Mozart, Berg, R. Strauss:
Viktoria Mullova (violin), Philharmonia Orchestra/Philippe
Jordan, QEH, 26.3. 2006 (CC)
Philippe Jordan has an impressive CV, citing his Principal
Guest Conductorship of the Berlin Staatsoper, his
assistantship to Jeffery Tate for a Ring at
Paris and a string of prestigious operatic engagements.
Not too much about orchestral work, though.
Mozart's 39th Symphony took up the whole first half
(32 minutes). It was the kind of performance that
mirrored the weather – lukewarm, rather gray
and altogether uninspiring. Some unnecessary point-making
with tempo in the first movement led to a slow movement
blessed with variable ensemble and a real sense of
the routine. Low on charm as well as involvement,
it was the sort of account that makes one pine for
the Sunday afternoon Eastenders omnibus. Character
was at a minimum – the clarinetist for the Trio
of the Menuetto was wearing distinctly English-branded
Lederhosen while the finale tried to raise itself
from the dead and just missed, mainly due to sluggish
acciaccaturas. This was certainly not the Philharmonia
I know and love – do they hate the QEH that
much? Or was it Jordan? Or both?
Post-interval, Viktoria Mullova gave an account of
the Berg Violin Concerto that lived up to her reputation
as an ice-maiden. Superb harmonics, a jaw-dropping
stratospheric last note and some lovely quasi-improvised
spiccato playing were balanced by moments when one
just wished she would open up. And maybe she would
if she there was a decent conductor around her. Jordan's
grasp of the Haupstimmen and Nebenstimmen that Berg
marks seemed tenuous to say the least. So much of
the accompaniment was a nondescript mush, or messy,
or both.
So what was worse? Mullova's one moment of madness
– attempting a page-turn with her left hand
while playing the open strings with her bow (funnily
enough all was not well here) or Jordan's almost tangible
lack of interest in one of the most beautiful scores
of the previous century? The woodwind chorale was
merely acceptable (no hint of an organ-invocation)
and the only really positive thing I can find to say
is that the Hauptrhythmus made some sort of an emotional
impact.
Finally, Rosenkavalier Suite, and some clue
as to what was going on. For two thirds of the programme
a fish out of water, Jordan's operatic history clearly
came into use here, as the unanimous swagger of the
Philharmonia horns marked an orchestral awakening.
Delicacy and character both made appearances; Waltzes
were tinged with silver and at one point the music
almost glowed – just as the very end was almost
outrageous. In fact, it was almost a performance,
a good deal more than can be said certainly for the
Mozart and in all honesty for the Berg as well.
Colin Clarke
