Concert Review: A dramatic Russian program with Gilbert Varga and the St. Louis Symphony, March 5 and 6, 2016

Gilbert Varga
Photo: Felix Broede

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Those of you Of a Certain Age may recall an ad campaign by Esso Oil (now Exxon Mobil) that promised to "put a tiger in your tank." St. Louis Symphony guest conductor Gilbert Varga had a tiger in his baton Saturday night, and the roaring was most impressive.

[Find out more about the music with my symphony preview.]

The concert got off to an electrifying start with a thrilling performance of Tchaikovsky's "Hamlet, Fantasy Overture after Shakespeare," Op. 67. Written only a few years before the composer's death, the work shows the obsession with fate that permeates both his "Symphony No. 4" from 1878 and his "Symphony No. 5," which first saw the light of day in the same year as "Hamlet". It's powerful music with a strong sense of impending doom.

Working without a score, Mr. Varga used slashing, dramatic gestures in the service of a compelling interpretation that brought out every bit of the composer's high drama without sacrificing clarity or descending into exaggeration. The opening "fate" motif was arresting, the appearance of the ghost alarming, and the sad little oboe melody that represents Ophelia (beautifully played by Phil Ross) was truly poignant. It was a vivid and breathtaking performance, skillfully played.

The same can be said of the Shostakovich "Piano Concerto No. 2 in F major," Op. 102, that followed. Written for the composer's son Maxim and first performed by Maxim on his 19th birthday, the concerto is an unambiguously (and uncharacteristically) happy work. Soloist Denis Kozhukhin handled the exuberant and fiercely difficult passages in the outer movements with ease and style while playing the charming and unabashedly sentimental second movement with sensitivity.

Denis Kozhukhin

Mr. Kozhukhin is one of those "heads down" pianists who maintain a laser-like focus on the keyboard while playing, but that clearly did not prevent him from being attentive to what was happening in the orchestra. Critics have praised this young (born in 1986) Russian pianist for his balance of technique and interpretive depth, and based on what I saw and heard Saturday night I'd have to agree.

The concert concluded with selections from Prokofiev's 1936 "Romeo and Juliet" ballet. Culled from the two orchestral suites the composer put together around the same time as the ballet's premiere, the seven selections capture the dramatic arc of Shakespeare's play in a little over a half hour of colorful and varied music that demonstrates Prokofiev's skill as an orchestrator.

As he did with the Tchaikovsky, Mr. Varga delivered, from memory, a high-octane interpretation filled with grand gestures, strong contrasts, and a fine feel for the many wonderful orchestral details, which were performed flawlessly by members of the orchestra. Scott Andrews's clarinet, Danny Lee's cello, and Nathan Nabb's tenor sax, for example, all contributed to the delicate beauty of "Juliet—The Young Girl."

The emotionally potent "Romeo and Juliet before Parting" gave us more striking individual performances from Mark Sparks and Jennifer Nichtman on flutes, Jonathan Chu on viola, and, towards the end, Michael Sanders on tuba and Erik Harris's bass section with their premonition of the tragedy to come. Roger Kaza's horn section sounded terrific in the big, sweeping passages in the middle of that same movement.

If you think that sounds like a true virtuoso performance, you're right. There were many other arresting moments, including Concertmaster David Halen's delicate solo in the "Dance of the Maids from the Antilles," but the bottom line is that this was another demonstration of the depth the orchestra's talent pool.

Mr. Varga has made several appearances with the orchestra since I've started covering it regularly, and he seems to have real rapport with the musicians. It's not unusual for a conductor to wade into the orchestra and ask individual players to stand during curtain calls, but Mr. Varga did so with real enthusiasm, even stopping to kiss the occasional cheek and otherwise display affection for the players. Witnessing that, it's impossible not to smile.

Next at Powell Hall, Leonard Slatkin conducts the orchestra and chorus in Berlioz's "dramatic symphony" "Roméo et Juliette" Friday and Saturday at 8 p.m., March 11 and 12. The program concludes the Symphony's four-week Shakespeare Festival. Performances take place at Powell Symphony Hall, 718 North Grand. For more information, visit the symphony web site.

Symphony Preview, March 5 and 6, 2016: More clouds of gray than any Russian play could guarantee

This weekend Gilbert Varga conducts the St. Louis Symphony Orchestra in the third of their four Shakespeare Festival programs with a concert that's around 70% Shakespeare and 100% Russian. Which isn't as unusual as you might think.

