NJPAC, Prudential Hall, Newark, NJ. (Grand Tier, Seat B103, $43).
Program
Pyotr Ilyich Tchaikovsky Capriccio italien, Op. 45.
Mason Bates Piano Concerto.
Tchaikovsky Romeo and Juliet Fantasy-Overture.
Tchaikovsky Suite from Swan Lake, Op. 20a.
It is impossible to talk about this context without referencing the recent invasion of Ukraine by Russia, which could have led to some awkwardness (probably there is a better term to describe this) to this series of concerts. Both Carnegie Hall and the Met have cancelled some artists because of their refusal to criticize Putin directly. I do not know Trifonov's background - other than he studied at Cleveland - and allegiance so didn't know what to expect. The range of possibilities could have ranged from "nothing unusual happens" to full cancellation, this program is close to being all-Russian, after all.
Before the concert began NJSO's CEO Gabriel van Aalst came on stage with Trifonov and Bates and made some remarks about the recent horrific events, and the NJSO members stood up as the played the Ukrainian National Anthem. While Trifonov looked uncomfortable, I thought it was a good gesture on everyone's part. It was also my first encounter with the Ukrainian national anthem.
Bates, Trifonov, and van Aalst on stage as the NJSO plays the Ukrainian National Anthem.
All the Tchaikovsky pieces are quite familiar, yet enjoyable. While the orchestra played the lines beautifully, I thought there was not a lot of urgency in their playing. One reason might be the acoustics of Prudential Hall; while sounds are clear, they also come across as somewhat too clinical.
The Program Notes describes the love theme as an intertwining of two segments representing Romeo and Juliet. One of those days I will find out what they are. The selections from Swan Lake are lovely, but somehow the most dramatic ballet scene (I am talking about all these Fouettes) did not find its way into the suite.
It is rare for me to find a new composition the lynchpin of a concert. Today's was one of those exceptions. Bates writes using both classical and electronic instruments, but uses only traditional instruments in composing this piano to highlight Trifonov's virtuosity and style. Again from the Program Notes: "The three movements take us on a time-travel adventure, opening with Renaissance flavor that suggests lutes and the percussion of early music. The second movement immerses us in Romantic angst, as the soloist struggles in artistic (and musical) isolation. The finale fast forwards to jazz and minimalism, filtered through Bates' individual voice." Bates certainly wrote this concerto with these characteristics in mind, and the simple sentences I quoted helped tremendously in my appreciation of the music. The piece is about 25 minutes long, if I remember correctly, and the movement transitions were quite obvious even without the breaks. While I wouldn't have minded if the piece was a Prokofiev or a Rachmaninoff, having this Bates concerto in the Program was just fine. My one observation (if others had not made it already) is that the "minimalist" part was "Philip Glass on steroids." While the music seemed to move along slowly, it was done with a richness that would be incongruent with Glass's approach.
This was an afternoon concert, and a rather long one. Attendance (see photo) was okay for an NJSO event. Applause was - as usual - lukewarm.
Bates and Trifonov after conclusion of the concerto. Zhang looking on from the podium.
At the conclusion of the (rather long) program. Attendance was okay for an NJSO concert.
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