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SEEN AND HEARD INTERNATIONAL FESTIVAL REPORT
Haydn : Symphony No. 6 in D major, Le Matin (The Morning), Hob. I:6 (1761)
Ligeti : Concerto for Piano and Orchestra (1985-86/88)
Bartók : Concerto for Orchestra, BB 123, Sz
116 (1943)
A "philosophical pugilist," said my friend about pianist Marino
Formenti, whose dazzling reading of Ligeti's Piano Concerto was
the highlight the opening of the New York Philharmonic's
Hungarian Echoes at Avery Fisher Hall. Formenti, replacing an
ailing Pierre-Laurent Aimard, is a formidable champion of
contemporary music, and with the clear authority of Esa-Pekka
Salonen on the podium, showed Ligeti's score to be one of the late
20th-century's most fascinating. Like many recent
works, each hearing brings new pleasures. With a small chamber
orchestra (about the same size as the opening Haydn), Ligeti pairs
the piano with unusual combinations of instruments; the striking
second movement, "Lento e deserto," uses string tremolos, bells
and a slide whistle against a subterranean bass drone, ending with
a harmonica solo, done here with plaintive assurance by
percussionist Daniel Druckman. Formenti must have performed this
piece dozens of times, and his command made compelling listening.
As an aside-and I hate having to write this-but some in the
audience seemed hell-bent on disrupting Ligeti's gossamer effects;
the magnetically quiet slow movement was accompanied by a
noticeable chorus of crashingly loud coughs. It was the first time
in many years that I actually felt like standing up and yelling to
those scattered around the hall, to save the "commentary" for
intermission.
But back to the concert, which opened with Haydn's early Symphony
No. 6, "Le Matin." Salonen managed a graceful, at time perky
account, although I couldn't help but wonder if Haydn is really
his métier. In any case, the tempi seemed well-chosen, the
ensemble had lithe beauty, and some of the solos, especially those
by Assistant Concertmaster Michelle Kim, were deftly done.
Bartók's astringent, powerful Concerto for Orchestra is a
showpiece in the right hands. Salonen has those hands, and there
were moments when I heard balances created, and instrumental parts
emerge that made the piece irresistibly fresh. The somber double
bass opening usually doesn't groan as ominously as it did here,
with Salonen exercising great patience with the exposition. The
"Game of Couples" and "Interrupted Intermezzo" showed the
orchestra's typically fine winds, and the central slow movement
churned with anxiety and sadness. Salonen detonated the finale at
a breathless tempo that I thought would be impossible to sustain,
but soon the players showed my anxiety was unfounded, and why
Bartók's challenging writing remains one of the mid-20th
century's great litmus tests for an orchestra.
Bruce Hodges