It may have been the autumn equinox, but this evening spring came to a balmy Birmingham, meteorologically and musically. Symphony Hall was abuzz in anticipation of Stravinsky’s The Rite of Spring in the piece’s centenary year, but the concert – and the 2013/14 season – was launched with Wagner’s Tannhäuser overture. It’s no secret that Andris Nelsons is a passionate devotee and respected exponent of Wagner, but this particular piece was where it all started for him, the fuse that lit the spark of his love for classical music. And we certainly saw Nelsons the Wagnerian tonight, inhabiting the music, adopting a dramatic stance or literally jumping up and down, depending on the mood that was to be conveyed. At times this – together with the occasional grunt accompanying an emphatic entry – was a little distracting, but the end result was to wring out every last ounce of effort and art from the orchestra, who were clearly exceedingly happy in their work.
The opera’s contrasting themes of sensual and spiritual love mean that the overture shifts between dignified solemnity in woodwind and brass, representing pilgrims’ chanting, and arching, yearning string lines for the temptations of the flesh. Solo clarinet and violin duet were movingly handled, then full orchestra gathered into an emphatic, martial sound, bolstered by dramatic percussion, the whole company oozing incredible energy.
A pared-down orchestra – and eager audience – then welcomed Anne-Sophie Mutter on stage. She has recently recorded Dvořák’s Violin Concerto in A minor with the Berlin Philharmonic, and a video diary on her website offers fascinating insights into the piece and the process of bringing the project to fruition. Following the success of Dvořák’s Slavonic Dances, Fritz Simrock, Brahms’ publisher, asked the Czech composer to write a violin concerto that would be “truly original, tuneful and aimed at good violinists”. Joseph Joachim, star violinist of the day, worked on it but wanted huge changes. To and fro it went, with the finished version finally completed four years later and premièred by Czech violinist František Ondrícek. Mutter draws attention to the fine sense of balance required between soloist and orchestra, and describes the concerto as “demanding but not ungrateful”. The A minor key gives the violin a natural brilliance and radiance, and the soloist is involved almost from the outset, following a vigorous but brief orchestral introduction. The Bohemian, songlike Allegro eases gently into the subtle, soulful Adagio, with the finale a sparkling Slavonic dance.