Johan Dalene excels in Nielsen's Violin Concerto with the RLPO

The outstanding star of the Royal Liverpool Philharmonic Orchestra’s latest concert was their Young Artist in Residence, Johan Dalene, who played Carl Nielsen’s Violin Concerto with astonishing flair and musicality. In this concerto the composer aimed to combine musical substance with solo virtuosity and that is exactly what Dalene, the orchestra and conductor Andrew Manze gave us. It was in turn serious, light, dramatic or playful and often played with our expectations. 

The focus was on the soloist throughout. Indeed Dalene had hardly a moment’s rest. After an arresting opening chord from the orchestra, his solo, with a gentle accompaniment, gripped the audience. There followed lyrical and dramatic episodes and a stunning cadenza, after which the orchestra returned with a rousing tune, but Dalene remained to the fore. Nielsen's is a concerto in two movements, each of which is first slow and then fast. The second started with intense, lyrical music, beautifully played. Later we had a quirky rondo theme and another dazzling cadenza until the quirky tune returned before we reached the real end of the work. Technically Dalene appeared to have no issues with the demanding music, making it sound spontaneous and expressive. He frequently looked out at the audience. I felt sure he was sometimes looking straight at me as if he had something very personal to communicate. 

The concerto was preceded by the short Song for Orchestra by the neglected composer Ruth Gipps. The pastoral opening with prominent oboe solo (the composer’s own instrument) recalled her mentor Vaughan Williams. There were magical contributions with trombones, trumpets and shimmering strings. I was never quite sure where the music was going to lead, but it ended quietly and gently after six minutes. I was just left wanting more.

The second half was taken up with a single, much more familiar work, Borodin’s Second Symphony. Manze ensured an expert control of the build-up and release of tension, the varying dynamics and the focus on different instruments in this most tuneful of symphonies. We were transported to the semi-historical, semi-mythical world of Prince Igor and the operas of Rimsky-Korsakov with an injection of Caucasian folk rhythms and colourful orchestration. Almost every instrument in the orchestra seemed to have its moment in the spotlight and individual solos were taken superbly. Melodies passed from one section of the orchestra to another with dazzling verve especially in the Scherzo. The sweeping tunes of the slow movement were heartwarming and the finale felt truly celebratory. A fine end to a hugely enjoyable concert.