The Belgrade Philharmonic Orchestra’s new season focuses on features from the orchestra’s past and every second concert is dedicated to an important figure in its history. The opening programme was dedicated to Stevan Hristić, its founder, first Artistic Director and Chief `Conductor (1923-36), showing off the virtuosic qualities of this remarkable band. The conductor was Spaniard Josep Vicent, making his Belgrade debut.
Several Serbian works are being programmed this season and so it was fitting that the opening piece was Memento by Milan Mihajlović, a stunning showpiece for large orchestra dating from 1993, written in memory of the composer’s colleague and musical role model, Vasilije Mokranjac (one of whose works will be played in December). It began with some of the quieter instruments, including celesta, harp and glockenspiel, gently tickling the ear. This expanded to the rest of the orchestra with interesting and engaging sonorities and elements of different styles including some motoric rhythms from the strings and pleasing melodies from the winds. After a mighty climax the ending was gentle, almost hymn-like. Both the work and the composer were new to me; I hope to be able to hear more.
The orchestra was joined by Spanish viola player Sara Ferrández, also making her Belgrade debut, for Walton’s Viola Concerto. Her performance would surely havre convinced any sceptics about the viola as a solo concerto instrument. Ferrández played with strength and beauty that were utterly captivating. Walton ensures that the louder outbursts from his orchestra arrive when the soloist is not playing so Ferrández was never overwhelmed. Her exchanges with the orchestra (especially the woodwinds) were poised, often tender. This felt particularly important in the finale where the extrovert and the introspective vied with each other for prominence.
The second movement was a highlight. It is a Scherzo in all but name and is full of unexpected jerky rhythms which can catch out lesser orchestras but not the Belgrade Philharmonic who captured Walton’s idiom perfectly. Everyone seemed to be enjoying themselves hugely.
The second half of the concert was devoted to Prokofiev’s Fifth Symphony, composed in 1944 and premiered in January the following year when the Second World War was in its final stages and it looked certain that the Allies would be victorious. Prokofiev dedicated his symphony “to the greatness of the human spirit” and there is a great deal of hope for the future in this work, with its soaring melodies and triumphant conclusion. There are also, however, grotesque contrasts and grim humour, all making for a richly varied score which Vicent and the orchestra played with as much exuberance as they had in the Walton. The Allegro marcato reminded me of the second movement of the Walton; both required the ability to express the composers’ peculiar humour and this was achieved with verve in both cases.
