ARMSTRONG'S BRUCH CONCERTO TRIUMPHS IN MARIN SYMPHONY CONCERT

A concert entitled “Romantic Passions” promises a big orchestra, epic works, sweeping melodies, emotional excess, and the spirit of heroism. The Marin Symphony delivered on this promise January 22 in a Marin Center Auditorium winter season gala.

Two works of Russian Romanticism framed the program, beginning with Glinka’s Overture to Ruslan and Ludmilla and ending with Tchaikovsky’s consummate “Pathétique” Symphony in B Minor, Op. 74. And while the centerpiece of the program, Bruch’s Violin Concerto in G minor, was not Russian, the evening’s soloist from Sonoma had reached international acclaim as the fourth prizewinner in the most recent International Tchaikovsky Competition. Violinist Nigel Armstrong was without a doubt the center of attention in the hall.

Mr. Armstrong brought remarkable skills to the Bruch: a rich and colorful tone quality, flawless intonation, virtuosic flair, a commanding stage presence and delicate sensitivity when the music required it. Double stops of thirds and octaves abound in the concerto and Mr. Armstrong plays these with such ease and clarity that, if you weren’t watching, you might think two violinists were playing.

The pathos of the opening Vorspiel (Prelude) exhibits the composer’s undeniable gift for melody and in Mr. Armstrong’s hands the dramatic themes and sweeping lines flowed naturally and effortlessly. In the intimate second movement the violinist’s delicate and heartfelt pianissimos drew in the attention of the audience. Following the heroic finale, which despite its technical challenges was a breeze for Mr. Armstrong, the audience offered a standing ovation. And it wasn’t just the audience who was enthralled with the artist; he had clearly won the admiration of the orchestra members.

The audience wanted more and received an encore of Ysaÿe's G Major Rustic Dance from his Fifth Solo Sonata. This was a magical performance and the rhythmic opening had a crispness that only few violinists achieve. The more nuanced middle section was an exploration of the possibilities of the violin and the violinist. For Mr. Armstrong, the possibilities are endless and we could have listened to him all night.

The program’s opener, the Overture to Ruslan and Ludmilla, contained more impressive string section playing with lightning fast passagework in the violins. Conductor Alasdair Neale took a brisk tempo for this work and the orchestra was up to the task.

The epic Pathétique Symphony is fifty minutes in length with the first movement alone twenty minutes long. After hearing a transcendent performance of the Bruch violin concerto, the audience’s expectations had risen. No, we couldn’t expect the Symphony to wow us in the same way that Nigel Armstrong had, but we knew we were in store for something special, and this was a gripping and well-executed performance of a quintessential piece. But in the context of the entire program, it was a mere afterthought to Mr. Armstrong’s playing of Bruch’ melancholic masterpiece.