Leonidas Kavakos (violin, above), London Symphony Orchestra / Sir Simon Rattle (below)
Barbican Hall, London
Sunday 16 December 2018
Brahms Violin Concerto in D major Op.77 (1878)
Debussy Images (1905-12)
Enescu Romanian Rhapsody no.1 in A major Op.11/1 (1901)
Written by Richard Whitehouse
Sir Simon Rattle and the London Symphony Orchestra tonight continued their ‘Roots & Origins’ project with a diverse programme ranging from the innate classicism of Brahms, through the refracted (post-)impressionism of Debussy then on to the unaffected nationalism of Enescu.
A change in the running order saw a first half devoted to Brahms’s Violin Concerto – easy to pigeon-hole as archetypally Austro-German, though fairly permeated with elements derived from popular and traditional sources. Nor did Leonidas Kavakos deliver a bland or uneventful account, maintaining palpable momentum across the expansive initial movement that carried through to an uncommonly perceptive take on Joachim’s monumental cadenza, followed by an easeful coda in which the symbiosis between soloist and orchestra was at its most tangible.
While there was no undue lingering in the Adagio, Kavakos brought out its gentle eloquence in full measure – abetted by playing of burnished warmth from the LSO’s woodwind, though there was no lack of agitation in the contrasting central section. The Hungarian overtones of the finale were then given full rein, Kavakos projecting the music’s rhythmic drive as surely as he propelled the coda to its effervescent close. Throughout this performance, Rattle was at one with his soloist in a work he has no doubt given many times during the past four decades.
A dynamic and vividly projected reading, then, from Kavakos (very different from the inward and almost self-communing one he gave during last year’s Enescu Festival), who returned for a predictably scintillating account of the Les furies finale from Ysaÿe’s Second Solo Sonata.
Debussy’s Images has long been a Rattle staple: his running-order differs from that published – though there is arguably no ideal sequence for such a contrasting assemblage. Certainly, the fatefully understated Gigues makes a plausible opening, its fugitive gestures and searching ambivalence more an evocation of the composer in his last years as of any English environs. Rondes de printemps is the positive corollary, its vernal freshness and simmering energy an indication of that renewal in French culture made explicit by the late sonatas. In both pieces, Rattle secured a superfine response from the LSO and if characterization in Ibéria was less acute, this may have been owing to the music’s broad-brush Spanish quality than to any lack of insight. Not in doubt was the cohesion that Rattle drew from this composite work overall.
Cohesion was also key to his performance of Enescu’s First Romanian Rhapsody. More than a medley of popular tunes, its integration is that of a borne symphonist and Rattle responded accordingly as he built momentum across the suave initial episodes before cutting loose with the bacchanal. The degree of detail lost was outweighed by the visceral excitement that held good through to the coda. A piece associated with Rattle since the early 1980s, and of which the LSO gave a memorable televised reading a decade earlier, ended this concert in fine style.
The question remains why Rattle has never added further Enescu to his repertoire. Perhaps he considers him lesser to Szymanowski, whom he has championed assiduously? Pieces such as the Second Symphony, Third Suite and Vox Maris cry out for his advocacy. Maybe one day?
For more information on forthcoming concerts from the London Symphony Orchestra in 2019, you can visit their website. Meanwhile you can enjoy Kavakos in a recent performance of the Brahms Violin Concerto below: