I recently learned that the London Philharmonic Orchestra offers £4 tickets to select concerts for students and people under 26. How did I not know this before?! All you have to do is call the box office, quote “NOISE £4,” and show up with your student ID to collect the tickets (thank goodness for being a grad student). So I called and got tickets to the London Philharmonic Orchestra’s “Championing Freedom” concert on 22 January, featuring violinist Leonidas Kavakos and conducted by the LPO’s principal conductor, Vladimir Jurowski. For £4, our seats were even closer than when we got discounted tickets from Time Out London last year.
The concert’s first half consisted of two all-string (plus one harpsichord) pieces featuring Greek violinist Leonidas Kavakos, a tall, lanky character with shoulder-length hair and what you might call “hipster glasses.” The program opened with Bach’s Violin Concerto No. 1 in A minor, BWV 1041 (1717). As the music started, a smile came to my face as I recalled that this is one of my dad’s and grandfather’s favorite concertos. Kavakos lead the small string ensemble — with Jurowski on the harpsichord — in a subtle and controlled performance, blending into and emerging out of the orchestra when necessary.
Second on the program was a new piece for me: Karl Amadeus Hartmann’s (1905-1963) Concerto funebre for violin and string orchestra, written in 1939 as a protest piece against the Nazi invasion of Czechoslovakia. Kavakos displayed an entirely different set of skills in this concerto, which required powerful, quick technical playing — in an incredible cadenza — as well as extremely high notes sustained as softly as possible. The piece itself, divided into four movements — between which Jurowski hardly paused — was an intense and moving experience. There were echoes of Vaughan Williams-like harmonics in many of the lush, swelling string passages. Moments of extreme Romanticism were speckled amongst jagged and jarring “modern”-sounding phrases. Jurowski’s conducting was crisp and clear, and Kavakos shone as the angry yet mournful voice of the world.
If you want to get an idea of Kavakos’ skill, here’s a clip of him playing the Brahms concerto with Jurowski and the London Philharmonic:
After the interval, the orchestra filled out — winds! horns! timpani! — and Jurowski led them in Beethoven’s Symphony No. 3 in E-flat major, Op. 55 (“Eroica”) (1805). This piece was revolutionary upon its premiere, both for its unprecedented length and its playing with traditional symphonic form. Seeing it live brought out subtleties and complexities that I hadn’t heard before. Jurowski communicates so well with his orchestra — he was fun to watch — and really highlighted the symphony’s tempo contrasts, especially in the fourth movement. In that same movement, I enjoyed watching the main theme bounce around between instruments and be broken up here and there by tempo shifts and interjections. Jurowski also brought out the horns and double basses in ways that you might not notice on a recording. I heard the basses’ slow rolls for the first time in the brilliantly executed second movement (marcia funebre), which Jurowski took quite slowly while sustaining the tension and emotion so it never lacked for energy.
Overall, the concert was fantastic, and I loved watching Jurowski and Kavakos work with the London Philharmonic Orchestra. If you ever get a chance to see any of them, do it. Personally, I’m looking forward to the next opportunity for £4 LPO tickets…
- Previous concert reviews: London Philharmonic with Marin Alsop and BBC Singers — Baroque Spring & British Music