Dedicated to the memory of Vernon Handley, Tuesday’s concert (repeated yesterday) was a tribute to a much-loved conductor and three composers – Bantock, Elgar and Vaughan Williams – who defined him.
By accepting the programme that Handley was to have conducted, Martyn Brabbins paid fitting respect, and coincidentally exhibited several of the great man’s characteristics, notably an elegant beat from a stick held by the fingertips (something Boult taught him), close attention to detail and – most importantly of all – a willingness to let the music speak for itself.
In the case of Granville Bantock (himself an Elgar champion) it didn’t amount to much. Despite delicate textures sensitively observed, and some luscious scoring, Bantock’s rarely heard tone poem The Witch of Atlas seemed little more than a confection of uneventful episodes.
Elgar’s Cello Concerto similarly benefited from a scrupulously detailed, and often passionate, reading – at least from Brabbins and the orchestra. The soloist, Anne Gastinel, however was not so generous with her emotions. She brought considerable poise and tonal warmth to her playing, but lacked a convincing emotional involvement. It was certainly a fine account technically, but the ever-present mood of nostalgic loss, especially in the wonderful Adagio, was merely suggested rather than fully addressed.
On the other hand the Fifth Symphony of Vaughan Williams fulfilled every expectation. Melodies unfolded like blossoming flowers, climactic moments were gloriously effulgent (the twin peaks of the Preludio really were to die for) and the Romanza conveyed all the sadness and elegiac yearning that had been so desperately needed in the concerto.
We need look no further for Tod Handley’s successor as a master VW interpreter – Martyn Brabbins is definitely the man.
