SEEN AND HEARD INTERNATIONAL

Piano Concerto No. 1in B flat minor Op 23; Symphony No. 6 in B minor, Op. 74 “Pathetique”
 

The Russian born, and since 1990 the Israeli citizen, Alexander Markovich, now in his late forties, was well established around the world quite early, primarily as accompanist. Since 1997, when Neeme Järvi invited him to play with the Detroit Symphony Orchestra, he has had a busy career as soloist and appeared with many prestigious orchestras. On this occasion he stood out as a muscular and none too subtle musician with formidable technique. He attacked the keyboard with obvious relish in the fortissimo opening of the concerto and the power and intensity of his playing was no doubt thrilling, though some more light and shade wouldn’t have come amiss. It is true that he could lighten the touch and in the second movement he showed fine sense for the lyrical moments that also are part of this concerto. It seemed however that he felt most comfortable when he could blaze away at full throttle and the final movement became a truly ear-shattering affair. Arvo Volmer was a pliable partner but I believe he would also have liked some more flexibility from the soloist. The orchestra played well and there were fine solo contributions, not least from the excellent first oboe.

Considering the inhospitable weather, which made skiing or skating more suitable means of transportation than walking, Mr Markovich very appropriately chose as his encore a piano transcription of Waldteufel’s Les Patineurs (The Skaters’ Waltz). In these days of Winter Olympics he no doubt deserved 10 points for technical brilliance, maybe a little less for artistic qualities. It was however highly entertaining and enjoyable.

There could hardly be sharper contrasts than between the extrovert piano concerto and the inward Pathetique symphony. Certainly there are many pages of colourful drama and power, most blatantly in the brilliant third movement, which more often than not lures listeners to applause. There was a faint sign of clapping also this time and no wonder. People unfamiliar with the work must believe this a riveting finale. But elsewhere there is so much that is heart-rending, in particular of course the last movement, which is perhaps the most personal, the most autobiographical music in his whole oeuvre. There is always a risk that this symphony becomes sentimental and cloying, but not so in Arvo Volmer’s reading. He so to speak kept a window slightly ajar to let some fresh air in. This was especially evident in the second movement, the limping waltz that can be almost unbearably pathetic. Volmer’s light and forward moving reading was the ideal antidote. The third movement was springy and alive and the finale was superbly well balanced and – as always happens in a sensitive reading – brought a furtive tear to my eyes. As in the piano concerto there were some outstanding instrumental solos.

Göran Forsling