A STAR TREK - The Israel Camerata Jerusalem (conductor: Avner Biron) hosts British 'cellist Steven Isserlis and presents the world premiere of "Blue, Yellow Smoke" by Lior Navok (Israel)

 

Steven Isserlis (photo: Tom Miller)

Of the Israel Camerata Jerusalem's Instruvocal Series, the title of "A Star Trek'' was appropriate. This writer attended the event on January 10th 2023 in the Henry Crown Hall of the Jerusalem Theatre. Conducting was Camerata founder, musical director and house conductor Avner Biron. 'Cellist Steven Isserlis (UK) was soloist. 

 

The concert opened with a world premiere - Lior Navok's "Blue, Yellow, Smoke" - a work commissioned by Maestro Biron and the Israel Camerata Jerusalem. The piece, written on Russia's invasion of the Ukraine, is atonal, offering orchestra members plenty of solo utterances. Definitely a mood piece, it comes across as intensely personal in expression, as it shifts between sombre, dejected moments and agitated passages, the harp role - disturbing in its gestures, possibly suggesting the fatal  ticking of a clock - added to the eerie aspect of the work. Known to be an outstanding pianist, Lior Navok (b.1971), a founding member of the Butterfly Effect Ensemble (a group specializing in forging live scores for silent films), has created a textural/emotional soundscape that is both powerful and aesthetically appealing.

 

Referring to himself as a "cellist, author, musical explorer and general enthusiast", Steven Isserlis navigates a diverse career as a soloist, chamber musician, educator, author and broadcaster. As he gave vivid expression to the different elements of Dmitri Shostakovich's Concerto for 'cello and orchestra No.1 in E Flat major Op.107, I kept thinking how naturally the work emerged from under Isserlis' fingers, how much he was one with the music, his performance impressive, and not just due it its virtuosic demands as one of the most difficult concerted works for the cello. Shostakovich wrote it for his close friend 'cello virtuoso Mstislav Rostropovich, who memorized the piece in four days, performing the premiere on October 4th 1959. With a healthy dose of verve, Isserlis launched into the playful, cheeky and whimsical scenario of the opening Allegretto, its four-note theme accompanied by an almost droll march in the woodwinds, the movement's course then to reshape and distort musical ideas. The soloist invited the audience to gambol along with the proceedings, as a crashing timpani stroke then issued in the second thematic area.  All rhythmic energy was swept away as the Moderato was introduced in tranquil, sombre sounds, the solo horn nostalgically preparing for the entrance of the soloist, the movement emerging with sublime lyricism, dancing a mournful dance, the music's course then taking on otherworldly sounds and Shostakovich's hallmark sense of isolation. Isserlis' playing of it was fragile, eloquent and introspective. The third movement, an extended cadenza, brimmed with interest, variety and contrast, but what also stood out was Isserlis' strategic pacing and attention to the composer's every detail, gesture and mood. As to the Finale - Allegro con moto - with its Russian dances, Maestro Biron and soloist pulled it off with breathless, fiery verve and a touch of the wicked. Throughout the work, the unique solo horn part (seemingly the 'cello soloist’s "alter ego") was performed with mellifluousness and sensitive shaping by Alon Reuven, the horn at times engaging in extended dialogues when the orchestra was silent.  

 

This was followed by Max Bruch's "Kol Nidrei" (arr. 'cello and strings). An Adagio on Hebrew Melodies, consisting of a series of variations on two main themes of Jewish origin, it was first published in Berlin in 1881. In a performance that ranged from intense moments to delivery of the most innermost pianississimo sounds, Isserlis' rendition came across as spiritual as he took time to address the content of each motif and nuance. Soloist and orchestra met throughout in transparency and with subtle teamwork. The artist was playing a Montagnana 'cello (1740), an instrument boasting superb breadth of sound and range of colour.

 

 For his encore, Steven Isserlis played the "Song of the Birds" (El cant dels ocells), the traditional Catalan Christmas carol associated with the great Pablo Casals. This was not Casals' setting with orchestral accompaniment, but for the 'cello alone. Isserlis' personal, filigree playing of the poignant . melody was graced with spreads. 

The event signed out with W.A.Mozart's Symphony No.41 (Jupiter) in C major K.551, Maestro Biron's reading of the work highlighting Mozart's sheer brilliance as a composer, the work's emotional range and the composer's invincible spirit that always drove him to succeed against all odds. Both bracing and touching, the Camerata's playing gave expression to Mozart's joy, his innocence and whimsy, with melodies reminding one that Mozart was an opera composer. The orchestra's playing was abundant in light, radiant textures, hearty, buoyant tutti moments and the C-major tonality sense of well-being. 

Lior Navok (liornavok.com)