Lott of the Strings
"The Germans have four violin concertos... the dearest of them all, the heart's jewel, is Mendelssohn's." No less an authority than Joseph Joachim spoke on the subject and how true he was.
The following is an account of that which took place last Friday. Better late, than never?
Maria Elizabeth Lott, in a vermilion gown, looked every bit the awkward girl-woman that was on the brink of blossoming into a flower. However, once the music started and she picked up her instrument, she was transformed anew. She was secure and confident in her playing, producing a pleasant and bright tone which infused the work with a freshness and vitality so important in the opening.
From the outset, as the soloist enters on a high soaring passage, rich in tender pathos and bright optimism, the listener is captivated anew. Lott, prodigiously steps up to the challenges, effortlessly working her nubile charm into the work. The soloist steals the limelight from the start, as is expected, with the perilously sentimental melody that seems to squeeze out every possible ounce of joy from the world, leaving one breathless and exhilarated. Singing high above the orchestra, the solo violin line takes on an euphoric stance and Lott delivers the goods. However, there was a crucial high harmonic which she simply could not string out, and that fell flat, with deafening silence filling the void. That long held bassoon note that links the first two movements was most beautifully executed, with the mellow mournful cry reverberating into the expanse of the concert hall. Lott redeemed herself in the second movement, where her middle register was well placed and she coaxed out a warmth and resonance that shrouded the work with a dreamlike quality. The movement comes into its own with the lushly romantic overtures that command the work, Lott delivering the requisite tremulous tensions. The work ends with a headlong rush into the fever-pitch of the climax. The fleet and fast last movement had all its playful vim and vigour brought to the surface as Lott despatched the torrent of notes with nimble fingerwork and articulate bowing.
"Brava!" Well, that would have been what I would have cried out if I were more impressed with her performance, but it wasn't exceptionally or especially outstanding. It was capable, it was good. But it wasn't out of this world. It is Mendelssohn's after all, not some other warhorse of the repertoire. However, that did not stop this man seating right behind me to make me jump in my seat with a lusty "Bravo!" barely after the last dying notes had dissipated and she had scarcely removed the violin from under her chin. I could barely avoid rolling my eyes. If you want to show off, at least use the correct term! It is a "she" standing up there on stage...
The vast 9th Symphony of Bruckner's that followed after the intermission was the highlight of the evening. Bruckner's works, always redolent of religious fervour, may seem unapproachable with their monumental lengths and profound insights, but a world of delights await those who are willing to take a ride into the magical world that is Bruckner's genius. As with Mahler's symphonies, Bruckner's too are massive masterpieces that call on the extent of an augmented orchestra, with beefed-up strings and ancillary brass sections. All the more to showcase the grandeur and magnificence of the glorious music. The miracle comes in the third and final movement. As Bruckner's very last composition, the symphony was unfinished, with only sketches for a fourth movement. However, incomplete as it is, Brucker seemed to have recognised and acknowledged his pending "departure from this life" to quote him in his own words, and accordingly, he looks back on his life and his work, by drawing inspiration from his 7th and 8th Symphonies with snatches of music taken from within. Bruckner's love for the horns shows again, with the prominent part he wrote for the quartet towards the end, as they play in turn with the quartet of Wagner tubas. As life comes to an end, the work draws to a close, with a heartfelt farewell to existence with the humming, buzzing, throbbing passage that sends the work out on an ethereal effervescent equilibrium.
Maestro Okko Kamu, the SSO's Principal Guest Conductor, always makes a welcome return to the stage. His expertise in the Germanic tradition lends him an authority in the Germanic repertoire that helps to hone the orchestra's experience in playing the music. The strings were up to form, the brass was superlative. Kudos and accolades all around! Bravi!
The following is an account of that which took place last Friday. Better late, than never?
Maria Elizabeth Lott, in a vermilion gown, looked every bit the awkward girl-woman that was on the brink of blossoming into a flower. However, once the music started and she picked up her instrument, she was transformed anew. She was secure and confident in her playing, producing a pleasant and bright tone which infused the work with a freshness and vitality so important in the opening.
From the outset, as the soloist enters on a high soaring passage, rich in tender pathos and bright optimism, the listener is captivated anew. Lott, prodigiously steps up to the challenges, effortlessly working her nubile charm into the work. The soloist steals the limelight from the start, as is expected, with the perilously sentimental melody that seems to squeeze out every possible ounce of joy from the world, leaving one breathless and exhilarated. Singing high above the orchestra, the solo violin line takes on an euphoric stance and Lott delivers the goods. However, there was a crucial high harmonic which she simply could not string out, and that fell flat, with deafening silence filling the void. That long held bassoon note that links the first two movements was most beautifully executed, with the mellow mournful cry reverberating into the expanse of the concert hall. Lott redeemed herself in the second movement, where her middle register was well placed and she coaxed out a warmth and resonance that shrouded the work with a dreamlike quality. The movement comes into its own with the lushly romantic overtures that command the work, Lott delivering the requisite tremulous tensions. The work ends with a headlong rush into the fever-pitch of the climax. The fleet and fast last movement had all its playful vim and vigour brought to the surface as Lott despatched the torrent of notes with nimble fingerwork and articulate bowing.
"Brava!" Well, that would have been what I would have cried out if I were more impressed with her performance, but it wasn't exceptionally or especially outstanding. It was capable, it was good. But it wasn't out of this world. It is Mendelssohn's after all, not some other warhorse of the repertoire. However, that did not stop this man seating right behind me to make me jump in my seat with a lusty "Bravo!" barely after the last dying notes had dissipated and she had scarcely removed the violin from under her chin. I could barely avoid rolling my eyes. If you want to show off, at least use the correct term! It is a "she" standing up there on stage...
The vast 9th Symphony of Bruckner's that followed after the intermission was the highlight of the evening. Bruckner's works, always redolent of religious fervour, may seem unapproachable with their monumental lengths and profound insights, but a world of delights await those who are willing to take a ride into the magical world that is Bruckner's genius. As with Mahler's symphonies, Bruckner's too are massive masterpieces that call on the extent of an augmented orchestra, with beefed-up strings and ancillary brass sections. All the more to showcase the grandeur and magnificence of the glorious music. The miracle comes in the third and final movement. As Bruckner's very last composition, the symphony was unfinished, with only sketches for a fourth movement. However, incomplete as it is, Brucker seemed to have recognised and acknowledged his pending "departure from this life" to quote him in his own words, and accordingly, he looks back on his life and his work, by drawing inspiration from his 7th and 8th Symphonies with snatches of music taken from within. Bruckner's love for the horns shows again, with the prominent part he wrote for the quartet towards the end, as they play in turn with the quartet of Wagner tubas. As life comes to an end, the work draws to a close, with a heartfelt farewell to existence with the humming, buzzing, throbbing passage that sends the work out on an ethereal effervescent equilibrium.
Maestro Okko Kamu, the SSO's Principal Guest Conductor, always makes a welcome return to the stage. His expertise in the Germanic tradition lends him an authority in the Germanic repertoire that helps to hone the orchestra's experience in playing the music. The strings were up to form, the brass was superlative. Kudos and accolades all around! Bravi!