Haydn: Symphony no.21 in A major, Hob. I:21
Christian Jost: Violin Concerto no.2, ‘Concerto Noir Redux’ (world premiere)
Beethoven: Symphony no.8 in F major, op.93
Christian Tetzlaff (violin)
Christoph Eschenbach (conductor)
How wonderful to hear Haydn’s Symphony no.21 in the concert hall. I had never done so before, and whilst I should happily be corrected, I doubt many others in the audience had. Christoph Eschenbach led the Konzerthausorchester Berlin in a performance alert to the work’s formal strangeness, albeit with none of the exaggeration and downright grotesquerie that often, regrettably, accompany such exploration. The first movement ‘Adagio’ in particular benefited from simply being permitted to speak, however great the art concealed in that ‘simply’. Gorgeous, warm tone invited us in to contemplate and to experience Haydn’s formal mysteries, mysteries through which certain harmonic progressions and their rhythmic instantiation already seemed to prefigure the Beethoven of the Eighth Symphony, if only one listened (to both). Following the model, though only in the most skeletal sense, of the sonata da chiesa, Haydn follows that movement, which, like much in the Beethoven, makes sense so long as one does not wish to put a name to it, with a fast movement, here marked ‘Presto’. It sounded as an eruption of joy, of harmonic release, sharpened by rhythmic, alert playing. Concision and expression in thematic development again had one think of Haydn’s most celebrated pupil, but it was the teacher’s voice that was unmistakeable. Above all, this was music that made me smile. Eschenbach’s unfussy way with the ‘Menuetto’ again had it tell its own story. Its trio’s curious melancholy, rhythmic signature and all, was relished throughout the orchestra. If there were occasional untidiness here, it did little harm. The finale proved a veritable compendium of syncopated surprises, of invention and a posteriori inevitability—thus emulating the first movement, albeit in very different style, ‘Allegro molto’. The spirit of Haydn as revealed through the recordings of Antal Doráti seemed reborn, albeit warmer and more conciliatory. Delightful!
By contrast, I struggled to make much out of Christian Jost’s Concerto Noir Redux, notwithstanding the excellence of solo (Christian Tetzlaff) and ensemble playing. Opening effortful violin slides, taken up by other strings, eventually unleashed something akin to ‘traditional’ solo virtuosity, which Tetzlaff of course possesses in spades. It was interesting to hear how such techniques could be echoed by the skilled percussion section, here four strong, both tuned and untuned. Was that perhaps a sense of the ‘infectious’, in a nod to current preoccupations? So far, so good. Where the rest of this single movement (in roughly twenty-five minutes) went was, to me at least, more obscure. A new, softer focus section sounded redolent of a generic television score. Different moods and sections summoned up music suggestive more of note-spinning than anything else, with curious nods elsewhere, for instance clarinet lines that might have been offcuts from The Rite of Spring. A frenzied close brought this vaguely neo-Romantic, not unpleasant work to an end, at least ten minutes too late; or perhaps that was just me.
I had long ago given up hope of hearing the symphonic Beethoven this year (save for the wonderful ‘Beethoven-Séance’ given in Cologne, during the dying days of our ‘Freyheit’). Anything other than a catastrophe, then, would have been welcome for the Eighth Symphony, and this was certainly not that. Eschenbach’s way with the first movement was insistent, even through agogic accents which would not have been to all tastes. He made no apologies for old-style heft, and was all the better for it, though progress was at times a touch deliberate. There was splendid contrapuntal interplay, though, a battle of a development underpinned by crashing syncopations. Thereafter, the movement proved as full of surprises as the Haydn heard earlier. Again, this fresh reading made me smile, long before triumphant coda and witty sign-off. I was also reminded quite how difficult a piece this is to bring off—even to begin to understand.
Humour is best delivered straight in the ‘Allegretto scherzando’; to do otherwise in this case, would be entirely to miss the point. Its considerable charm suggested paths to Mendelssohn; it also proved an excellent choice of encore. There is more to it than charm, of course, and motivic development came to the fore once that charm could be (almost) taken for granted. There was charm of a different kind in Beethoven’s neo-Classical reinvention of the eighteenth-century Minuet. It boasted all the complexity such cunning reinvention entails, but also due affection. Eschenbach and his players showed a keen ear for detail and balance, the trio once more exuding a tenderness that brought Mendelssohn to mind. Woodwind were not always entirely together, but I could live with that were once. If the concert had begun with a formal enigma, it closed with another, at least in theory. In practice, of course, this finale is what it is—and must be made to sound as such, which it was. I sometimes had my doubts as to whether Eschenbach was proving over-demonstrative, but there is much to be said for such clarity of purpose and texture. It was unyielding at times, but again that was his conception. The jokes of the coda had me laugh, not only smile; for that, I could forgive anything.