Mixing metaphors is not usually advised, but we make an exception. It never rains but it pours, but every cloud has s silver lining. In this case, the downpour was the volcanic ash which grounded conductor Olari Elts and his soloist. The silver lining was Bogányi Tibor and Kelemen Banabás being able to step in at short notice.
Bogányi, although Hungarian, works extensively in Finland and knows the Sibelius repertoire well, while Kelemen is a professor of violin at the Liszt Ferenc Academy. The orchestra was the very fine Pannon Philharmonic taking time out from the Pécs Cultural Capital of Europe celebrations to give one of their regular Budapest gigs.
Richard Strauss’ Rosenkavalier Intermezzo makes a bright enough start. In context, it makes a fine bridge in the action of the opera but, in the concert hall, it takes on the character of pot boiler but it is no less fun for that. An orchestra on good form – and the Pécs orchestra was on good form – can make a good fist of this. Bogányi’s direction was impeccable. The Mendelssohn Violin Concerto is so much a part of the standard repertoire that it, too, has something of the pot boiler about it but, in the right hands, it can rise above that and be understood for the fine work it is. Tonight’s performance was one such. Kelemen and Bogányi know each other well and the empathy between them on stage was evident. Crisp and focused playing was the hallmark of the first movement with just enough rubatto to draw out the more lyrical passages. The andante may have been a little fast for some tastes, but not so much that the tenderness in the closing moments was lost, and the finale was sheer brilliance. Kelemen is a wonderful player who is in his element in this music, and Bogdányi drew from his players the necessary qualities to make this an integrated and satisfying whole. This was a top drawer performance and the soloist was twice called back for a bit of virtuoso frippery from Paganini and a movement from a Bach partita.
Part two was all Sibelius. Scandinavian music has a kind of fairy tale quality about it. Occasionally, someone will lift it down from the shelf, dust it off and give it an outing then it will disappear back into the library for several years. This music is too good for that. Like Nielsen, Sibelius left a symphonic legacy worthy of a permanent place in the standard repertoire. Maybe the first two are open to the criticism that he is trying too hard to follow Tchaikovsky’s influence but, in the third, Sibelius finds his individual and unmistakable voice. The carefree opening gives no warning of moments of darkness that are to come in what is a beautifully argued structure of mood changes. The second movement has a delightful dance-like quality, mainly in waltz time but with interesting time shifts and contrasting moments of calm in the winds so that it serves the purposes of both scherzo and slow movement. The finale leads you step by step towards a simple and optimistic chorale type theme which gradually gains in impressiveness but he resists the temptation to blow it up into a triumphal coda, choosing instead three simple chords to wind proceedings up. This is a splendid symphony – especially when given with such intelligence and commitment. We should hear it more often.
Maybe the somewhat strange practice of following it with Lemminkäinen’s Return has something to do with the perception that a three movement symphony needs something a little extra – which is not actually true. However, it is a good rousing final piece and had the audience wanting more – duly delivered with Valse Triste. This was all very impressive stuff. The orchestra was on its usual good form, Bogányi’s conducting was sensitive and well judged and Kelemen’s contribution about as good at it gets.
This concert was one of the highlights of the year so far.
Pannon Philarmonic, Bogányi Tibor, Kelemen Banabás – Müpa –April 23rd.