Philharmonia/Masur, Festival Hall - review

But if he has a lifetime's experience and wisdom to bring to Bruckner's Seventh Symphony in E major, it was not always evident here. There were, it is true, some fine things: neatly sculpted phrases, nobly arched paragraphs and an impressive grasp of the structural and spiritual grandeur of the work.

It was certainly not a reading to draw attention to itself. Tempi were neither inordinately fast nor slow, and the arguably superficial drama of the contentious cymbal crash and triangle frenzy at the climax of the slow movement was eschewed.

More worryingly, there appeared to be false cues emanating from the podium and one wondered how far the Philharmonia - whose players acquitted themselves admirably - were steering this majestic vessel with only token reference to the captain.

As is often the case, however, the combination of venerable conductor and fresh young soloist paid dividends. From the opening phrases of Mendelssohn's perhaps over-familiar Violin Concerto in E minor, Arabella Steinbacher offered a ravishingly honeyed tone (she plays the Booth Stradivarius of 1716) and an astonishing degree of musical intelligence. This was playing of the very highest order, such as to make one fall in love with an old favourite all over again. Masur's not inconsiderable contribution here was to provide the perfect aural backdrop: as light as a soufflé, as accommodating as a suitor.

Philharmonia/ Masur
Festival Hall
Southbank Centre
Belvedere Road
SE1 8XX