The Academy of St Martin in the Fields (ASMF) have an exciting start to 2026, setting off on a voyage across Europe and America to celebrate their fourteen-year collaboration with Music Director and American violinist Joshua Bell. Following his award from King Charles III late last year for services to British music, a trip to New York’s Carnegie Hall this spring, the ASMF’s first in nearly two decades, seems a fitting celebration. First though, the small matter of a European tour, weaving their way through the highlands and lowlands of Germany and Austria, and tonight’s stop-off at Essen’s Philharmonie.
The commission
Sealing Bell’s creative credential’s, the evening opened with the final movement from The Elements, a five movement violin concerto commissioned by Bell during the pandemic which in his words, brings together five of the greatest living American composers. Each explore one of the earth’s elements: Edgar Myer’s Water, Jake Heggie’s Fire, Jennifer Hydon’s Air, Jessie Montgomery’s Space and finally tonight’s contribution, a chamber version of Kevin Puts’ Earth.
Puts’ meditative prayer to the earth gradually unfolded in the hands of Joshua Bell, our all-American astronaut on his very own space odyssey, circumnavigating the universe and revelling in the earth’s beauty from on high with only the double basses’ pedal emitting the earth’s magnetic pull. But as time for meditation elapsed, a flurry of activity ensued, and now firmly on solid ground, the violin pursued, and was pursued, over hills and valleys; through bustling streets, before eventually stumbling upon vast oceans of sanguine calm. Puts’ intensely romantic ode to the earth finding conclusion in the violas’ final lonesome middle C, as the violin again flew high in the sky. Quite sublime.
The very pastoral opening of Brahms’ Violin Concerto continued thoughts of the earth’s awakening, before Bell’s entry erupted like a volcano bubbling in the vast hinterland. Unsurprisingly, the earth’s allure was just too tempting, leaving the double basses again to gently direct the way. The ASMF for their part were adept at following Bell’s every turn. Robust when needed, melancholic when required. Seamlessly enveloping Brahms’ motifs in a thoroughly modern technical display before horns and oboes likewise took our breath away, Bell’s own cadenza was a highlight and prompted a lengthy and uncharacteristic applause. All on stage looked genuinely touched.
The concerto
An emotional orchestral Adagio left none in doubt as to the exquisite musicianship of this London-based orchestra. Principal oboe John Roberts and colleague Stephen Stirling, the orchestra’s principal horn for the past forty years, were standout stars. Quiet calm gave way to the Finale’s trilling woodwind and rustic violin pyrotechnics, and, as was the norm, clarity and storytelling remained at the fore. With the brass and timpani unleashed, Brahms’ concerto positively brimmed.
The symphony
The evening concluded with a hugely exciting reading of Schumann’s Spring Symphony. Tempo choice, phrasing and balance just worked. Everything felt alive. Now seated, Bell directed using his bow and various, efficient body movements. The immaculate ensemble was a joy. Mellow trumpets vied with hymn-like trombones and riveting horns, while Harry Winstanley’s spellbinding flute solo left all entranced. Even a tingling triangle had its moment of glory. For those who may have in the past given Schumann’s symphonies a wide berth, in the hands of the ASMF and their inspirational American friend, this symphony found new life. Simply divine.
Catch them on tour if you can.
