Patricia Kopatchinskaja (violin), City of Birmingham Symphony Orchestra / Mirga Gražinytė-Tyla
Symphony Hall, Birmingham
Thursday 2 May 2019
Weinberg Rhapsody on Moldavian Themes Op.47/1 (1949)
Tchaikovsky Violin Concerto in D major Op.35 (1878)
Stravinsky The Firebird – complete ballet (1910)
Written by Richard Whitehouse
With a European tour imminent and details of next season just out, the City of Birmingham Symphony Orchestra and music director Mirga Gražinytė-Tyla was evidently on a high when tackling this afternoon’s programme of contrasted works by Russian and Soviet composers.
His centenary may not fall until December, but Mieczysław Weinberg has been a mainstay of the CBSO’s current season (with the Third Symphony to follow at this year’s Proms), and the Rhapsody on Moldavian Themes was a welcome addition. At a time when Soviet composers were under intense pressure to write music of an inherently populist nature, its deployment of melodies from the territory of Bessarabia (from where his parents hailed, but not the Warsaw-born composer) draws unashamedly on a lineage from Liszt to Bartók – Weinberg’s handling of these, in what is a subtle take on the slow-fast archetype, being a stylish and personal one. Gražinytė-Tyla duly had its measure, whether in the ruminative opening with its plangent solo woodwind or the boisterous later stages when brass comes vividly and irresistibly to the fore.
An evergreen such as Tchaikovsky’s Violin Concerto should have presented no surprises, but that was to bargain without Patricia Kopatchinskaja (above) as soloist. Incapable of giving a routine performance, her sometimes reckless while always compulsive account of the first movement left little doubt as to her ringing of the changes – above all, in a spontaneous rendering of the cadenza such as convincingly brought out its improvisatory nature. Not was there any lack of inwardness in the Canzonetta, its chamber-like textures delectably drawn, and though tempi in the finale were almost self-consciously extreme, the frisson as generated by its ever-faster refrain seemed all but tangible. Gražinytė-Tyla drew an alert and attentive response from the CBSO, consistently making the most of Tchaikovsky’s delicate yet also incisive orchestration.
Only Kopatchinskaja could have come up with an encore where she, the conductor, violinist Kate Suthers and cellist Eduardo Vassallo engaged in something between a Ligeti madrigal and a Cathy Berberian improv. Something about the planet being round? It hardly mattered.
Stravinsky’s The Firebird is a piece of which all recent CBSO chief conductors have made a virtue, with Gražinytė-Tyla no exception. Perhaps surprisingly, this was an interpretation that emphasized the score’s formal unity and motivic ingenuity rather than any overly illustrative aspect; not least in the lengthy sequence between the Khorovod and Infernal Dance as can often seem to mark time judged purely as music.
Conversely, there was on occasion a lack of theatrical immediacy or evocative poise needed if the full ballet is to convince away from the stage. Highlights were a Supplication with the Firebird’s entreaties were alternately soulful and alluring, then a Berceuse whose rapt response from muted strings held the periodically restive audience in its thrall prior to an energetic while slightly matter-of-fact Apotheosis.
Any imprecisions will doubtless be ironed-out during the repeat performance on Saturday. A reminder, too, that Gražinytė-Tyla’s memorable reading of Weinberg’s 21st Symphony with the CBSO has just been released as the first fruit of her contract with Deutsche Grammophon.
You can hear a playlist of the pieces heard on Spotify below, including Patricia Kopatchinskaja’s recording of the Tchaikovsky and the CBSO in The Firebird under Sir Simon Rattle: