Oak Room, The Hospital Club, London
Siegfried-Idyll
Selection from Götterdämmerung (arr. Iain Farrington)
Since its
founding concert, held in another, rather different London club, the
Arensky Chamber Orchestra has done things differently. That has not, I think, been
for the sake of it, although novelty certainly does no harm in having one
noticed, but because difference, by its essence, has perhaps helped it do
things more ‘conventional’ ensembles might not, has perhaps helped it reach
slightly different audiences, and perhaps also because different locations, not
always concert halls, perhaps make one think about music differently.
Here, at the Hospital Club in
Covent Garden, we heard Wagner’s Siegfried-Idyll,
and towards its end were served with mushroom canapés. The ACO’s music director
then introduced us to the music from Götterdämmerung
by reading us to a story-book-like account of the action interspersed with
musical examples from the orchestra. We were then treated with a cocktail, ‘Siegfried’s
Fate’ – what a pity Hans von Wolzogen did not open a bar! – before hearing a skilfully
made continuous selection from the grandest of all musical denouements.
The Siegfried-Idyll was lovingly played. Kunhardt spoke of his own love
for the music and added that it was a favourite of the players too; there was
no difficulty in imagining that from the performance we heard. There was a
considerable degree of rubato,
especially to begin with, but it convinced. A chamber sound – one really heard
the music as a string quartet at the opening – was very much what we heard;
although it most certainly was, it rarely sounded ‘conducted’. It seems
invidious to single anyone out, but I was especially taken by the contributions
from the flautist and the first violist. String playing in particular, perhaps
partly on account of the intimacy of the venue, came across in powerfully
physical fashion; one could almost feel the contact of bow with string. This
was a well-shaped performance throughout, not afraid to linger, yet without
exaggeration.
It has perhaps not irrelevant
to mention that Iain Farrington is Arranger-in-Residence
(wonderful title!) to the Aurora Orchestra, for the ACO shows much of that
ensemble’s enterprise. They certainly took to an arrangement from Götterdämmerung, which incorporated more
of the action within its relatively brief span – I am afraid I cannot tell you
how long – than I should have thought possible. It is in the nature of
listeners to moan about what is or is not included in such selections; I shall
try to resist that temptation, for Farrington even managed to give us a little
of Hagen’s call to the Vassals, despite the greater part of his attentions
having been devoted, perhaps not surprisingly, to the first act (and Prologue)
and to the third. Taking us from the Prelude to the first act, through Dawn,
with wonderful, grainy woodwind, we took in a little of Siegfried and
Brünnhilde’s love duet before sailing down the Rhine. In this context, the
affinity of this music with some of the material from the Siegfried-Idyll was striking. That little detour into the second
act having been savoured, we heard Siegfried meeting the Rhinemaidens in the
third, before spending more time on the final scenes. Siegfried’s death
registered with properly tragic import, time almost yet not quite standing
still: skilful conducting indeed here, as well as excellent solo playing! The
Funeral March registered with due tragedy too, especial mention here being
warranted by the ACO’s solo trumpeter and its percussionists. Gutrune’s scene –
notoriously omitted by Wieland Wagner – was present, before a truncated
Immolation Scene, which had the only really awkward arrangement-corner of the
evening: no mean achievement at all. This was a most enjoyable and, yes,
productively different evening. Now we can look forward to a new series of
concerts starting in the autumn.
