Bronfman Plays Beethoven
By GEORGE B. PAROUS
As is usually the case during the remnants of a Friday evening rush hour, traffic conditions in the immediate vicinity of Heinz Hall yesterday were exceptionally trying, but the theater was comfortably filled by the time the lights dimmed for Bronfman Plays Beethoven, in the Pittsburgh Symphony Orchestra BNY Classics series, just a few minutes past the appointed start time.
The unofficial theme of the program, as noted, might read “Fairytales Reimagined,” as the works performed included “Introduction to Scene V” from Alice in Wonderland (Unsuk Chin); Divertimento from Le Baiser de la fée [The Fairy’s Kiss] (Igor Stravinsky) and the Suite No. 1 from Cinderella, Op. 107 (Sergei Prokofiev). The Beethoven that pianist Yefim Bronfman played was his Concerto No. 5 in E-flat major for Piano and Orchestra, Opus 73, “Emperor,” referred to in the program notes as the “emperor of all concertos.”
Ms. Chin’s frenzied “Alice in Wonderland” excerpt, played by the PSO for the first time, opened the program in a dashing fashion, crashing along at a rushing tempo for its entire two-minute duration. It took the audience by surprise, and no sooner had they finished applauding the conductor and orchestra on the opening than they were doing it again, and ripples of good-natured amusement could be heard on all sides, as well as comments on how well the orchestration was in keeping with a “mad hatter” atmosphere.
The entrance of Yefim Bronfman, guest soloist, brought another, louder ovation. The distinguished pianist bowed his acknowledgment and quickly took his seat for the beginning of a stellar performance. The overwhelming majesty of the music is all the more remarkable when it’s remembered that Beethoven composed it in a Vienna under bombardment by Napoleon’s guns. The three movements, with primary and secondary themes, tonic and dominant chords, minor and major keys, were remarkably brought to life by the orchestra in waves of sonic beauty, and Mr. Bronfman handled the intricate and sparkling passages in true virtuosic style. He was recalled at least half a dozen times before it was obvious to the enthusiastic audience that he was through for the night.
Guest conductor Juraj Valčuha has an effortless yet animated style that’s earned him worldwide recognition as a natural and expressive musician, able to interpret the most intricate of scores with ease. His right hand waves the baton to the string choir; his left grasps the air and tosses it to the horns. His head makes impassioned nods, never affectatious, and a hip might be called into use when all of the above are already in play. At the head of such a marvelous orchestra, his results are mightily delicate or massively profound, as the music dictates, and he’s great fun to watch. The ovations he received were deservedly loud and long.
Conductor Juraj Valčuha
The Stravinsky divertimento is practically a novelty in that it hasn’t been performed by the PSO since 1987. The Fairy’s Kiss, a one-act ballet, was composed in 1928 by Stravinsky; it’s his 1949 revision of the suite that’s on the present program. The ballet was Stravinsky’s take on the Hans Christian Andersen fairy tale The Ice Maiden, and the concert suite contains a good deal of the music from the original ballet. An homage to Tchaikovsky, the work’s Sinfonia, Swiss Dances and Waltz, Scherzo, Pas de deux, Variation and Coda were magnificently brought to life by Maestro Valčuha and the orchestra, and vied for top honors in an evening of consistently noble performances.
A PSO première was the Prokofiev Cinderella suite that brought the program to a rousing conclusion. It’s hard to imagine why the work has never been played by the orchestra before, because it’s brilliant and colorfully orchestrated in the extreme. Even Craig Knox’s gleaming tuba is brought to the forefront of the action. The eight parts of the suite, with evocative names such as “Fairy Grandmother and Winter,” “Cinderella’s Waltz,” etc., almost make it easy to imagine the nature and grandeur of the music before it’s heard. The orchestration is a wealth of recurring musical themes and leitmotifs. The music magnificently narrates the characters’ emotions and the tale’s denouement. The Fairy Grandmother’s theme is whimsical and light, while the Prince’s theme is noble and romantic, etc. The music makes it possible to “see” the story with the ears. Most effective is the ominous and unavoidable “Midnight” – Prokofiev unleashes six percussionists, a woodblock and xylophone to sound the merciless clanging of the clock. It’s magical.
Bravo to the Pittsburgh Symphony Orchestra, Maestro Valčuha and Mr. Bronfman for a fairytale evening of musical wonders.
There are still good seats available for the Sunday, May 18, matinee repetition of the program at 2:30 p.m. Visit the PSO website for tickets to an afternoon of guaranteed musical pleasure.
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