Concert Review: Wagner, Mendelssohn, Prokofiev / Saturday, January 19, 2013
This review appeared in the January 2013 Albuquerque Journal. Reprinted with kind permission.
by D.S. Crafts
A capacity Popejoy Auditorium heard a splendid rendition of the ever-popular Mendelssohn Violin Concerto Saturday night. Violinist Rachel Barton Pine returned to Albuquerque hosted by the New Mexico Philharmonic in a concert which also included works by Wagner and Prokofiev.
One of the leading violinists of her generation, Barton Pine is a most remarkable musician with a remarkable story to accompany. The survivor of a train accident in 1995, she heads a foundation dedicated to helping young musicians. In addition to the Guarnerius del Gesu violin (from the golden age of string instruments), she also plays a Baroque violin and 6-string electric violin with the heavy metal group Earthen Grave. A far-reaching resume that, to be sure.
The Mendelssohn Concerto sparkled throughout, a brilliant performance of a beloved work. Barton Pine gave the opening Allegro molto with a sweet and pure tone, well-crafted, polished and always in the supreme service of the music. The middle Andante sang with heart-melting sentiment. But the final Allegro molto vivace, the work of a young spirit without question, was an expression of pure joy.
A triumphantly vocal audience rose in applause only to be treated to an encore. Barton Pine played a Tango by Piazzolla which she had arranged herself for solo violin. Full of bravura leaps, it conjured up the athletic exuberance of the tango.
The original Overture to Wagner’s Tannhäuser opened the concert. While one inevitably thinks of the orgiastic Venusberg music which was later added for the Paris production, this first version stands equally well. Had Wagner written nothing beyond Tannhäuser, he would still represent a revolutionary turn in German music. Conductor Robert Tweten led the players in an interpretation alternately solemn and impassioned.
Fresh from the preceding weekend’s run of Prokofiev’s Romeo and Juliet, the Philharmonic tackled the composer’s Fifth Symphony, the most popular of his seven. Tweten masterfully led the orchestra through this highly challenging work replete with an unusual and often quite surprising use of the orchestra. There was little Prokofiev could not do in the way of music composition and this work draws highly upon his seemingly limitless supply of brilliant ideas. A sense of genuine melody predominates, something in decidedly short supply in late 20th century concert music.
The opening Andante, taken at a good clip, was an intriguing mix of thick textures and odd instrumental combinations, creating a sound world uniquely Prokofiev. There was an almost manic drive to the Allegro marcato, a frantic train ride to an unnamed but imperative destination, punctuated by some spritely wind playing. The expansive Adagio soared with the overwhelming passion of the love scene in Romeo and Juliet. Prokofiev’s musical wit was everywhere in evidence in the Allegro giocoso as his whimsical melodies flew over a driving rhythmic accompaniment.
