SEEN AND HEARD INTERNATIONAL

Bartók and R. Strauss: Radovan Vlatković (horn) London Symphony Orchestra/Valéry Gergiev,  Barbican Hall, London, 11.2.2010 (CC)


The original programme for this concert was Richard Strauss’ Second Horn Concerto and Ein Heldenleben. Short measure; and someone clearly agreed, as the Bartók Music for Strings, Percussion and Celesta was added to it along with, as it happens, that rarest of beasts, a horn encore.

The Bartók was given a remarkable performance. Just how the LSO followed Gergiev’s fluttering hands in the opening andante tranquillo is beyond me, but close your eyes and this was a superbly delineated polyphonic tracery leading to a perfectly natural  and powerful  climax. The ensuing allegro was perhaps purposefully unsmiling, emerging as the first movement’s more petulant sister. The adagio seemed to hint at times at lack of rehearsal time (just how late was this addition to the concert?) and  it was left to the brio of the finale to erase any uncomfortable memories - although even here all was not absolutely together.

Much more impressive was the Strauss Second Horn Concerto. David Pyatt, the originally advertised soloist, had to withdraw due to an infected wisdom tooth, so the wonderful Radovan Vlatković stepped in. Vlatković’s sound is beautifully rich and also happens to be huge. There is a slight amount of air around the note that seems to enhance the delivery, lending it a most appealing creaminess. His technique is impeccable. There is no horn study written that tests the player more than the first page of this concerto  and Vlatković’s delivery was faultless. His breath control is of the top rank, something which helped the long lines of the slow movement to sing miraculously. Amusingly, Gergiev seemed to be expecting a segue into the finale. He didn’t get it, but when the last movement came Vlatković articulated magnificently, negotiating the tricky moments with ease.

That Vlatković was even capable of an encore after Strauss Two is astonishing and that it was the intensely demanding “Appel interstellaire” from Messiaen’s Des Canyons aux Etoiles was more astonishing still. Everything is here, and the solo explores the extremes of the horn’s register. The performance was mesmerising.

On  then to a Heldenleben of long lines and tons of contrapuntal detail. Gergiev’s relentless approach to the ‘hero’ sections gave way  later to pure Straussian magic. A shame the contribution of the leader (Andrew Haveron) was slightly lacking and included bow shake and that more character would have lifted his portrayal of Strauss’ wife. Again though, at times one had to wonder how much rehearsal time had been accorded in the slower sections; a great shame, as the Battle section was the most disturbing I have ever heard it. The side drum sounded like a sub machine gun. Disquieting in the extreme, this was one of a number of memorable moments but  this has yet to gel into a reading of major stature.

Colin Clarke