Avery Fisher Hall at
Program
Overture to Konig Stephan (King Stephen), Op. 117 (1811) by Beethoven (1770-1827).
Lontano, for
Piano Concerto No. 1, BB 91 (1926) by Bartok (1881-1945).
Symphony No. 5 in C minor, Op. 67 (1804-08) by Beethoven.
The first part of the program was a Hungarian affair. Per the program notes, the program was presented to mark the 50th anniversary of the Hungarian Revolution. King Stephen, the subject of the 10-number Beethoven work, was the founder of “modern Hungry” (and we are still talking late-10th-century here). Gyorgy Ligeti, who recently passed away, migrated to
The Beethoven overture began with a stately trumpet statement, followed by a light passage. The form is classical, and the piece finishes with a flourish.
Ligeti pieces have been used extensively in Stanley Kubrick’s films, including 2001: A Space Odessey and Eyes Wide Shut. Lontano was used in the horror film The Shining, and created – with other pieces - the creepy background in the film. Although I tried to listen for that effect, I couldn’t quite get it. The piece began with the flutes playing a long note and joined by dissonant strings. There was extensive use of tremolo passages in the strings. The tuba and trombone, together with harmonics in the violins, did generate an image of a “glob” or a “thing.” The music gradually built up to some level of controlled chaos, and then gently faded away. Interestingly, considering this piece as being for a “large orchestra,” there were no percussion instruments (not even the timpani).
Percussion was very much in play in the Bartok piece, which began with the timpani followed by the trombone and then the trumpet. The program notes mention this concerto highlights the use of the piano as a percussion instrument, and it is indeed true. The first movement (Allegro moderato – Allegro) was definitely a virtuoso piece, and there were some melodious interludes. Some sections in the middle were a bit difficult to appreciate, though. The movement ended with a flourish. The second movement (Andante) showcased the percussion nature of the piano with a march-like passage. It also had an ethnic sound to it. The construction of the movement was actually quite simple. The snare drums and the brass that started the third movement (Allegro molto) woke up those who had dozed off. The running passages gave the soloist another opportunity to display his virtuosity. Of the contemporary composers, I have found Bartok an easy composer to understand.
A word on Peter Serkin, a tall fellow with a gawkish manner about him. People will always associate him with his famous pianist father Rudolf. He needed the music for this performance, and the pace kept the page turner busy. I haven't heard enough of him to form a strong opinion, but I am quite sure he is a great pianist in his own right.
Beethoven’s Fifth Symphony, whose first movement (Allegro con brio) begins with the famous notes for V, is one of his most well-known compositions. Tonight’s performance was a bit sloppy, with some players jumping in early on quite a few occasions. Avery Fisher Hall has a reputation of being a poor concert hall, and tonight the playing sounded particularly hollow. The cellos began the second movement (Andante con moto), followed by the violins. On the whole the simple movement was pleasantly done and enjoyable. The cellos again began the third movement (Allegro). The French horns made a pleasant appearance. The movement climaxed to lead to the last movement (Allegro) where an earlier theme showed up. The coda was a bit out of control, with the strings struggling a bit with intonation. Nonetheless, Beethoven delivers.
We saw Jonathan Nott earlier this year and I wrote a review of that concert. He seemed to move his wrists less than the last time, and generally put in a good performance.
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