Yariv Aloni

MUSIC DIRECTOR

2010-2011

Celebrating 25 Years   1986-2011

Dedicated to the memory of János Sándor
in gratitude for 15 years of musical mentorship

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On Feb. 8, 1904, a "red-faced and perspiring" violinist named Viktor Nováček "fought a losing battle" as the soloist in the premiere of a new violin concerto by Jean Sibelius. Former concertmaster of the Helsinki Orchestra Willy Burmester was Sibelius' first choice but he was unavailable, so the composer settled for Nováček, who, according to Sibelius' biographer Erik Tawaststjerna, was considered a mediocrity.

Sibelius was shaken by the disaster of the premiere, but also stirred to revise the work. Most of the revision, like that of the Fifth Symphony a decade and more later, was structural and the result - again like the Fifth Symphony - converted a fine piece of music into a masterpiece.

Evan Buttemer proved a worthy soloist for Sunday's not-quite-centenary performance.

His initial entry was concentrated and lyrical and the mood rapt. For the most part he made light of the concerto's formidable technical difficulties. While there were admittedly one or two spots in the finale, where the rapid-fire double-stops were less than perfect (although the later double-stopped harmonics were superb), it was a first rate and evidently well thought out performance.

János Sándor directed the GVYO in a superlative accompaniment. There was plenty of broodingly Sibelian atmosphere (despite totally inappropriate weather) and a full, rich sonority from all departments.

Edward Elgar's "Enigma" Variations proved to be his breakthrough (although, with hindsight, it is the Serenade for Strings which is now considered the first fully "Elgarian" work) and has remained probably his most popular music. From the opening statement of the theme it was clear that Sunday's performance was to be no mere run-through of the notes. Although, according to some, only English conductors truly understand Elgar, Sándor nailed the lie firmly by directing an account of genuine stature.

Although no virtuoso showpiece, the variations include some very difficult music and there were one or two occasions when I felt that perhaps Sándor was shading his tempos out of consideration for his players (although Elgar himself arguably did the same in his recording of the Violin Concerto with the 16-year-old Menuhin), yet this scarcely diminished a performance which was, in every other way, first rate.

At the heart of the work is, of course, Nimrod, Elgar's portrayal of A.J. Jaeger; and it was the heart of Sunday's performance. Taking the music at a distinctly non-self-indulgent tempo, Sándor summoned forth from his players pure magic, from the hushed opening to the glowing climax. I was not surprised to find tears running down my cheeks.

The volatile finale ("E.D.U." from Alice Elgar's own nickname for the composer) featured some superb brass and ended the GVYO season on a suitable note of triumph.

This was one concert it was undoubtedly worth missing an afternoon's sunshine for.