Portrait of Tchaikovsky by Nikolai Kuznetsov
en.wikipedia.org

As I noted a couple weeks ago, the Bard of Avon has inspired quite a lot of music over the centuries, much of it by composers who knew his works only in translation and in some cases (Ambroise Thomas's operatic treatment of "Hamlet" comes immediately to mind) only in fairly free adaptations by other writers. But no matter how far removed they were from the original plays, many of history's greatest composers have found themselves fascinated by Shakespeare's characters and themes.

The great Russian composers were no exception. Tchaikovsky found inspiration in the Bard for one of his Greatest Hits, the "Romeo and Juliet Fantas-Overture," as well as for his less well known overtures "The Tempest" and this weekend's opener, "Hamlet."

For Tchaikovsky, the dominant theme of "Hamlet" was the implacable hand of fate. "There's a divinity that shapes our ends," observes Hamlet in Act V, "Rough-hew them how we will." First performed in 1888, Tchaikovsy's "Hamlet" overture is a late work (the composer died in 1893) and shows the obsession with fate that permeates both his "Symphony No. 4" from 1878 and his "Symphony No. 5," which first saw the light of day in the same year as "Hamlet".

The "fate" theme shows up in the opening lento lugubre in the violas and cellos, announced by a portentous roll of the tympani. Hamlet broods in the strings until muted horns strike midnight and the ghost appears amid brass and percussion. Ophelia shows up briefly as a sad little melody for the oboe about of third of the way in, but overall the mood is one of high drama and tragedy until (to quote critic Herbert Glass), "the piece ends in the F-minor gloom of its misty beginnings."

"Hamlet" was originally intended to be part of a complete set of incidental music for a French-language production of the play that the actor/impresario Lucien Guitry was preparing for a tour. That project fell through, and by the time Guitry asked Tchaikovsky to revive it in 1891 (this time for a farewell performance at the Mikhaylovsky Theatre in Saint Petersburg) the composer was suffering from exhaustion and other health problems. He recycled a shortened version of the concert overture as the curtain raiser for the play and cobbled together a mix of old and new material for the other 16 numbers. However, he reportedly didn't think much of the results, and the complete score is rarely heard, although you can find it on CD.

Maxim Shostakovich
By Koch, Eric / Anefo - Dutch National Archives,
The Hague, Fotocollectie Algemeen Nederlands
Persbureau, 1945-1989
en.wikipedia.org

This weekend's non-Shakespeare piece, Shostakovich's "Piano Concerto No. 2" is considerably brighter in its outlook. The product of a short-lived thaw in artistic repression the USSR in 1957, the concerto is an unambiguously (and uncharacteristically) happy work. Written for the composer's son Maxim and first performed by Maxim on his 19th birthday, the piece zips through three short movements in around 20 minutes, concluding with a slightly satirical nod to the Hanon finger exercises that Maxim undoubtedly knew well from his years at the Moscow Conservatory. It is, in short, an irresistible work.

The soloist for the concerto will be the young (born in 1986) Russian pianist Denis Kozhukhin, whose star began rising when he claimed First Prize in the 2010 Queen Elisabeth Competition in Brussels at the age of 23. A month later, the New York Times critic Anthony Tommasini praised his "accomplished performance" of Schumann's challenging "Symphonic Études" in a solo recital, and other critics have been similarly impressed. "Kozhukhin possesses an impeccable technique," wrote Lawrence Bumden for the Miami Herald in 2010. "He can play with total accuracy at extreme speeds and tricky passages seem to bring out extra dynamism in his performances. Kozhukhin matches his remarkable technical arsenal with acute musicianship and interpretive depth." This will be his debut appearance with the SLSO, so I look forward to seeing what he and Mr. Varga do with the piece.

The main event this weekend is a suite from Prokofiev's score for the ballet "Romeo and Juliet," first performed in 1938. It's among his most popular compositions, but Prokofiev paid a price for it that's almost as tragic as the story it tells.

Lured back from Paris to Leningrad in 1934 with promises of lucrative commissions and a relatively free hand in composing the ballet for the Bolshoi Theatre, he soon discovered that the hand of ideologically motivated censorship was as heavy as that of fate in "Hamlet." As Princeton University scholar Simon Morrison (author of The People's Artist: Prokofiev's Soviet Years) noted in a paper at a Columbia University symposium:

Prokofiev suffered more than his share of disappointments in his career, and upon relocating from Paris to Moscow in 1936, had more than his share of unpleasant encounters with cultural officials. He adapted to the constraints imposed on him by the Stalinist regime as best he could. His talent overcame—even benefited from—outside control, a phenomenon that undermines the Western musicological assumption that Soviet artists were passive victims of brutal, crude, and rigid politics. Yet from the start, Romeo and Juliet had a particularly hard time of it, enduring second-guessing, reworking, and censorship. In his final years, Prokofiev was able to take pride in its success, but he spent many years resenting the changes that had been imposed on it to the ending, the dramatic structure of the first and second acts, the relationship between solo and ensemble numbers, and the orchestration.

