This was a marathon concert to celebrate the life and work of Yehudi Menuhin. Nothing less than two concerts in one would do to represent the achievement of such a musician, with two concertos and a violin showpiece in the first half, and the second devoted to the most monumental of symphonies, Beethoven's Ninth, conducted by another iconic figure, Mstislav Rostropovich.
It was almost 70 years to the day since Menuhin made his London debut in 1929, aged 13. That too was at the Royal Albert Hall, where he played Bach, Bruch, Franck and Bloch. Bach opened the concert this time too, with the Double Violin Concerto, celebrating among much else the work of the Menuhin School. Founded 36 years ago in Surrey, the school is unique in this country in the way it catches outstanding young musicians early.
To demonstrate current standards, the school's string orchestra, under director of music Malcolm Singer, played in the two concertos, and one of the brightest stars from previous generations, Tasmin Little, took the lead in the Bach concerto. She was joined by Nikolaj Znaider as the other soloist.
The school orchestra also played for Jeremy Menuhin in Mozart's E flat Piano Concerto, K 449. This was an amiable performance that in the contrapuntal writing of the finale had one thinking again of Bach. The violin showpiece that rounded off the first half brought a change of orchestra, with the Philharmonia under David Stern taking over. In Sarasate's Zigeunerweisen, the inspired soloist was Sarah Chang, a young violinist who, like Menuhin, has developed from being a child prodigy into mature artistry.
Yet the biggest revelation came with Beethoven's Ninth, conducted by Rostropovich. It was one of the most spacious readings ever, with slow tempi bringing total concentration and high dramatic contrasts. With brass and timpani well to the fore, Rostropovich underlined the military panache of much of the writing, setting that against intimate sequences of chamber-like lightness.
The Joy theme of the finale entered so quietly that it was like hearing it from afar, before it was swept into Beethoven's maelstrom of exuberance. The Philharmonia was joined by four soloists from central and eastern Europe whom Menuhin had specially championed, and two of his favourite London choirs in splendid form - the London Choral Society and Bach Choir.
