City Halls, Glasgow
All things German seemed to align in this substantial BBC SSO programme, from the repertoire itself to the efficient presence of David Ackham on the podium and violinist Tobias Feldmann replacing the advertised soloist, Viktoria Eberle, who had to withdraw due to Covid-related issues.
As it happened, Feldmann’s appearance turned out to be the surprise of the show, a performance of Beethoven’s Violin Concerto that not only defied expectations though its adoption of Wolfgang Schneiderhan’s fascinating cadenzas, but by virtue of Feldmann’s soulful and effortless virtuosity. There was a sheen to his playing, bright and fulfilling, that presented this Beethoven warhorse as a vital living organism rather than a museum piece.
The cadenzas helped in refreshing our own thoughts. Beethoven never created any himself for this piece, other than through the piano concerto version he made, the so-called “Sixth Piano Concerto”. And it’s from that source that Schneiderhan – a celebrated Austrian violinist who died some 20 years ago – sculpted these 20th century ones. They are grittier than the more familiar ones, and more challenging in the harmonic directions they pursue, and in the way the timpanist accompanies the soloist in that of the first movement. Spot the motivic link here with the concerto’s opening bars.
Ackham established a cool-headed insistence from the SSO right at the start, out of which the effusive sweetness of Feldmann’s solo line emerged with character and vividness. The interplay was magical, one or two momentary lapses in focus aside, with Beethoven’s concerto freshened up in the process.
Beethoven featured again in the second half, though not directly. Unsuk Chin’s Subito con forza, written last year for the 250th anniversary of Beethoven’s birth, is wonderfully crackpot. The South Korean – Chin lives in Germany – has based her music on stimuli from Beethoven’s Conversation Books, which the composer used to communicate his thoughts as his hearing declined. Her response is impulsive, music that is fitful, often aphoristic. This wasn’t the most incendiary performance, but its contrast to the ensuing Schumann symphony was effective.
Not so effective was Ackham’s gauging of tonal balance in Schumann’s Symphony No 3 “Rhenish”, the soaring strings theme of the opening bars, for instance, subsumed beneath an over-egged welter of brass. This was a frequent issue in the unfolding of the work, yet there was also much to admire in a performance that embraced the sombre mood of the writing, such as the throbbing chorus of trombones in the brief fourth movement, the watery Rhine-like ripples of the scherzo, and the anchored thrill of the finale.
This performance is repeated in Edinburgh, Sun 27 Nov, and will be broadcasted on BBC Radio 3 on Fri 10 Dec, 7.30pm, Full details at www.bbc.co.uk/bbcsso