Review: BBC PROMS: BERLIN PHILHARMONIC PLAYS ELGAR AND TCHAIKOVSKY, Royal Albert Hall

Widely renowned as one of the best (if not the best) orchestras in the world, the Berliner Philharmoniker brought an elegant programme to the first of their two appearances at this year’s Proms, comprising Elgar’s ‘Enigma’ Variations and Tchaikovsky’s Symphony No. 4 in F minor. Helmed by Chief Conductor Kirill Petrenko, it was an evening of great skill and artistry; tackling well known pieces (especially Proms regulars) can be something of a poisoned chalice, but this group of musicians made it seem absolutely effortless.

“The Enigma I will not explain - its ‘dark saying’ must be left unguessed … further, through and over the whole set another and larger theme ‘goes’, but is not played.” People like nothing more than a mystery, so this note from Edward Elgar upon the première of his Variations on an Original Theme (‘Enigma’) definitely got attendees talking - and this has continued for over a century. Is there a hidden cryptogram? A reference to a universally known melody? Or was it something more personal? The mystery will have to remain.

The work itself comprises 14 variations on this single theme, most titled with sets of letters (such as “C. A. E.” and “R. P. A.”) although there are some which were given single-word names - 13 referring to Elgar’s friends, the finale being something of a self-portrait. The most famous of all the variations, however, is “Nimrod”; this has been used to soundtrack everything from films (most recently Christopher Nolan’s Dunkirk) to the London 2012 Olympic Games and the National Service of Remembrance. It’s one of those melodies which you will certainly know, even if the name isn’t necessarily familiar to you.

Whilst any of the individual variations could be included in a Proms programme, hearing them all played back-to-back provides an interesting study - as it allows you to follow some similar melodic patterns as the series goes on, creating a fascinating study of how Elgar viewed his inner circle in musical form. The Berliner Philharmoniker definitely followed Petrenko’s note and played this collection of pieces “mit lieben” (with love), the care and attention to detail practically radiating off each performer. I’d like to draw particular attention to the timpanist using what looked like the opposite end of his timpani mallets (or possibly snare drumsticks)  to create a unique sound in the 13th variation, “*** (Romanza)”. Its skilfulness did not go unnoticed by the audience.

This Prom was described as a “concert of concealed identities and confessions, musical secrets and hidden selves”, and so following the ‘Enigma’ Variations with Tchaikovsky’s fourth symphony was rather apt - it being one written under the generous patronage of Nadezhda von Meck (with whom Tchaikovsky had a close relationship despite never meeting in person) and in part likely referring to his sexuality, which he chose to try and conceal by impulsively marrying one of his former students.

It’s another piece full of mystery, as well as Tchaikovsky’s flair for the dramatic. The performance itself contained its own moment of drama, as Petrenko’s baton slipped from his hand early on and he was forced to continue using his hands alone. The fact that he seamlessly managed to switch conducting styles was very impressive, as was the orchestra’s ability to follow his direction in a different way to which they would normally expect. The leader was able to discreetly recover the baton partway through the second movement, which Petrenko then brought out with a theatrical flourish which mirrored the fourth movement’s striking sound. Seeing the pair share a moment at the end of the night, before Petrenko made a point of taking it offstage with him (to a knowing chuckle), brought an extra human element to the concert; this is a live performance, after all - anything could happen.

The performance was electrifying, the contrast between its more intimate moments and the more overwhelming sections masterfully brought to life by the orchestra. The string musicians all playing pizzicato in the “Scherzo (Pizzicato ostinato): Allegro” was particularly engaging, serving as a wonderful contrast to the lush strings in the other movements.

It’s such a shame that, for whatever reason, this Prom wasn’t filmed for television broadcast. With it being a sellout event, and featuring such a famous ensemble, there should absolutely have been a wider audience generated for it. But for those of us who were in the room, this was a real treat. Witnessing passionate and skilful musicianship (and conducting) is such a luxury, and this was a definite high point of what has been a superb Proms season.

The BBC Proms run at the Royal Albert Hall until 12 September

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