Gérard Caussé at Tokyo International Forum Hall C, May 3rd 2019

The story of how Harold in Italy came to be is as fascinating as the piece itself. Upon acquiring a Stradivarius viola and due to the lack of suitable (read “virtuosic”) solo material, Niccolò Paganini commissioned Hector Berlioz the writing of what it was supposed to be a showcase of his talent on the newly attained instrument. But Berlioz had a different idea. Instead he conceived a symphony like composition writing every single part, not leaving room for pyrotechnical improvisation. The solo instrument and the orchestra were in equal terms and yet the viola unique timbre and personality shined. This was not enough for Paganini, who decided not to commit to its premiere after reading parts of the score. Years later he witnessed a performance and acknowledged the composer on stage, kissing his hand in reverence.

The title comes from the composer’s visits to the region of Abruzzo during his close to two years séjour in Italy. Traveling is this year’s main theme of the annual classical music festival La Folle Journée. The festival takes place during three days of the Golden Week holiday at the huge Tokyo International Forum complex, with performances at pretty much each of its multiple concert halls and spaces. The festival’s affordable prices and ambitious program attracts thousands of people every year. I can attest to that, the place was packed. Trying to get a table to enjoy some of the delicious food from one of the several good looking stalls was an impossible task.

The concert started bright and early at 11:30 in the morning. Our seats were in the fourth row which gave us a privileged view of the performers’ intensity. It started without the soloist on stage. It was surprising to see him walking from the backstage around the three minute mark, just before the viola theme is introduced, and positioning himself behind the second violins and in front of the harp. A few minutes later and while playing part of the initial solo, Gérard Caussé walked to the traditional spot next to the conductor, where he stayed until the second half of the last movement, in which he moved all the way to the back of the room, next to the timpani.

This unique stage presentation definitely supplied an extra sense of drama. It was probably possible because of Caussé’s familiarity with the material. He recorded it in the eighties for the Erato label with François-René Duchable on piano playing Liszt’s duet transcription. A decade later the French violist recorded it again, this time with a full orchestra conducted by John Eliott Gardiner. Both of these versions are amazing, it was great to see the 70 year old viola legend performing it on the flesh. His total involvement and dedication are visible even when he’s not playing. He would silently vocalize the orchestra parts while the Tatarstan National Symphony Orchestra, under the vigorous conduction of Alexander Sladkovsky delivered the goods.

What could be said about the piece itself other than it’s a masterpiece of early romanticism and that its intention of evoking the melancholic surrender of the individual to the overwhelming chaos of nature is still eloquent and more than ever current? Not much. It was a treat to see it performed within the framework of one of the few classical music festivals of such scale in Japan. Just one quick suggestion: why not releasing the program in English simultaneously with the Japanese one? By the time the English information is online many shows are already sold out. Having said that, I’m looking forward to next year’s edition. 

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