Above: Bertrand Chamayou, photographed by Marco Borggreve
~ Author: Oberon
Thursday May 17th, 2018 - An outstanding concert by the New York Philharmonic tonight, with pianist Bertrand Chamayou making his debut with the orchestra in a performance of the Mendelssohn 1st piano concerto that drew a massive ovation. Maestro Semyon Bychkov capped the evening with an epic rendering of the Shostakovich 5th; the orchestra sounded simply grand throughout the concert.
Johannes Brahms' Tragic Overture opened the program: a timely work for a world plunging into despair and disrepair. The composer had told a friend that the title does not refer to any specific tragedy, but rather that he wrote this overture to satisfy the melancholy side of his nature. It stands in contrast to its 'sister' overture, the Academic Festival. It was beautifully played.
Pianist Bertrand Chamayou then joined the orchestra for Mendelssohn's Piano Concerto #1. Earlier in the week, we had heard Mssr. Chamayou 'live' for the first time, collaborating with cellist Sol Gabetta in a Great Performers recital at Alice Tully Hall. It was great to have a second opportunity - so soon - to hear the pianist tonight in a concerto setting.
Following a turbulent orchestral introduction, the piano makes a dynamic, dazzling entry. Things slow to a lovely passage for strings with the piano playing sweetly: it feels like Mozart. As the Allegro con fuoco continued, Mr. Chamayou displayed uncanny keyboard coverage, with rippling arpeggios, scales brimming with life, and brilliantly articulated trills. Fanfares sound, heralding a pensive cadenza, and the concerto moves without pause into the Andante. A cello melody precedes a longish piano solo which extends as the cellos re-join. Mssr. Chamayou's delicacy of expression drew us in before a deep and broad cello passage carried the Andante to a tranquil finish.
Immediately, the Presto - Molto allegro vivace is launched. Here the fleetness and precision of Mssr. Chamayou's technique was light-filled; his playing combined energy and elegance, elevating our spirits as he carried us along. The orchestra seems to burst into a can-can, and - after a charmingly timed lull - the pianist proceeded to dazzle us thoroughly as he sailed thru to the concerto's fantastic finish.
Greeted with a huge din of applause - the crowd rising to their feet to hail the pianist with unbridled enthusiasm - Mr. Chamayou returned to the Steinway for a lyrical encore: Mendelssohn's On Wings of Song, sublimely played.
Above: Maestro Semyon Bychkov
Following the interval, Semyon Bychkov and the artists of the Philharmonic have a thrilling performance of Shostakovich’s magnificent Fifth Symphony. Following Joseph Stalin's biting denunciation of the composer's opera LADY MACBETH OF THE MTSENSK DISTRICT in 1936, Shostakovich had become a persona non grata. The pressure was on, as he knew that his next major work, the 5th symphony, held his future composing career in the balance. The 5th was a great success, improving - at least for a time - his standing with the Soviet. In the ensuing years, Shostakovich continued to fall in and out of favor with the government.
This music is in Maestro Bychkov's blood, and he marshaled the Philharmonic forces in a performance of sheer sonic grandeur. This being my second time to encounter this orchestra in this work, I have to say that the 5th is probably my favorite symphony now. There's nary a wasted note, no detours or cul de sacs: the forward momentum is irresistible.
Both in solo passages and section-by-section, the Philharmonic musicians seemed on peak form tonight, responding to the conductor's vision of the score with playing of incredible beauty and emotional involvement. The celli and basses, all ranged on the Maestro's right, had a sumptuous depth of sound; the violins so heartfelt, with concertmaster Frank Huang spinning out some silky solo phrases. The percussionists have ever so much to do - the xylophone in this symphony is a great delight - and they were splendid.
Highlighted along the way were Anthony McGill's dulcet clarinet - his mastery of phrasing and nuanced piano shadings a constant allure - and Robert Langevin's flute, with its purity of tone. Liang Wang (oboe) and Judith LeClair (bassoon) are expert colorists; the harps were enchanting, the piano making just enough of a mark at just the right time, the horns warm, the trumpets and trombones splendid.
Shostakovich's mastery of orchestration is in full flourish here. Bold, mustering marches contrast with finely-shaded intimate passages - like the lovely meshing of flute and horn in the first movement. The Scherzo tends toward the manic, as it careens towards a mad waltz.
In the atmospheric Largo, Shostakovich cannily limits his colour palette by leaving out the brass; the strings are sad yet radiant, the woodwinds and harp evocative, the solo flute sings of loneliness. A hushed agitato figuration for the violins introduces the oboe playing high (Mr. Wang) and the clarinet incredibly sure and sweet (Mr. McGill). The winds go deep and then, suddenly, there's an electric current of sizzling strings and the vibrant xylophone. The music turns eerie, the violins rise, the harp evokes, quiet chords close the Largo.
I felt that Maestro Bychkov's one miscalculation of the evening was in taking too long of a pause before plunging into the finale of the Fifth Symphony. The Largo had left everyone (players and audience) poised in keenly focused anticipation; had he given an immediate downbeat, the atmosphere would have been sustained. But the audience began to cough, shuffle, and chat as the seconds ticked by. Of course, once the big, driven excitement of the Allegro non troppo kicked off, we were swept along, with the trumpets and horns leading the charge. A calmer interlude simply served to make us crave a return to the triumphal. Shostakovich surely knew what he was doing; and if, as some have argued, the final movement of the 5th was something of a sellout to the doctrine of Socialist Realism on the part of the composer, it was a savvy - perhaps even tongue-in-cheek - move, a necessity for his self-preservation. Whatever the case, the music sounds glorious - and it sent the Hall into raptures as gales of applause greeted the Maestro and the musicians.
~ Oberon