Prom 40: Mozart. Lawrence Power (viola) / UBS Verbier Festival Chamber Orchestra / Maxim Vengerov (violin/conductor), Royal Albert Hall, 13.08.06 (ED)

 

 

Mozart
Violin Concerto No. 2 in D major, K211
Sinfonia Concertante in E flat major, K364

Violin Concerto No. 4 in D major, K218
Symphony No. 29 in A major, K201

 

In acting as director/soloist and conductor there was no doubt that Maxim Vengerov would leave his stamp right across this concert, but although there was an element of showmanship to his presentation, Mozart retained a place of importance throughout proceedings. One might think that being in its 112^th season the Proms would have heard every major work by Mozart at least once by now, but not so. The second violin concerto received its first Proms performance at this concert, although the palpable sense of anticipation had more to with Vengerov’s presence.

Vengerov established the direction of each concerto as much with a glance and a nod to the orchestra as any standard conducting beat. The second concerto set in train also the impression of jewel-setting that these readings were to have. The orchestra, being well trained, was able to attend to the details of the overall setting with minimal fuss when Vengerov’s attention turned to setting his solo line before the audience with all the sparkle possessed of any brilliant diamond line. The concertos second movement showed variation of approach in emphasising the many half-lights and shades possessed by the orchestral and solo parts. The rondo finale gave way in due course to Vengerov’s own cadenza – absolutely virtuosic in its exploitation of double stopping – at the very end though Mozart re-established his rightful position in the work.

The fourth violin concerto - also in D major and dating from 1775 - brought a certain muscularity in the orchestra’s performance with the relative weightiness of tone they showed. This time Vengerov’s cadenza explored the lower tonal reaches effectively, before bringing simplicity of line to bear in the second movement. If occasionally soloist-orchestra balance was found wanting, it was a minimal deficiency in overall terms. That said, in some respects Vengerov’s performance was a quixotic one: sometimes very aware of his loving audience and at others almost insular and private to and for himself. His reading of the third movement illustrated clearly the latter tendency, with the lingering solo part teasing out links within the orchestral material.

If Lawrence Power was awestruck at sharing the platform with Vengerov he didn’t show it; the two have, after all, been regular partners in Mozart’s Sinfonia Concertante. Often taking a sultry line in the first movement as a means of finding effective contrast with Vengerov’s bright-toned violin Power established a convivial conversational feeling in his tone. The cadenzas (Mozart’s own this time) had the soloists well matched in mood and temperament, backed by the unassumingly sure context of the orchestra. The final movement was given with some exuberance, although was not devoid of feeling for the music’s inner weighty implications. Power and Vengerov are due to record the work in the not too distant future: that could well be a disc to look out for.

The Symphony saw Vengerov as conductor, a role he clearly relishes and displays some natural aptitude for, if this concert was anything to go by. Admittedly he did not stray too far from the beaten path in his choice of tempi, but he did show some inventiveness in encouraging a relatively strong-boned performance. Restraint, stateliness of tone, textural variation, balance and thoughtful placing of diminuendos all contributed to a reading full of life.

The programme commented on the ‘special relationship’ Vengerov shares with this orchestra, and it’s certainly much in evidence. Their willingness to follow the general direction he imparts does achieve some pleasing results. It is worth noting that the UBS Verbier Festival Chamber Orchestra and Maxim Vengerov are booked to appear at the Barbican in the 2006/7 season, performing all five Mozart concertos in a single evening. Quite some undertaking, but no doubt attractive to many a Vengerov fan.

Evan Dickerson