The BBC classical season continues with some of the world’s most refined groups playuing the grandest works in the genre. Guillermo Nazara shares his views on the concert, to let us know what went through during one of the most anticipated performances of the 2023 edition.
Legend says that Dvorák’s mind was so jammed with ideas, he would find himself writing new motifs even on the reverse of his sleeves. Well, if true, his wardrobe must have been packed with several interesting patterns coming from all those creative streams – a few, at least, leading to the vigorous tidal wave of fierce beauty that splashes through the sounds of his most popular work. From The New World may have been composed over a century ago, but its vitality hasn’t worn out one bit – nor that of those who made it flow through the 52-hundred-seat-holding walls of the Royal Albert Hall last week.
Zürich’s Tonhalle-Orchester has returned to the Prom season with an almost unerring bet. Featuring the Czech composer’s signature piece, as well as Tchaikovsky’s Violin Concerto and Beethoven’s The Consecration of the House, the group set its London audience for a evening of pure romanticism – evoking the ideals of the past, the future and the undated. Performed under the flamboyant choreography of conductor Paavo Järvi, the concert has masterfully brought out the blaze of its repertoire, with intended emotion and impeccable execution.
Opening with the Bonn genius’s love letter to the Baroque era, the recital poured out its technical excellence from the very start – a trait that, sadly, was not accompanied by the warmth of its heartfelt purpose. Though performed with flawless delivery (except for some minor unrefined articulations in the woodwind section), the sentimental component of the work was, in some way, lacking – and though managing to continuously lift it off the ground, it felt like a bird still struggling to flap its wings far and wide.
The shine began to pull through more strongly as the night progressed, with the arrival of soloist Augustin Hadelich for the next number. Interpreting with reassured passion (the broken strings in his bow would second that), his rendition included some moments of true melodic ecstasy – in general, transporting us through the piercing notes of melancholy its Russian author always seem to gush directly from his soul.
But the great star of the evening had already conquered the throne before even being crowned. Giving name to the event, the performance of Dvorák’s symphonic masterpiece was only scarcely surpassed by the greatness of its writing. Presented with careful phrasing, intricate layering and infectious fervor, Järvi’s assertive yet delicate delivery shows prowess and understanding of the material – lighting up the eruptive fuoco of a piece that’s become an icon beyond the borders of classical music, in a rendition that’s not too distant from making the same achievement.
An idea comes of its own accord and, if it’s fine and great, man cannot take the credit for it. Dvorák’s PR abilities seem to be close to his musical intellect. He may be right to some level, though, as certainly it’s not that hard to create a short, cute theme – to make of it something great, as he would explain, was nonetheless what real art was all about. He knew what he was saying – or at best, he knew of it. One of the precursors of what we would regard today as cinematic style (mixing Western influences with a very rooted national flavour), his 9th symphony not only homages the “new world” where it premiered, but forms a new one every time it’s played – at least, if done like it was last week.
All pictures credit to BBC/ Andy Paradise.
The Proms continue to play at the Royal Albert Hall until 7 September. Tickets for all the upcoming concerts are available on the following link.