What
can one expect from a mighty collaboration
of world-class orchestra, first-rate conductor
and genius musical scores? At worst, a lacklustre
reproduction to lull the listener into indifferent
slumber. At best, however, an experience that
moves the soul.
Haitink’s
baton did not disappoint, and yet it shied
from maintaining throughout the intoxicating
heights of the sublime: the quality and integrity
of the parts did not always join in heavenly
matrimony.
The
technical rigour of the LSO was undeniable
– two profoundly emotional scores were tempered
by a classical precision that did great justice
to the basis of Brahms’s musical conceptions.
Composed within two years of one another by
a middle-aged man of 50years, these brilliant
examples of the symphonic form were not created
by an unburdened conscience. Brahms would
always see himself cast in the shadows of
his great German predecessor, Beethoven, and
this disquiet was further complicated by a
frustratingly unrequited love for fellow composer
Robert Schumann’s widow, Clara. Hence a struggle
between the pressures of perpetuating his
classical musical heritage and reconciling
spurned passions.
At times
one wondered whether the LSO’s even-handedness
did not short-change the emotional side of
the scale, as in for example the heart-rending
Poco allegretto (from Symphony No.3).
The academicism administered here was enlightening
in as far as catching the nuances of the jaunty
rhythms but swallowed in its stride the integral
pathos and warmth. Similarly, the final movement
Allegro of the same symphony – with
its shimmering ‘silver lining’ textures –
did not capitalise on the magic in its haste
to adhere to the strictures of the beat.
But
these details cast an unfair negativity –
the overall performance was excellent. Haitink’s
modest yet effective motions drew out a rich
field of dynamics and even the calmest of
passages buzzed with anticipation and latent
energy. The Andante of the 3rd
Symphony encapsulated the flexibility
of the LSO: a steady, simple woodwind tune
was warmed-up gradually by increasingly sustained
orchestral articulations. To have spoken with
quieter lips is unthinkable. But no sooner
the calm, then a surge of lushness and power,
only to hush back down to an almost imperceptible
delicacy.
The
success of the concert owed much to charismatic
lead violinist, Gordan Nikolitch, who navigated
a vibrant and impassioned string section.
Always mindful of Haitink’s gestures, Nikolitch’s
energetic realisations were emulated by his
co-musicians and disseminated a spirit and
vivacity that created nail-biting excitement
– not without casualties, however, such as
when his enthusiastic desk partner snapped
a string during the 4th Symphony’s
Allegro giocoso!
A final
testament to the potency of this performance
rests with a particular audience-member whose
substantially-proportioned, reflective scalp
I had the pleasure of sitting directly behind.
Obviously fancying himself as a connoisseur
and delighting in prolonged stares at anyone
who dared stir or breath too loudly, it was
a welcome hypocrisy that the zest from the
stage enticed him to indulge in a few animated
indiscretions of his own!
Aline Nassif
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