The other day, I noted in my 'blog' the first performance of Sir Edward Elgar's Violin Concerto in B minor. I was in the library and looked up The Musical Times [unsigned] review of that concert and thought it of interest to copy it out below. It needs no commentary or annotations.
.
The first concert of the ninety-ninth season of this premier Society, which was given in the Queen's Hall on November 10, will be accounted one of the most memorable in its history. Sir Edward Elgar's new Violin Concerto in B minor was produced for the first time. An enormous and widely representative audience was attracted, and the interest in the event was intense. No doubt the fact that the composer was to conduct, and that one of the greatest of living violinists, Mr. Fritz Kreisler, was to play, added greatly to the interest of the occasion.
.
.
As in our October issue Mr. Ernest Newman gave an analysis of the new concerto, with copious musical illustrations, it is unnecessary for us to describe again the leading features of the work. We have to record that the performance by Mr. Kreisler was, remarkably fine, although there were some very natural symptoms of nervousness. The first movement created a deep impression, more especially on musicians who have not yet been convinced that formlessness is an element of strength and beauty. The lovely second subject and its treatment made even more effect than was anticipated, and the powerful climaxes were exciting and impressive. The Andante, with its simple, naive song-like theme, one of the most beautiful of Elgar's inspirations, was very fascinating and stirred emotion. Probably many listeners, more sensitive to sheer beauty than to the relations of formal development, will prefer this movement more than the other two. The Finale makes great demands upon brilliant playing. It is, however, not by any means merely showy, for in its course it embodies some of the most reflective moods of the whole work. This is especially true of the remarkable Cadenza, which riveted the attention by it singular spiritual beauty and its wonder-exciting novelty of treatment.
As was pointed out in the analysis in our October number, the thematic material is drawn from the first and second movements and there is a glamour thrown over the music that suggests the ecstasy of a delicious dream. After the Cadenza the movement resumes its former course, employing sometimes a theme of the second movement, and with increasing breadth and expansion it now reaches a climax of vitality and brilliancy, and the end in B major brings the work to a conclusion.
.
As to the great success of the work on this occasion there can be no doubt. Probably there has never before been at a Philharmonic concert such a scene of enthusiasm. It is true that a minority of a Philharmonic audience not infrequently insist on wearisome recalls. But in the present instance the call came from the majority, and was evidently sincere. Kreisler's performance of the solo part entirely from memory was universally highly praised. It was so evident that the great player deeply felt and appreciated his task. The orchestral part was also finely played, although it seemed that a greater delicacy was possible. No doubt the principal orchestras in the country will be able to reveal many more beauties in the score when they are more familiar with its difficulties. Mr. John Saunders was, as during the last season, the principal violin.
As to the great success of the work on this occasion there can be no doubt. Probably there has never before been at a Philharmonic concert such a scene of enthusiasm. It is true that a minority of a Philharmonic audience not infrequently insist on wearisome recalls. But in the present instance the call came from the majority, and was evidently sincere. Kreisler's performance of the solo part entirely from memory was universally highly praised. It was so evident that the great player deeply felt and appreciated his task. The orchestral part was also finely played, although it seemed that a greater delicacy was possible. No doubt the principal orchestras in the country will be able to reveal many more beauties in the score when they are more familiar with its difficulties. Mr. John Saunders was, as during the last season, the principal violin.
.
Besides the Concerto the programme included Sterndale Bennett's overture, Naiades, an old and very welcome favourite, and Elgar's First Symphony in A flat. The interpretation of the latter work is always especially interesting when it is conducted, as it was on this occasion, by the composer. Points are made, shadows and lights are specially and often very delicately contrasted, and the whole work seems to be more organic than when other conductors direct it. The Concerto was announced to be played again, under the composer, and with Kreisler, at the Philharmonic concert on November 30. At the time of writing, we are informed that the house is almost sold out, so great is the desire to hear the work.
Besides the Concerto the programme included Sterndale Bennett's overture, Naiades, an old and very welcome favourite, and Elgar's First Symphony in A flat. The interpretation of the latter work is always especially interesting when it is conducted, as it was on this occasion, by the composer. Points are made, shadows and lights are specially and often very delicately contrasted, and the whole work seems to be more organic than when other conductors direct it. The Concerto was announced to be played again, under the composer, and with Kreisler, at the Philharmonic concert on November 30. At the time of writing, we are informed that the house is almost sold out, so great is the desire to hear the work.
.
The Musical Times, December 2010
No comments:
Post a Comment