Conductor Christoph Eschenbach Returns to Lead an Attractive Program
By George B. Parous
Friday night Ray Chen, the “violinist and online personality,” returned to Pittsburgh and delivered a performance that roused a not overly large audience at Heinz Hall. He is definitely a crowd pleaser, and quite a dynamic one at that. It seems that he especially has a strong appeal to younger listeners, and it was encouraging to see so many young people in the audience. Mr. Chen has much working in his favor beside his virtuosity. He radiates a fun personality, whether he is making his violin sing, or standing in repose for the few spots the Brahms concerto allow. He’s exceptionally talented, easy on the eye and exudes a great deal of charm.
The program’s first half was devoted to Johannes Brahms’ massive Concerto in D major for Violin and Orchestra, Opus 77. It’s the only violin concerto Brahms ever composed, and it’s possible he hesitated to top himself by trying another. It’s written in the standard concerto form – three movements, fast-slow-fast. Mr. Chen was at his best in the long sustained high passages, of which there were many, especially in the second movement. Christoph Eschenbach, conducted in a calm manner, and the instrumentalists, as is usual, responded with a glowing performance. Eschenbach may have appeared calm, but his body language showed that he was watching over the entire large orchestra.
When the concerto came to an end, a storm of applause burst forth, and it was clearly, for the most part, meant for Mr. Chen. After three or four recalls, the encore fiends broke him down and he returned graciously – and quite generously – to play another Brahms gavotte. Before he played he spoke in a charming manner, thanking Pittsburgh – again (he was here in the winter of ’23) and other brief comments energetically. The applause continued for some time after he had definitely left the stage.
The second part brought forth Robert Schumann’s Symphony No. 2 in C major, Opus 61. Mr. Eschenbach seemed more lively and engaged in this piece. Possibly this was because, unless ears deceived, there were a couple of brief rough spots that did no serious damage, yet jumped out from the consistently precise playing of this splendid orchestra. The symphony is written in four-movement form, and today is not counted as one of Schumann’s greatest achievements, possibly due to its unusual structure. If not Schumann’s best, our orchestra can give it it’s best fighting chance, and the fourth, final movement, was played with thrilling excitement that received quite an ovation.
The Post-Concert offering was revived, and patrons had the choice to remain behind, and listen to the third movement (Fandango) of Luigi Boccherini’s Quintet No. 4 in D major, G. 448. Regi Papa (violin); Yeokyung Kim (violin); Sean Yuhl, viola; Mikhail Istomin (cello) and Dale Jeong (cello) were the members of the orchestra who provided the additional entertainment.
You have one chance to hear this program repeated. Visit Pittsburgh Symphony Orchestra, call or visit the box-office at Heinz Hall, but you definitely want tickets for the Sunday, November 3, 2:30 pm matinee.
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