It’s been a long wait. The last time the Tonhalle-Orchester Zürich visited the BBC Proms was back in 2014, when they bid David Zinman a fond farewell as their Chief Conductor after two decades of inspirational music-making together. Since then, Lionel Bringuier has come and gone, replaced by the genial Paavo Järvi who has been at the helm since 2019.
What Järvi shares with Zinman is their clean-cut, historically-informed approach to Beethoven, despite not playing on period instruments. It was Zinman and the Tonhalle, don’t forget, who first recorded the then new Jonathan Del Mar editions of the symphonies published by Bärenreiter. Järvi is no slouch in Beethoven and he opened with the rarely heard overture The Consecration of the House (not played at the Proms since 2003).
Five chords establish Järvi’s approach – short and crisp, timpani struck with hard sticks, antiphonal violins. After a grave introduction, martial trumpets rallied the ensemble in a punchy rendition.
The concert was then given over to two giants of the repertoire – Tchaikovsky’s Violin Concerto and Dvořák’s “New World” Symphony – popular programming that was rewarded with a packed Royal Albert Hall. Augustin Hadelich was the soloist in the Tchaikovsky, turning the vast hall into a chamber venue in his sweet-toned, reflective rendition which drew the listener in rather than forcing his sound. There was an introverted quality to the first movement cadenza that had the 5000+ audience holding its collective breath.
Hadelich didn’t impose himself on the score, but rather he served the music. The Canzonetta’s cantabile line was songful rather than maudlin, the finale was fleet-footed rather than stomping cossack steps. In a warm and amiable Tonhalle contribution, Järvi kept things moving and highlighted the conversational woodwind dialogues in the finale.
Hadelich’s encore, his own arrangement of an Appalachian tune by Howdy Forrester – a bluegrass fiddler rather than a woodsman greeting – set the scene for Dvořák’s symphony, which is partly a postcard from America, but also a wistful longing for Bohemia. Järvi was in no mood for wallowing nostalgia, however. This was bright and breezy Dvořák, rejoicing in the great outdoors.
The Allegro molto section of the first movement – exposition repeat observed – raced along, spurred into action by Järvi’s whirling baton. The Tonhalle demonstrated how well it listens, first violins echoing the flute’s soft solo to perfection. The famous Largo was no dirge but played at a flowing tempo, led by Martin Frutiger’s engaging cor anglais solo. Järvi leapt straight into the jaunty Scherzo, while the finale was high-spirited, almost tripping over itself once or twice.
More dancing – and tripping up of the audience – in the terrific, skittering encore, the Herd-Maid’s Dance from Hugo Alfven’s The Mountain King. It’s a Järvi favourite, early applause bringing a wry smile to his face and a wagging finger of mock admonition.
