March 24, 2024

The violin concerto repertoire is an embarrassment of riches. Think of the two Prokofiev concerti, the Sibelius, Mendelssohn, Tchaikovsky, Brahms, Bruch, Stravinsky, Berg, Shostakovich, and newer ones from Adams, Corigliano, Marsalis and so many others spanning over 5 centuries (Vivaldi’s aren’t too shabby either). Of all of them, I think there is one work that stands alone. A person doesn’t usually make such pronouncements in the world of art, I mean, how do we really quantify such things? But in some cases, it seems obvious.
 
Beethoven wrote his violin concerto in 1806, the period during which many of his most popular works were composed. He wrote the work for a violinist named Franz Clement who was among the most highly regarded violinists of the day. The work was not especially well received, however. Published reviews of the premiere were tepid at best and rather derogatory at worst. It would be decades before the work gained any momentum in the public’s enthusiasm.
 
Sometimes that’s how it goes with art, though.  A work has to find its time and place, which this work certainly has.  IMHO, it is the pinnacle of the genre, (with Sibelius and Brahms right up there). From the elemental opening of 4 timpani strokes on which an entire 20-minute movement is built, to the introspective and almost dreamy slow movement, and through the infectious and joyous rondo of the final movement, this work, in its symphonic proportions and conception, is an unparalleled, epic experience for the listener and the musicians.
 
It is also a work that requires a very special soloist. The tool kit one needs to play this piece is different from what one might bring to a Tchaikovsky or Glazunov. There is something of a tight-rope walk in finding the essential qualities for Beethoven. It requires an element of exquisite balance…balancing focus and intensity, allowing room for breath, but not distorting the formal elements. It takes a tone that is strong, deep, rich but controlled and pure. To be honest, it’s not a work that is in every violinist’s wheelhouse, even some of the greatest can miss the mark on this.
 
The mark was hit dead center last night by the magnificent Bella Hristova at the Wharton Center with the Lansing Symphony. She brought transcendent playing to this transcendent work, and I am sure that all of us there, either on stage or in the audience, are enjoying the warm glow of memories of that performance. I wish we could do it again.
 
I also want to mention the orchestra who, in their usual form, were magnificent last night. They definitely delivered on Beethoven, a work that might appear deceptive simple but requires supreme musicianship. The rest of the program was also demanding, including a new and unique work of Sarah Gibson’s and two iconic works of late Romanticism, Wagner’s Prelude and Liebestod from Tristan and Isolde, and Strauss’ virtuoso orchestral masterpiece, Till Eulenspiegel’s Merry Pranks. What a joy it was to be a part of it all.

Next for me is a return trip to the Cleveland Institute of Music to work with some of their conducting students. After that, the season closer in Lansing, some music of Mozart, Rachmaninoff and our wonderful Composer-in-Residence, Jared Miller.
 
NEXT UP
 
May 10, 2024
 
Lansing Symphony Orchestra
Harmony Zhu, piano
Wharton Center for the Performing Arts
East Lansing, Michigan
7:30 p.m.
 
Jared MILLER             Luster
MOZART                      Piano Concerto No. 23
RACHMANINOFF     Symphony No. 3
 
#bellahristova #lansingsymphony #sarahgibson #jaredmiller

​