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Haydn, Beethoven and Mendelssohn: Sayako Kusaka (violin), Berlin Symphony Orchestra (Konzerthausorchester) Berlin, Lothar Zagrosek, Cadogan Hall, London, 4.3.2009 (BBr)

Haydn: Symphony No.87 in A major (1785?)
Mendelssohn: Violin concerto in E minor, op.64 (1844)
Beethoven: Symphony No.3 in E flat major, Eroica, op.55 (1803/1804)


With a superbly buoyant and fun–filled Haydn Symphony – all the jokes in the right places, the playing spot on – light and crisp – and the interpretation straight forward – this show got off to a delightful start, This was really delicious Haydn playing, and anyone who is still under the misguided impression that Haydn is simply the older, and less interesting, contemporary of Mozart would have had to change their mind after hearing this sparkling performance. Whilst the outer movements were string dominated, Zagrosek used a large body, the inner movements were distinguished by the cool flute of Pirmin Grehl, in the Adagio and the lovely oboe of Szilvia Papái in the trio of the minuet.

Because of the indisposition of Ernst Kovacic, the Mendelssohn was given by the orchestra’s leader Sayako Kusaka. Despite some uncomfortable moments at the start by the time we reached the second subject of the first movement Kusaka was in her stride and gave a very fine performance of this delightful work. Zagrisek did more than just accompany and there were some moments of high drama, especially in the first movement. The slow movement – has anyone ever noticed how similar the main theme is to I don’t know how to love him? from Jesus Christ Superstar? – was beautiful in its understatement and the finale romped away with great, good humour. Of course, this was a special performance, due to the unfortunate circumstances, but it was Kusaka’s show and she aquitted herself admirably.

The Eroica Symphony is the first of the really big “hero” Symphonies, and it was the biggest Symphony ever written at that time. This is Beethoven the revolutionary, not just in terms of the Napoleon connection, but in what he does and achieves in the music. Choosing brisk tempi – and quite right too, I am sure that Beethoven performances have got slower over the years as we have become more and more reverential towards the man – Zagrosek brought out all the tension and drama of the, at times, tortured first movement. The funeral march was kept moving but we were always aware of the darkness of the music and when the fugue arrived the conflict within the music was almost unbearable. The scherzo allowed us some respite from all the power and stress of what had gone before, and featured some very spirited playing from the trio of horns in the trio, and the finale went like the wind. I have to say that here Beethoven did make a mistake for this finale is not of the calibre of the first two movements and this work really deserves a stronger, more heroic, conclusion. But we must make the most of what we have and Zagrosek played it well, never allowing the tempo to drop and delivering a blazing coda to round things off.

As an encore we were given the Andantino grazioso of Mozart’s 27^th Symphony K199 in a gossamer light performance of the very greatest delicacy.

Zagrosek seated his violins antiphonally, and took the repeats in the first movements of both Symphonies – how my colleague GD would have been pleased – and the sound was full and rich, but never inappropriate to the music. This is the first of a three concert residency at the Cadogan Hall, all of them exploring the music of Haydn, Beethoven and Mendelssohn, the other two are on 7th and 11th March and should  be equally as dine as this one was. 

Bob Briggs


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