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SEEN AND HEARD INTERNATIONAL CONCERT REVIEW
Stravinsky: Divertimento (Suite from The Fairy's Kiss)
Sinfonia
Danses suisses
Scherzo
Pas de deux
Borodin: Polovtsian Dances (from Prince Igor)
Brahms: Piano Concerto No. 2 in B-flat Major, Op. 83
Allegro non troppo
Allegro appassionato
Andante
Allegretto grazioso
The almost full house for last Friday's Chicago Symphony concert
was enthusiastic in welcoming guest conductor Gianandrea Noseda,
who substituted for Riccardo Muti. In lieu of Varèse's
Arcana, the last minute substitution of the Polovtsian
Dances from Borodin's opera Prince Igor fitted
well with the Suite excerpted from Stravinsky's ballet The
Fairy's Kiss. Noseda gave both pieces a lyric bent, a
perspective that certainly brought out the lines in the
Stravinsky and thus paid respect to the models from Tchaikovsky
that form the basis of this piece. While this worked well in the
opening of the Sinfonia in the Suite, the latter sections
blurred into each other, without the differentiation between
them found in the score. However, this approach supported the
Danses suisses, which had a clearer interpretation that conveyed
the dual vision of music by Tchaikovsky reworked by Stravinsky.
This movement gave the audience a sense of the stylistic double
vision in a rare performance of this ballet from the late 1920s.
With Borodin's Polovtsian Dances, the orchestra gave a solid reading of the score, with Eugene Izatov, principal oboe, giving the extended solo in the first part a rich, melancholic tone. For some reason though, Noseda tended to restrain the orchestra when the ensemble tended toward exuberance, and some tension was evident in the sometimes undifferentiated sounds in the middle of the Dances. It is difficult not to become caught up in Borodin's evocation of folk music, though, and the conclusion of the piece brought the audience to its feet, with some members of the audience whistling and cheering wildly.
The second half of the program consisted of Brahms' Second
Piano Concerto, a work that was part of a memorable concert a
few seasons ago with James Levine conducting and Daniel
Barenboim as the soloist. For this concert the CSO was joined by
Leif Ove Andsnes, who delivered a precise and detailed reading
of this familiar piece. His cool approach to the solo part
allowed him to give full reign and clarity to passages that some
pianists blur, and he brought out the details that demonstrate
both his command of this Concerto and mastery of Brahms' style
in a solid reading of this work. The tempo of the first movement
was slightly slower than sometimes taken, a factor that allowed
Andsnes' part to emerge even more readily. The tempo was more
characteristic for the second movement, with Andsnes' opening
gesture met well by the Orchestra. In some passages, though, the
orchestra seemed muted, with the string sound tending toward the
upper and middle voices, enabling Andnes' solo part to demand
attention with his expressive control. As much as the
arpeggiated passages of the first movement were solid, so was
Andsnes' sustained and elegant reading of the second movement.
In the third movement, principal cello John Sharp gave the piece
a distinctive sound in his solid and persuasive reading of the
solo part that framed the structure. This prominent solo
contributed an additional texture to this piece, and Sharp not
only served well in combination with the orchestra, but also
offered additional contrast to the solo piano. With the fourth
movement, Andsnes brought the Concerto to a conclusion by
allowing just a few seconds before the opening of the Finale. He
differentiated between the sections of the Rondo with subtle
variations in tempo that contributed to the interpretation of
the movement. The solid and enthusiastic playing served the
piece well, and gave the audience a fine sense of the stylish
and persuasive abilities of the soloist, who will return to
Symphony Center in the Spring to give
a solo recital.
Jim Zychowicz