Prokofiev in 1918
en.wikipedia.org

And it wasn't just the music that suffered. As Linda B. Glaser writes in the March 21, 2011, Cornell Chronicle, "the bureaucrat who commissioned 'Romeo and Juliet' was executed, as was the Central Committee flunky who approved the ballet's original happy ending. Even the scenarist who inspired Prokofiev to write the ballet ended up dead. Authorities exiled Prokofiev's first wife to the Gulag, and in 1938 confiscated Prokofiev's passport, determining that he needed 'ideological correctin' for too much Western influence."

None of this takes away from the greatness of the music you'll hear this weekend, but it does illustrate how difficult it can be to hold on to artistic integrity (or even basic human dignity) in the face of implacable autocracy. It's something we should perhaps bear in mind during the current round of national elections.

Gilbert Varga conducts the St. Louis Symphony Orchestra and piano soloist Denis Kozhukhin in music by Tchaikovsky, Prokofiev, and Shostakovich Saturday at 8 p.m. and Sunday at 3 p.m. March 5 and 6. The program also includes Tchaikovsky's tone poem Hamlet. Performances take place at Powell Symphony Hall, 718 North Grand. For more information: stlsymphony.org.

St. Louis classical calendar for the week of February 29, 2016

The Spektral Quartet

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New Music Circle and the Wasington University Music Department present The Spektral Quartet in concert on Saturday, March 5, at 7:30 PM. "Founded in 2010, the Spektral Quartet is widely regarded as one of Chicago's most charismatic and forward-thinking chamber ensembles. The group's creative approach to concert format, often shifting the role of audience member from spectator to participant, has earned it a loyal following within and beyond Chicago's city limits." The event takes place at the 560 Music Center, 560 Trinity in University City. For more information: www.newmusiccircle.org.

Gilbert Varga conducts the St. Louis Symphony Orchestra and piano soloist Denis Kozhukhin in music by Tchaikovsky, Prokofiev, and Shostakovich Saturday at 8 p.m.and Sunday at 3 p.m. March 5 and 6. The program is part of the Symphony's four-week Shakespeare Festival. "Prokofiev's most recognized and haunting score from one of the greatest love stories of our time, Romeo and Juliet is full of radiant textures and heart-breaking tenderness. Denis Kozhukhin makes his STL Symphony debut performing Shostakovich's light-hearted and energetic Piano Concerto No. 2, written as a birthday gift for the composer's son." The program also includes Tchaikovsky's tone poem Hamlet. Performances take place at Powell Symphony Hall, 718 North Grand.For more information: stlsymphony.org.

The Arianna String Quartet

The Touhill Performing Arts Center presents The Arianna String Quartet in Octet! on Friday, March 4, at 8 PM. "The Arianna Quartet welcomes the internationally acclaimed St. Petersburg String Quartet to St. Louis for a special evening of great music among friends. The Arianna Quartet kicks off the concert with a performance of Beethoven's robust Quartet in E-flat Major, Op.74, the "Harp", with the St. Petersburg Quartet following in a performance of Shostakovich Quartet No.9, a deeply personal and reflective work of immense scope. To cap the evening, the Arianna and St. Petersburg Quartets take the stage together for a performance of Felix Mendelssohn's jubilant String Octet, the ultimate party piece among friends!" The Touhill Performing Arts Center in on the University of Missouri at St. Louis campus. For more information: touhill.org.

The University City Symphony Orchestra presents The Seeds Continue to Flower on Sunday, March 6, at 3 p.m. "The UCSO proudly presents the 2015-2016 Season: Black Art Matters. The third concert of the season, "The Seeds Continue to Flower," expands on our in-depth look at symphonic music's African roots. We present George Gershwin's "Rhapsody in Blue," followed by James P. Johnson's "Yamekraw—Negro Rhapsody," featuring pianist Richard C. Alston. The finale will be "The Score," "a soundtrack in search of a movie," by contemporary composer Clovice A. Lewis. The performance of the piece will feature the composer as cello soloist, and projections of artwork by local elementary students, created in response to listening to Lewis' piece in their classrooms. Join Maestro Leon Burke III before the concert for a pre-concert talk in the auditorium at 2:15pm." The performance takes place at the Performing Arts Center in Haertter Hall at John Burroughs School, 755 S Price Rd. For more information: ucso.org.

