SEEN AND HEARD INTERNATIONAL

Other Links

Editorial Board

Google Site Search

Tchaikovsky: Nicolas Koeckert (violin), Royal Philharmonic Orchestra, José Serebrier, Cadogan Hall, London, 27.1.2008 (BBr)

Tchaikovsky: Andante Cantabile, op.11/2 (1871)
Violin Concerto in D, op.35 (1881)
Symphony No.4 in F minor, op.36 (1877/1878)


In the second half of this concert I heard something I never expected to hear: an English orchestra playing with such a full and rich sound, and such unanimity of ensemble, that the performance was not only spellbinding but totally gripping. Serebrier, conducting without a score, had the music firmly in his head and thus he could give every moment of his thoughts to the musicians galvanising them into a performance of great power and drama  in the outer movements, and tenderness and playfulness in the inner ones.

From the opening horn call, through the tortured lines of the first movement, there was an edginess, an electricity, which had one gasping for what would happen next. When the fate motif returned on trumpets – we were given the most perfect octaves – the sound screamed through the texture. It was no surprise that the audience burst into spontaneous applause at the end for it was too much to bear and one had to have the release. The slow movement contained the most distinguished oboe playing and the pizzicato scherzo was gossamer light. The finale was heavier than usual; the lurking shade of fate was always there in the background, and this approach made the return of the fate motif all the more satisfying, and yet more horrendous at the same time, within the concept of the whole structure. This was marvelous stuff indeed.

In the first half Nicolas Koeckert played the Concerto with a relentlessness which quickly became tiring. He has a fine technique, but there was no poetry, no give and

take within the musical argument. He has mastered the notes, now he needs to work on this interpretation – he’s still a young man so he can afford to do this, and it will enrich his performances. Put simply, tonight there was too much Koeckert and not enough Tchaikovsky.

The Andante cantabile, from the 1^st String Quartet, made a lovely start, and Serebrier drew some beautiful, sustained, playing from the strings of the orchestra. But the first half was quickly forgotten with the sweep and breadth of the gigantic reading of the 4^th Symphony.

Bob Briggs


^{Back to Top                                                    Cumulative Index Page}