Dvořák Piano Concerto, Op. The 33 – his only work in the genre – was criticized as being too difficult and not masterful enough, as if its effectiveness as a star vehicle wasn’t worth the technical challenge required to put it together. Although it has begun to be performed more frequently, its popularity pales in comparison to the composer’s other, more beloved violin and cello concertos. The first movement sounds like a lively but disjointed dialogue between Classicism and late Romanticism; Mozart references abound. The best moment comes in the second movement, which releases the past and replaces it with tender lyricism. Throughout, the soloist appears and exits the orchestra, more like the leader of a relay than the star performer, culminating in the passionate exchanges that characterize the final movement.
Russian virtuoso Daniil Trifonov is the latest to perform this difficult but somewhat prosaic piece, which joins a work by Leoš Janáček Appear. Glagolitic Mass The final evening of a week of concerts celebrating Czech music at Carnegie Hall. I found Trifonov’s playing almost glassy: clear and solid, but also delicate and slightly cold. In contrast, he appears warm and devoted. When the phrase ended, his hands slowly arced across the keyboard, as if resisting the urge to begin conducting, and then moved upward, brushing a lock of hair away from his eyes, which were often closed with passion. superior. But despite the visual sensation and aural precision, the emotional impact of Trifonov’s playing was somewhat lost in translation, leaving a performance that was undeniably beautiful but lacking in excitement. However, he received four loud ovations and it was revealed that Czech President Peter Pavel was also in the audience. The encore was a charming and brief arrangement of Tchaikovsky’s “The Silver Nymph” sleeping Beauty Show a sarcastic sense of humor and feel more genuine.
Semyon Bychkov led the team with effortless focus throughout. While Dvořák is a mainstay of the Czech Philharmonic, these sounds sound more scattered in the composer’s works. The violin part was occasionally out of sync and sometimes had a tuning imbalance that obscured some of the shine. After the intermission, however, the orchestra became energetic and precise.
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This may be a result of differences in productions. While the Dvořák has its exciting moments, its uneven quality makes any flaws more obvious. Janáček is energetic and acerbic Glagolitic Mass, On the other hand, it has a passionate immediacy that the piano concerto lacks. Written by an atheist composer two years before his death, the piece sounds like both a rejection of the Mass and an embrace of its rhythms. Then Janacek from Agnus Dey;True peace is almost impossible to find here. Instead, it moves quickly between bursts of triumph and fear, even disobedient rage, intertwined with moments of mystery, flashes of acceptance and cries of “Amin!” One hears an artist complaining about death, harboring ambivalence towards the Almighty, yet insisting on elevating folk melodies to divine heights. It includes a stunningly original organ solo on a hymn-like theme, constantly interrupted by rattles of brass instruments, expertly played by Daniela Valtová Kosinová. The work ends with the Exodus movement entitled “Intrada” (Entrance), as if the Mass were merely a prelude to another spiritual experience that could not be contained within the rigid forms of the genre.
It has been more than a decade since this work was last shown at Carnegie Hall. I certainly hope we don’t have to wait too long to hear it again; even excellent recordings can’t capture the full force of its doubt and passion. Together with his orchestra, Bychkov proves that it deserves to appear on American stages more often.