The Big 'Pictures'

A costume sketch of canary chicks
by Victor Hartmann for the ballet Trilby

Who: The St. Louis Symphony Orchestra conducted by Gilbert Varga with pianist Peter Serkin
What: Music of Glinka, Bartók, and Mussorgsky/Ravel
Where: Powell Symphony Hall, St. Louis
When: January 25-27, 2013

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In his program notes for these concerts, Paul Schiavo suggests that the theme running through all three works is the way in which they strongly suggest visual images to the listener. Let me suggest an additional one: all three composers represented here—Glinka, Bartók, and Mussorgsky—drew heavily on folk traditions in their respective cultures. One way or another, they were all proponents of musical nationalism

Bela Bartók is perhaps the most obvious example. He collected and studied folk music both in his native Hungary and later in Turkey. Indeed, he was known primarily as an ethnomusicologist and teacher in the USA when he arrived here in 1940 as a penniless immigrant, fleeing his Nazi-occupied homeland.

The melodic and rhythmic elements of the folk music in which he steeped himself became part of his compositional vocabulary and can be heard strongly in the Piano Concerto No. 3, which he wrote in New York during 1945, the final year of his life. Lively dance-like elements and complex rhythms, for example, dominate both the opening and closing movements, while the “Adagio religioso” that separates them is classic Bartók “night music”, with emotionally intense chorales flanking a middle section that evokes the nocturnal sounds of nature.

Guest conductor Gilbert Varga and pianist Peter Serkin (son of the great Rudolph Serkin) gave us a beautiful performance of the concerto Friday night. Mr. Serkin’s concentration was fierce. His performance of the “Adagio” was deeply felt, and his playing in the concluding “Allegro vivace” rondo was volcanic in its intensity. Mr. Varga and the orchestra supported him in fine style.

When Mr. Varga conducted the orchestra back in the summer of 2010, I noted that he “worked the podium with the cheerfully physical intensity of someone who truly loves both his music and his musicians.” I saw that same happy engagement Friday night. His gestures were large but precise and his interpretations were marked by carefully shaped phrases and a wide range of tempi and dynamics.

This was most apparent in his approach to Maurice Ravel’s orchestration of Pictures at an Exhibition, Modest Mussorgsky’s 1874 memorial tribute to his friend the Russian artist and architect Victor Hartmann. Many arrangers have had a go at this piano suite but Ravel’s version, produced in response to a 1922 commission from the noted conductor Serge Koussevitsky, remains the most popular. Conducting without a score, Mr. Varga gave it a widescreen Technicolor Dolby 7.1 THX treatment, full of big (but nevertheless precise) gestures, marked contrasts, and high drama.

“Gnomus” was particularly menacing, “The Market at Limoges” notably raucous, “The Ballet of the Chicks in Their Shells” wonderfully cartoonish, and the “Catacombs” most ominous. I think “The Great Gate at Kiev” might have had more impact with fewer pauses, but the final bars were appropriately grandiose and the audience loved it.

They also loved the many fine solo performances. Ravel’s orchestration is filled with opportunities for individual players to show off their skills, and the symphony musicians made the most of them. Some of the many notable solo breaks included saxophonist Nathan Nabb‘s melancholy voice of the troubadour in “The Old Castle,” Principal Trombone Tim Meyers on French C tuba in the lumbering “Bydlo,” guest trumpeter Andrew Balio (Principal Trumpet for the Baltimore Symphony) in the opening “Promenade,” the entire woodwind section in the “The Ballet of the Chicks in Their Shells,” and the entire brass section throughout. I apologize to those I left out; everyone sounded terrific.

You can see a gallery of the surviving Hartmann pictures that inspired Mussorgsky at Wikipedia. The symphony, for its part, displayed art in the Powell Hall lobby inspired by Pictures and other recent works played by the orchestra. The exhibition was titled Mussorgsky in Reverse.

The evening opened with a brisk, high-energy reading of the overture to Glinka’s 1842 fairy-tale opera Ruslan and Lyudmila. It’s one of those pieces that used to crop up often as “filler” on classical LPs—a function it still serves on classical radio stations today. Its alluring melodies and neat little solo tympani part are irresistible, especially when performed with this kind of zest. As in “Pictures,” Mr. Varga worked without a score.

Next on the calendar: Finnish conductor Hannu Lintu is on the podium for Silbelius’s Finlandia and Fifth Symphony along with Prokofiev’s Piano Concerto No. 3. Conrad Tao will be at the piano, substituting for an ailing Markus Groh. Performances are Friday and Saturday at 8, February 1 and 2. For ticket information: stlsymphony.org