Three masterpieces delivered by a polished ensemble led by a stunning Joshua Bell.
When, in 1973, the Academy of St. Martin in the Fields under their founding director Neville Marriner began to venture away from an exclusively Baroque repertoire, one of their early records of modern music included the Symphony No. 1 (“Classical”) by Sergei Prokofiev.
It was an obvious choice. Written over the period 1916-17, this symphony was a deliberate (and very successful) attempt by the young Russian to adopt a strict classical structure in the manner of Haydn, and to scale back the aggressive thrust of his other early music. The orchestral forces are not vast, and the bright, clean textures aptly suit a polished chamber orchestra like the ASMF.
Marriner stayed with the ensemble for decades (even though he also branched out as a “full orchestra” conductor), and died at 92 in 2016. The new Music Director is the American violinist Joshua Bell, an internationally acclaimed and perennially boyish soloist (he is, in fact, 55). It is highly satisfying that the Academy’s early hit, the “Classical” Symphony, has been revived for this touring program. It opened the concert, followed by two masterpieces of Felix Mendelssohn, both in the key of E Minor: his Violin Concerto, and Symphony No. 3, “The Scottish”.
Joshua Bell and Academy of St Martin in the Fields. Photo © Jay Patel
Bell, like Marriner in the early days, led from the first violinist’s desk. His directions, whether indicating downbeats or conducting with his violin bow, were so precise that ensemble was, for the most part, razor sharp. Some of the violins’ figuration got a little muddied in the first movement of the Prokofiev, but that may have been a matter of getting used to the acoustic. I did not notice anything of the sort again in the “Classical” Symphony’s finale or in the “Scottish” Symphony’s scherzo, both of which are much quicker.
Marriner and the ASMF recorded the Mendelssohn Symphony in 1981. Bell tends towards a more vigorous approach than Marriner – on record, at least. At the same time, he is particularly attentive to moments of lyricism, and achieved a rich, warm blend from the ensemble in the slow movements of both symphonies.
Similarly, the horn-driven climax of the “Scottish” pushed all the right buttons: it was strong, uplifting, and joyous. Warmth was always a characteristic of the ASMF, and so it remains, along with effortless polish and precision.
The highlight of the concert was the Violin Concerto. Here, Bell stood to perform the solo part and direct the orchestra, all from memory. And here we got to sample his famously sweet tone. His sound, using minimal vibrato, is of the kind often called silvery; so appropriate for the Mendelssohn Concerto with its exposed high harmonics.
Importantly, his intonation and pitch are absolutely rock solid, his legato natural and unforced, and as for the virtuoso stuff (of which the Mendelssohn has its fair share), Bell mastered it in a relaxed way that belied the sometimes furious pace. Bell is a superb violinist – entirely without mannerism – and a fine conductor. He shaped the pliability of the theme of the Gavotte in Prokofiev’s Symphony beautifully.
It was a thrill to hear the Academy perform in the improved acoustic of the Opera House Concert Hall, and as for Joshua Bell, the sooner he returns to Australia the better. He made the best recording of William Walton’s Violin Concerto, never equaled before or since. Perhaps he will come back with Walton’s piece on the program?
Academy of St Martin in the Fields play at the Concert Hall, Sydney Opera House, until 9 October.
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