Review – LPO, Faust and Gardner perform Berg, Strauss and Brahms

Isabelle Faust, Edward Gardner and the London Philharmonic Orchestra unite in a shimmering programme at Royal Festival Hall

In Strauss’ Metamorphosen, Edward Gardner’s conducting style is a study in fluidity and grace. Featherlike motions in his hands are kept within close range of his torso, an understated unfussy encouragement, caressing and cajoling rather than command or direction. Gardner brings out a remarkable tenderness in the London Philharmonic Orchestra strings, even if at times the work’s fraught emotional complexity invited a grittier visceral rendition.

This performance began tentatively. Individual lines gently grew in confidence as the work unfolded. At its heart, Metamorphosen is a deeply unsettling work. Its harmonically awkward, unbalanced motif creates a persistent emotional twinge, something that seemed to be underplayed. Gardner adopted a more heartfelt and reflective approach. This worked as a whole, though some of the transitions might have done with a little more hesitancy to heighten anticipation. While the softer perspective ultimately acted as a slow burn before a resolute and quietly defiant conclusion, there were moments when the underpowered sound risked sounding a little polite. That said, the shimmering silvery tones in the final climactic section evoked a nostalgic sense of hope, an undeniably gratifying payoff. In the concluding bars, the spirit of the performance was laid bare: a vast expanse of sound closing what felt like an intimate, private contemplation. Gardner’s approach paid off.

Berg’s Violin Concerto has a much ‘cleaner’ musical language in comparison, making its programme directly after the Strauss a refreshing contrast. There is an awkwardness to the language that still makes this work sound new and modern. In particular the way the melodic line defies conventional time, each note demanding priority ahead of all other convention. The emotional tension that exudes from this fascinating technical construction is a beguiling contradiction. Another, is the way in which the details elude but the overall narrative remains comprehensible. There was a time when this work terrified me. Forty years later, I feel ready for, responsive to, and appreciative of it.

Isabelle Faust’s rich resonant sound puts the romantic heart of this work front and centre. She weaves the melodic in, out and around the clarinet duo, sometimes making it difficult to pick between the two mercurial textures. Towards the end, the Bach chorale played by the clarinets with the wispy second violin counter melody is an exquisite legato. These effects tickle the senses adding to the mystique created by the score.

The opening of the second half Brahms Symphony No. 2 is a gasp-inducing spectacle, Gardner evoking joy and anticipation with precision ensemble in both strings and wind throughout. In the second movement vast hugs of sound sweep around stage and auditorium enveloping everything and everyone. Later, Gardner is getting into his stride conjuring an array of colours, voices and characters to create a rich three dimensional image. By the third movement Gardner summons heartfelt storytelling, coaxing nuanced expression in both tempo and phrasing with grace. There is excitement in his eyes as he looks across the second violins ahead of the concluding movement. Shortly after, motoring strings, woodwind waterfalls and barking basses make this a gloriously colourful celebration, the band moving as one. The placing of chords achieved with delicious precision.

Under Gardner, the London Philharmonic Orchestra continue to thrive. They remain a guaranteed ticket. Look out for the concert when it’s released soon on Marquee TV.