Fumiaki Miura, Josep vicent and ADDA Simfonica in Ravel and Shostakovich

This was a concert of two halves, both superb, both contrasted, both within and between. Shostakovich in the first half and Ravel in the second provided the between contrast between. The works chosen, two by each composer, provided the contrast within.  To the second half first.

Ravel’s Daphne and Chloe Suite No2 is a concert hall favourite. It is a post-impressionist splash of colour, like Matisse cutouts dancing around their own space. But it’s also symphonic: it feels like the colours develop and transform, though strangely they do not seem to merge, except in the opening sunrise. Josep Vicent used two locations for the wordless chorus, one group, at the rear right of the stage as the audience saw it, and the second in a box, higher and further to the right, above the stalls. The effect was akin to surround sound. The orchestral playing in this work, and the one that followed was outstanding, with all the timbre and textures of the music glowing in their own right.

Ravel’s Bolero has been described as the music of madman. Ravel’s own assessment of the opinion was that it was correct. The work is so well known that I will say nothing about the music itself, except to point out one aspect which Josep Vicent chose to stress. The drum rhythms are usually insistent and ever-present in this piece. There are performances where the audience hears very little else. But this was not one of them. Josep Vicent had the drum’s contribution in dynamic balance with the rest of the instruments. At the start, the drum was barely audible above the pizzicato strings. As a result, the superb orchestral playing was able to communicate all the textures the composer chose to exploit, and these became the focus. That magical passage where a horn and celeste play together sparkled like Christmas lights. We even got an encore of the final sections, just in case we had missed it first time round.

In the first half, the ADDA audience heard two works by Shostakovich. The Jazz Suite No1 was played by an ensemble including saxophones, trumpets, trombone, violin, bass, various percussion, an upright piano, a banjo, and a slide guitar. As always with the music of Shostakovich, the listener is never quite sure whether to take anything seriously. He always seems to be looking over his shoulder to judge reaction, except, of course, when the subject with himself, when he wallows in DSCH, as in the Eighth Quartet or the Tenth Symphony. The personal signature motif, however, seemed to be lacking from both the Jazz Suite and what followed. The textures and witticisms of this music came across vividly, as did its inherent self-doubt mixed with tragic whimsy. It was, after all, Shostakovich.

The piece that ended the first half of the concert was something completely different from the rest of the evening. This was Shostakovich’s Violin Concerto No2 with Fumiaki Miura as soloist. This particular concerto is not played often and dates from thirty years after the rest of the programme. Like much late Shostakovich, such as the Viola Sonata, quartets and symphonies, it seems almost distracted. This is music made of lines that don’t seem able to decide where to go, never mind join up. It’s an unsettling experience, full of questions that are not even finished, let alone answered. Unlike the other works in the program, however, this second violin concerto by Shostakovich does invite further listening. The almost chamber music feel of the orchestration, where particular sounds stand out unexpectedly, is surely part of what the composer was trying to achieve. And what would you make of the interjections from a tom-tom that seem to interrupt and threaten? The solo part often seems to be screaming, but quietly, almost trying to hide its nervous agitation.

All of this complexity was perfectly interpreted and conveyed by Fumiaki Miura, the soloist for this performance. It’s not performed as much as other concertos, so Fumiaki Miura understandably chose to have a score in sight. But his interpretation of this narcissistic, self-conscious, self-referential. perhaps self-mocking music was as close to perfect as I could imagine. And that drum? Is it fate knocking on the door, or the police? Or is it Shostakovich waking up the audience?

Despite all the brilliance of Daphnis and Chloe, the firework show of Bolero and the witticisms of the Jazz Suite, it is Fumiaki Miura’s playing of this enigmatically understated work that will last in the memory. And, just to add to the surrealism, he played the Vieuxtemps Variations on Yankee Doodle Dandy as an encore. Memorable.