SEEN AND HEARD INTERNATIONAL

Tchaikovsky, Mozart, J Strauss II, R Strauss: Hilary Hahn, violin / Philharmonia Orchestra / Juraj Valcuha, conductor. Royal Festival Hall, London. 13.12.2007 (ED)


A concert does not need a coherent thread running through it, but the programme of this one seemed so diverse that I left wishing a theme might have been discernable. Conducting his London premiere, Slovakian Juraj Valcuha – hitherto active largely as assistant music director and guest conducting with a variety of Continental orchestras after studying in St Petersburg and Paris – gave a somewhat mixed impression of his abilities.

Tchaikovsky’s Romeo and Juliet fantasy overture, a work of youthful passion and emotion if ever one existed, was left sorely divided between the emotional and gestural extremes of Valcuha’s approach. Most at ease in the extrovert passages, for which the Philharmonia responded with obvious passion, he did not wholly succeed in thinking through the drama of the music to  link it convincingly with the interspersed introverted passages. At such times the orchestra seemed marginally uncertain, and perhaps more pointed direction would have helped them then: the violins in the lovers’ duet were distinctly bland.  The overture’s ending however was anything but, as the imbalance between brass and the rest of the orchestra threatened to topple the musical structure entirely.

Mozart’s third violin concerto was, on the whole, more successful. Valcuha displayed greater restraint where it was needed and a clear technique became evident in the process. The first movement was occasionally heavily accented, and Hilary Hahn’s tasteful solo playing sought to counter this to some extent, particularly through her extended cadenza. Soloist, conductor and orchestra were more of one mind in the second and third movements. The second movement carried well sustained shading of instrumental lines, whilst the closing movement was lightly sprung with delicate pizzicati from the orchestral strings. Hahn was thankful for the quality of the orchestral playing and as generous in acknowledgement of her colleagues as she was  delighted by  her own performance.

With the change of repertoire to Johann Strauss II’s Die Fledermaus overture and the Kaiserwaltz, the Philharmonia rediscovered their ability to play at full volume;  yet for all the palpable enthusiasm of his players Valcuha appeared an all or (near) nothing conductor in terms of his outward gestures. The waltz was to be a recurring concern, taken still further in the suite from Richard Strauss’ Der Rosenkavalier that concluded the concert. If a large degree of the filigree beauty of Richard Strauss’ music – during the Presentation of the Rose, for example - seemed passed over, enough of the music’s own beauty shone through to be moving. Little could be said against Valcuha’s instinct for making the most of crowd-pleasing moments. In this respect,  Johann won out over Richard, though the “Baron Ochs” waltz conclusion to the suite proved most involving. 

The orchestra gave Valcuha warm applause at the end: a sign perhaps that they recognise more potential in him than I have conveyed, and orchestral musicians are no fools when assessing the merits of their conductors. I am grateful that the Philharmonia continues to offer its podium to younger conductors, since without such opportunities there can be no rising through the ranks of those seeking to make a career, whatever their abilities or aspirations. With experience before reputable orchestras ahead of him,  no doubt Juraj Valcuha will focus his approach to music making over the coming years. Only time will tell how far he continues to develop as a musician.

Evan Dickerson