Beginning a concert with the symphony and only allowing the solo concert to follow after the interval (one of the usual concert overtures is also omitted) does not correspond to common reflexes in program design. On this evening with the violinist Christian Tetzlaff and the Hamburg Philharmonic State Orchestra under the direction of the former Munich Opera General Music Director Kent Nagano in the Isarphilharmonie, it makes a lot of dramaturgical sense. Because what you don’t yet know when you listen to how Nagano and his orchestra tackle Beethoven’s Eighth Symphony at the start: Their powerful approach tempers the musical sensitivity in the packed hall ideally for the glow of Tetzlaff’s later interpretation of the Brahms Violin Concerto.
The performance of the symphony is not entirely successful. In the fourth movement, the orchestral instruments noticeably drift apart before they storm towards the end, largely synchronously. Overall, however, it is nice how Nagano aims for concise accentuation and decent propulsion with economical but dedicated gestures. This goes well with this symphony framed by two Allegro vivace movements, in which the second movement is not slow either, but an Allegretto scherzando, and the minuet is not courtly pattering, but rather sprung from the earthy dance floor.
But then a Tetzlaffs Brahms concerto almost makes Beethoven forget. Tetzlaff starts with his first use with such a powerful stroke that after a few seconds torn horsehair is flying around the tip of his bow. Of course, the fire of the final movement will flicker later, too, and the inner calm of the Adagio, performed by Tetzlaff with his eyes closed, will be enjoyable. But basically the first sentence already contains in its variety of expressions all those characteristics that make up this interpretation.
Tetzlaff’s energetic double stops have the power (and poise) of a rock guitar riff. The thoughtful passages, which he often plays with little vibrato, have an almost sacral coolness, his magical solo cadence seems almost glassy and fragile. Then again, his instrument sings the most beautiful melodies with a broad, sustaining tone full of warmth. In every direction of expression, Tetzlaff strives for the maximum – and Nagano follows with the orchestra. More intensity is not possible.