All-English night at the Helsinki Philharmonic Orchestra

Under Pitkänen's committed leadership, this evening's performance of Elgar's Enigma Variations was a refreshing reminder that this piece is much more than an often-programmed warhorse to be taken for granted.

Certain pieces in the standard orchestral repertoire are programmed with sufficient frequency that one could miss a given performance and not have to wait more than one or two seasons before having another opportunity to hear the same piece. While I have certainly skipped attending performances of Elgar's Enigma Variations for this very reason, I am grateful that I was present for this evening's performance.

Although Elgar navigates a broad range of moods across the work's 15 movements, the Enigma theme itself could be considered as brooding and melancholic. Pitkänen appeared to emphasize these qualities; there was an halting, almost hesitant quality to his shaping of the first presentation of the theme. In the first variation, a representation of Elgar's wife, the climax was almost tragic rather than effusive or yearning. The Helsinki Philharmonic brass had a star turn in the « Troyte » variation, while the famous « Nimrod » variation came across as dignified and proud.

Particularly effective was Pitkänen's ability to create the impression of a single unbroken line in each individual movement; it is clear that this piece is meaningful to Pitkänen and he has spent the requisite time studying and living with this work.

Coming before the Elgar was the overture to The Wreckers by fellow English composer Ethel Smyth, who was of the same era as Elgar and was born a little less than a year later. Smyth studied at the Leipzig Conservatory (Elgar actually aspired to study there as well), where she crossed paths with Dvořák, Grieg, and Tchaikovsky.

Composed less than a decade after the Enigma Variations, this overture was a clear product of the era but was nevertheless a distinctive voice compared with the Elgar. The surprising harmonic turns, clear orchestral textures, and inventiveness that Smyth was able to squeeze into 10 minutes was impressive.

In any case, this fertile inventiveness provided ample opportunity for the Helsinki Philharmonic to show off its versatility in this music, which was most likely unfamiliar to the orchestra and audience. Pitkänen's performance featured just the right amount of bravura but was also sufficiently cool-headed, which made for a welcome contrast to Elgar's sometimes unabashed romanticism.

Credit photo  : Joonas Pitkänen © Matthias Mueller

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