Four works, all written within a relatively short timeframe were on Domingo Hindoyan’s programme for his concert with the Royal Liverpool Philharmonic Orchestra. The evening commenced with Bizet’s Jeux d’enfants. This enchanting suite of short character pieces was an absolute delight. Capturing the innocence of childhood and the joy of play, the orchestra and Hindoyan transported the audience to an imaginary nursery.
With some new faces in the RLPO, there was a brilliance to the sound, principal trumpeter Fábio Brum standing out especially for some striking playing. The sheer beauty and projection of his tone was captivating as he played the fanfare motifs with rhythmic precision but he was still blending into the richness of the orchestral palette, especially the strings. What made the performance was the unity with which the orchestra played and Hindoyan’s more relaxed approach with the orchestra, taking time to trust the players and not over-conducting.
Having heard cellist Victor Julien-Laferrière play Brahms’1887 Double Concerto just over a year ago in Manchester — a memorable performance, I was anticipating a similarly pleasing experience. On this occasion his violin partner was Simone Lamsma but together they gave a very different performance. The first movement Allegro was forceful and energetic. The orchestral opening statement was full of autumnal colours, while in his first flourish Julien-Laferrière impressed, contrasting beautifully with more sombre hues, but equally as rich.
Lamsma clearly has a very different musical voice and tone. The chemistry between both cellist and violinist was immense and electrically charged. Throughout the movement, the orchestral episodes were more relaxed, providing the contrast with the intensity of the two soloists. The Andante was well paced and with a sure footing, knowing which clear direction it wanted to proceed in. The Vivace non troppo finale was full of momentum, and again the contrast in colour between the solo and orchestral episodes was tasteful and sympathetic. Lamsma’s phrases spoke here, with much use of light and shade accompanied by subtle changes of phrasing.
If the Brahms lacked the overt virtuosity of his other concertos, the encore from Lamsma and Julien-Laferrière compensated for it. Johan Halvorsen’s Passacaglia for violin and cello, based on Handel, was superbly executed, emphasising the special bond between these two musicians.
Bringing some vivid sunshine to a damp November evening, Hindoyan whisked us to Spain in Debussy’s Ibéria. Hindoyan’s relaxed approach brought something special from his RLPO players. Par les rues et par les chemins was vivid in its execution, the orchestral balance being excellent, blemished French horn lines disappointing in what was an otherwise fine performance. Light strings were beautiful in Les Parfums de la nuit, and there was much to admire in the stylish and evocative Le Matin d’un jour fête.
Finally Rimsky-Korsakov’s Capriccio Espagnol, from the same year as Brahms’ concerto, received a vibrant performance. Hindoyan allowing his players some freedom which brought a natural spontaneity to a convincingly characterful rendition.
