Above: violinist Maxim Vengerov; concert photo by Michael Violago
Tuesday June 7th, 2022 - The Oxford Philharmonic Orchestra, with Marios Papadopoulos, conductor, at Carnegie Hall with a program of Bruch, Navarra, and Brahms. Maxim Vengerov was the soloist for the Bruch Violin Concerto No. 1.
This was such a great evening of music-making. The Oxford Philharmonic is a superb ensemble, achieving a rich and deeply satisfying blend; section by section, these are some of the finest musicians I have ever heard. And when solo moments popped up, the individual players played like gods and goddesses. A special favorite with the audience was oboist Clara Dent, who won a burst of cheers when Maestro Papadopoulos has her rise for a bow.
The Bruch opened the evening. The great violin virtuoso Joseph Joachim championed this work, and while Joachim was a famed interpreter of the concertos of Brahms and Mendelssohn, he called Bruch's "the richest, the most seductive" of them all. Tonight, Maxim Vengerov seconded that opinion with his beautifully detailed playing.
Rising out of a subtle timpani roll, the concerto commences with a passionate violin passage, slowly ascending thru the registers to the heights; Mr. Vengerov's exquisite playing here set the tone for his majestic interpretation, whilst the orchestra bowled me over with their epic playing. A two-part cadenza was neatly dispatched by Mr. Vengerov. The music, so melancholy and passionate, had orchestra and soloist enmeshed in soul-enriching playing of the finest quality.
In the theme of the luminous Adagio, Mr. Vengerov's violin sang a sublime lament. With a quiet pulse from the timpani, a magical hush fell over the Hall before the grand sounds of the orchestra and the captivating playing of the soloist brought us to a gorgeous finish. Could we just remain in this moment...forever?
But: tremelo strings lead us onward to the familiar melody of the Allegro energico; hearing this lilting gypsy theme again was like encountering an old friend one has not seen for years and finding the friendship not only intact, but thriving. Mr. Vengerov and the orchestra swept onward to the concerto's glorious conclusion, the audience rising as the violinist returned for a bow. Of course, we expected an encore...
...and we had one, though it was already programmed: Pablo de Sarasate's "Navarra" for Two Violins and Orchestra, Op. 33, in a special arrangement wherein Mr. Vengerov joined a group of young violinists from the Juilliard Pre-College Division, arranging themselves in front of the podium. This is lively, dancing music, including a waltz à l'Espagnole. The young musicians played their hearts out, with Mr. Vengerov in the role of a congenial maestro. The audience loved it. I do wish the names of the Juilliard players had been listed, though.
Above: Maxim Vengerov (center) and violinists from the Juilliard Pre-College Division; concert photo by Michael Violago
Following the interval, Maestro Papadopoulos (above) led his remarkable orchestra in Johannes Brahms' Symphony No. 1. Although in recent years I have become less and less patient with the 'pleasant' orchestral works of such composers as Brahms, Dvořák, and Schubert, I was determined to enjoy tonight's symphony. But there are times when determination can only take you so far, and - despite the perfect playing by the Oxford Philharmonic - I found my mind wandering. Unlike me, the audience truly appreciated the Brahms tonight, and a warm ovation filled the Hall at its end; how I wish we could have heard some Britten (imagine this orchestra in the Sea Interludes!), Tippett, or Vaughan Williams instead.
An encore was demanded by the enthusiastic crowd, so we heard Maestro Papadopoulos and his mighty players in a heavenly rendition of "Nimrod" from Edward Elgar's Enigma Variations. This iconic work has never sounded so moving to me as in tonight's performance: the musicians simply gave it their all, and the result was benediction which humanity is now so desperately in need of. Returning to insistent applause, the Maestro moved amongst the players, raising them up section by section to the receive the audience's thanks.
Then I suddenly wished they would play "God Save The Queen" in honor of the Queen's Platinum Jubilee.
Above: Maestro Papadopoulos and the Oxford Philharmonic; concert photo by Michael Violago
Many thanks to publicist Matthew Herman for arranging everything for me so perfectly, and for sending me the concert photos. It was truly a wonderful evening.
~ Oberon