Featured guest soloist James Ehnes carried with him (in the publicity for the concert) an American reviewer’s suggestion that he might well be the finest violinist alive. This is a heavy accolade to carry and to demonstrate – with most concertos on the night being for more than one soloist – but fortunately, Ehnes seemed satisfied to share the limelight.
In any case, as guest director for the concert, Ehnes had more to be concerned with than his own performance. The opening movement of the Vivaldi Violin Concerto in A minor, Op3, No.6 RV356 established Ehnes’ credentials for both roles. The attack by an ensemble of about 20 players was all one could hope for, and Ehnes’ first solo (for which he faced the audience, not the orchestra) was spirited and resonant,
There was interest in some ‘reduced’ instrumental passages, featuring violin, viola, cello and harpsichord. It is worth mentioning at this point that cellist David Berlin and Donald Nicolson, harpsichord, took on the role of continuo in this and other concertos. Nicolson’s baroque credentials stood the orchestra in good stead as the first half of the concert was all Vivaldi.
Those in the audience pining for The Four Seasons, (I was not among them) might have found consolation in the second movement, Largo, which had a spare and perhaps ‘frosty’ sound, reminiscent of Winter in the perennial Vivaldi favourite. There was a greater range of dynamics and rubato in this movement than is usual in the baroque, and it made for enjoyable listening. In any case, the final Presto was surely as Vivaldi conceived it, with Nicolson and Berlin sharing with Ehnes the responsibility for encouraging a steady, brisk tempo.
From this point, the concert took on the appearance of a game of musical chairs (in reverse) as an increasing number of violinists were featured. The MSO’s concertmaster, Wilma Smith, joined Ehnes for Vivaldi’s Concerto for Two Violins in A minor, Op3, No.8, RV522, a well-matched pair judged by a lovely duet in the first movement, and Smith’s echoing of Ehnes’ sonorous solo in the Larghetto. Ehnes needed to turn director for the final movement, to keep a steady hand on some fairly typical Vivaldi features: a number of descending scales, fast bowing interspersed with a long stressed note. Very much what the audience had come to hear, as the applause confirmed.
Before interval, Ehnes had been joined by five more violinists (in two different concertos) and never faltered in his virtuosic delivery, while also standing aside for fellow soloists, and giving the orchestra direction as to pace and dynamics. Quite a feat.
After interval, it was Mozart’s turn, with Ehnes able to devote his attention to a symphony, rather than concertos. The Symphony No.29 is a popular work that adds the richness of horns and winds to its texture. Not surprisingly, it was well executed, particularly the sprightly Finale.
But the night belonged to Vivaldi – and to James Ehnes who had delivered both on his violin playing and his direction of the MSO musicians, with feeling and grace.
4 Stars
Melbourne Recital Centre
31 October 2013
Vivaldi Violin Concerto, RV.356
Vivaldi Concerto for Two Violins, RV.522
Vivaldi Concerto for Three Violins, RV.551
Vivaldi Concerto for Four Violins, RV.580
Mozart Symphony No.29
James Ehnes director/violin
Donald Nicolson harpsichord
Principal Violinists of the Melbourne Symphony Orchestra
Artists and guests of Melbourne Symphony Orchestra
