentum. Sizable forces are deployed expertly if amorphously in terms of the dense yet unvarying texture – though this was hardly the fault of the LPO, which responded to Jurowski’s incisive direction with assurance. Not least in the radiant Autumn Song – less a movement then a prelude to what follows and segueing into Dance of the Noon Spirits, an extensive intermezzo that suffers from its overly uniform waltz-time measure and corresponding lack of rhythmic contrast.
This latter failing is hardly an issue in Autumn Thoughts, a slow movement where serenely unfolding paragraphs and taciturn solos for wind and strings effect a yearning regret such as draws in the listener whatever its lack of defined melodies. After which, An Autumn Poem provides a finale of Dionysian import – the full orchestra (nine percussionists in addition to timpani and keyboards) moving through a series of increasingly heady climaxes before the music subsides into a postlude suffused with eloquent resignation though tinged by regret.
A significant work historically, then, but hardly a neglected masterpiece that warrants regular revival. Jurowski can only be commended for instigating this performance, as for encouraging so committed an orchestral response as will hopefully find its way onto the LPO’s own label.
Even so, it was the first half that brought greater rewards. With its inspiration in a typically melodramatic story from Ivan Turgenev and breathing an aura of fatalistic dread, Chausson’s Poème has made a welcome return to the repertoire and has also found its ideal exponent in Julia Fischer – her warm and caressing though never over-wrought tone teasing out those expressive nuances which lurk beneath the surface of this emotionally all-enveloping score. Whatever else, its composer experienced the essential qualities of his music in graphic terms.
Latter-day revivals have tended to pair this piece with Ravel’s jarringly contrasted Tzigane, but Fischer choice was far more apposite. Even more overlooked, Respighi’s Autumn Poem itself pursues a full-circle trajectory such as takes in reflection and animation, though one whose overall conciseness proves its own justification. Fischer duly spun the deftest of solo lines through the diaphanous and modally-inflected orchestral texture, in which Jurowski’s accompaniment was astute and affecting in equal measure. Sometimes, less really is more.