Flying the flag for Elgar: London Philharmonic in Germany

Amsterdam-based cellist Ivan Karizna replaces injured Sheku-Kanneh Mason for two concerts with the London Philharmonic in Erlangen and Essen, playing Saint-Saëns and Bloch.

How many contemporary classical music pieces receive 100 performances in the year following their premiere? Today, only the combined output of Estonian composer Avro Pärt comes close. It is hard therefore, to fully comprehend the impact Elgar’s First Symphony had on early twentieth century audiences, and the euphoria subsequent performances created across the world after its premiere in 1908.

Established proponent of British music, Edward Gardner has spent a lifetime bringing the music of British composers to the fore. With the London Philharmonic’s 2025 tour of Germany, Gardner seeks to persuade a slightly sceptical German audience of Elgar’s worth, and despite the slightly smaller audience than usual (partly due to late night Christmas market shopping) the hugely positive response – standing ovations galore – suggested that at least in Essen’s Philharmonie, Elgar’s oeuvre is perhaps due a renaissance here.

The programme

A little Elgar

Elgar’s In the South to start was a great introduction to the LPO’s talents as moments of calm gave way to earth-shattering grandeur. Gardner in the midst, whipping up a storm, helped by thundering bass drums, achingly beautiful string melodies, heavenly horns, and thudding tuba and trombones. Which all begs the question: why is this work performed so rarely, both here in Europe and in the UK?

Elgar’s First Symphony similarly impressed. Confident and breezy, this is the most comfortable I have heard the LPO in recent years – the horns especially, relished the Philharmonie’s generous acoustics. At the centre, Gardner’s clear direction gave credence to Elgar’s densely orchestrated score. Orchestral colours, never competing, but coming to the fore, creating a convincing whole.

The Scherzo’s violin moto perpertuo immediately evoked a much darker world. And if we needed a ray of hope, Elgar’s Adagio unveiled gentle rays of sunlight emerging from behind velvety cushions. With the clarinet delving deep into his earthy chalumeau register, the opportunity to hear the violins’ fragile refrain again and again, each time more impassioned, was a delight.

Elgar’s bass clarinet immediately changed the mood, returning thoughts to life-affirming stoicism. Conducting essentially from memory, Gardner’s masterly conclusion did not disappoint. Returning to the stage for an orchestral arrangement of Rachmaninov’s Zdes Khorosho from hisTwelve Songs Op. 21 was the perfect antidote to Elgar’s impassioned pleas.

London Philharmonic | Essen — London Philharmonic in Essen © Clare Varney

The surprise

The surprise of the evening, however, was Ivan Karizna’s reading of Schelomo, Ernest Bloch’s rarely performed Hebrew Rhapsody for cello and orchestra – the last in his ‘Jewish cycle’ where he sought not only his own musical identity, but also the ‘soul of Jewish people’. Schelomo is so rarely performed in fact, that this was the thirty-three-year-old cellist’s first public performance. And what a performance!

Rather like the cello in Richard Strauss’ Don Quixote, Bloch pitches the cello as the protagonist. In this case, the Old Testament’s King Solomon, unable to escape his sensuous surroundings full of various wives and concubines. Playing on his 1760 Tassini ‘ex Paul Tortelier’ cello, Karizna’s angst-ridden Solomon was indeed a tortured soul.

From the very first note, Karizna questioned life at its very core. Completely bereft of hope, only the harps and violins offered thoughts of a more positive future. But still those flattened 2nds and minor intervals, so typical of Jewish music, foreshadowed an impending doom. In duet with the contra-bassoon, Karizna laid bare his deep emotional vulnerability – a stunned silence filled the auditorium.

The lasting impression, however, was his encore – Giovanni Sollima’s Lamentatio, complete with vocal improvisations. Karizna’s cello, now the Rabbi, begged for God’s forgiveness.

With performances across the Netherlands and Australia in 2026, this is a cellist who has an enthralling tale to tell. Audiences will be queuing to listen.