An enigma called Vladimir Jurowski

by Gwen Herat at the Royal Festival Hall, South Bank-London

Each time I meet Vladimir Jurowski, the halo around him appears larger and brighter with burnished gold. At times I wonder whether he has already eclipsed Mehedi Hussain or Sir Malcolm Sergeant? May be yes. May be not; but Jurowski is the powerful comet in the brightly lit horizon and comets become greater and more spectacular as they ascend the sky.

He is like the raging fire burning the forests; he is like the multi-hued falling leaves of autumn and the gloss of the wintry winter, pure and white. Together, they join the awesome lilt of the flaming summer and make up an enigma called Vladimir Jurowski. I still feel I have no words to describe this wonder of classical and symphonic music.

The virtuoso conductor of the London Philharmonic Orchestra, Vladimir Jurowski Wielding his baton brilliantly.

And no wonder I will travel across the world to see and hear him conduct. Blessed with both Russian and European traditions, influenced by their Masters, he is a stickler for perfection which he draws from his equally dedicated orchestra who spontaneously give their best to him. Quiet naturally, he is looked upon as a demi-god and Jurowski's rapport with them is unlimited.

Mystical connection

Every great orchestra is built upon the almost mystical connection between a great orchestra and an equally great conductor who is committed to a special organic quality.

This is only a bit of Jurowski. His remarkable gusto to rejuvenate the lost or seldom-played scores of some great composers, is only one speciality in him. Almost every new programme, he will surface a lost score.

Don't we all know about Tchaikovsky's major works that have received enough world attention? but Jurowski still feels we really do not know enough about this creator of arguably most of the popular melodies ever written. Or to put it differently that composer Tchaikovsky disappointed the perception behind the myth that surround Tchaikovsky.

Every composer had a split-personality and many found it difficult to relate to each other and that is where Jurowski steps in most of the time with a sense of philosophy. So, I heard some of the Tchaikovsky's scores I had not heard or overlooked. Jurowski felt the same about Gustav Mahler and a year ago when I attended a concert conducted by him which was more of a workshop there was Mahler resurrected.

I also shared a special sentiment with this great conductor and was obliged to Mahler for inspiring him with Mahler's fifth Symphony that powerfully pushed Jurowski into the musical world to become the great conductor he is today. As a child he lived among music of his father and stumbled upon Mahler's fifth Symphony which changed his young life completely to what it is today.

I heard and saw him conduct Mahler's Symphony No. 2, the Mighty Resurrection which took him seven years to compose.

It had been brewing inside his head for that long and turned out to be his best score and Jurowski made no flaw.

Words cannot express precisely the efforts of both Mahler and Jurowski who encased the works superlative scale in the most uplifting and assuring treatment uplifting and reassuring faith.

I also heard him conduct Shostakovich operas and since I know very little about opera I was unable to relate to his work. Though Shostakovich is not a favourite of mine, Jurowski's directions on 'The Nose and the Gambler' created a new sense of interest in me.

Astonishing impact

As the principal conductor of the prestigious London Philharmonic Orchestra for the past few years, he has already made an astonishing impact on London musical scene as well as around the world on his overseas tours.

All music lovers are awed by his phenomenal rise and it is clear that the LPO became richer with Jurowski's presence on the conducting scene. His obvious charisma and the maturity at music making have clearly endeared him to the orchestras, critics and all music lovers. He has the power to change lives.

He knows how to use the skill and dedication of his orchestra and make sense out of most exuberant and darkest moments. We are given fresh relevance through the passion and joy. At least, that is how I feel and make my trips to the Royal Festival Hall irresistible. I carry back loads of excitement, fulfilment and passion of classical music.

I must mention about the outstanding pianist Alexander Toradze who simply melts under his baton, especially playing Prokofiev's PIANO CONCERTO No. 1 that was created unlike any dance music that had gone before. It was more of a ballet score with unprecedented dramatic scope. No wonder, Prokofiev is hailed for clarity, of emotion and technical invention, Jurowski makes this a vivid story through the efforts of Toradze.

There was also Julia Fischer Playing Shostakovich's Symphony No.4 in c minor on the violin responding passionately to Jurowski's baton-weilding. It was a classic combination of music wizardy, enhanced by the London Philharmonic Orchestra. The immense and gripping Fourth Symphony of Shostakovich appears to be a screaming plea to the submissive subjects to the then Soviet State. Perhaps Jurowski who would have been conscious of these influences on Shostakovich's music, presented the score in a tense but iconic presentation with Fischer's magnificent caressing of the strings.

The formidable conductor with prodigious technique and powerful intellect, can bring alive any Master to the portals of the Mecca of classical music, the Royal Festival Hall. This dazzling revered artist has given new meaning and impetus to the musical scenario as no one else in recent times. This is only the beginning of Jurowski's career at the LPO. It is also the beginning of LPO's trek to become the world's best, even the multi-faceted New York Orchestra is at risk.