Beethoven’s Violin Concerto

Wednesday 9 October 2013 at 7.30pm

Symphony Hall, Birmingham +44 (0)121 345 0600

City of Birmingham Symphony Orchestra

Olari Elts  conductor

Christian Tetzlaff  violin

Mozart: Idomeneo – Ballet Music 12′

Haydn: Symphony No. 86 28′

Beethoven: Violin Concerto 42′ Listen on Spotify Watch on YouTube

Master,   pupil and friend: between them, Haydn, Beethoven and Mozart transformed the   history of music. Tonight’s concert begins with the white-hot inspiration of   Mozart’s breakthrough opera, and ends with soloist Christian Tetzlaff soaring   high above the sunlit romantic landscape of Beethoven’s great Violin Concerto.   No-one conducts this music with more panache than Olari Elts; so when he turns   to Haydn’s exuberant 86th Symphony, the results should be little short of explosive.



Review by Peter Marks, BachTrack:

Click here for full review

“Every once in a while, as a reviewer, you are so utterly transfixed by a performance that it becomes an incredible effort to wrench yourself back into reality in order to put pen to paper, such is the visceral impact. And so it was with Christian Tetzlaff’s performance of Beethoven’s Violin Concerto with the City of Birmingham Symphony Orchestra.

The context for the concerto, logically placed in the second half of the concert, had been set earlier with pieces by composers who had great influence on the young Beethoven: Mozart and Haydn. The influence of both were felt keenly throughout the concerto, from the astonishing invention Beethoven weaves from the basic four note opening motif first heard on timpani (here, effectively articulated by Peter Hill using wooden-headed sticks) to the sublime, soaring, melodies in between.

Tetzlaff’s opening arpeggio emerged with a perfectly judged gradation from ethereal softness to a commanding fullness of tone. This tone was incredibly sweet in the high register, where much time is spent in this work, yet gutsy when required.”     …



Review by Christopher Morley, Birmingham Post:

Click here for full review

…     “But his grip on this wonderful work stimulated the imagination, martial elements (Peter Hill’s hard-sticked timpani a sensitive foil) combining with folky or hymn-like aspects. It took a long time to warm to this interpretation, but it brought its own rewards.

Earlier we were brought rare works by Beethoven’s two great Viennese predecessors: Mozart’s Idomeneo ballet music proved intriguing in its scoring, brightly delivered under Elt’s baton, and revealing in its thematic links with the powerful opera itself.

And Haydn’s Symphony no.86 (many years ago recorded by the CBSO under Simon Rattle) was brisk and affectionate, subtle, well-nuanced, and sparkling with glorious woodwind.”

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