If asked to characterize last night's performance by Philharmonia Baroque with British cellist Steven Isserlis in a single word, I wouldn't hesitate to reply. The word is joy. It was everywhere: from conductor Nicholas McGegan's cheshire cat grin as he walked on stage at First United Methodist Church in Palo Alto, to assistant concertmaster Elizabeth Blumenstock's giggles as the orchestra tuned, to Isserlis's wide-eyed interactions with the ensemble. The orchestra captured the joy in Haydn's "Clock" Symphony and Beethoven's Seventh, as well. It played with a buoyant sound and rhythmic precision that gave the impression of effortlessness. The ensemble relished each moment of surprise in the second movement of the Haydn, capturing an in-the-moment, impulsive energy.
Philharmonia Baroque's spontaneous vitality was matched by Steven Isserlis's rendition of Haydn's C Major Cello Concerto. In fact, as far as I can tell, Isserlis improvised the first movement cadenza, embracing the Classical-era custom of extemporizing the most significant solo section of a concerto. As the cadenza turned one way and then the next, the audience was on the edge of its seats, wondering what might happen next.
But the most remarkable feature of Isserlis's performance must have been his tone. It is the warmest cello sound I have ever heard. Isserlis seduces his audience from the very first note, vibrating sparingly so as not to obscure the simple beauty of his sound. As he played along with the orchestral cellos during the tutti sections, he stood out like a sore thumb, but his clumsiness was easy to forgive when the solos rolled around.
Philharmonia Baroque certainly opened its season in full form! Next up is a series of five concerts with another fantastic Brit; violinist Elizabeth Wallfisch, familiar to Bay Area audiences through her participation in the Carmel Bach Festival, leads the orchestra in five concerts in mid October. More information can be found here.
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