Glass, Tschaikowsky, Rimsky-Korsakov, Dvořák

Tonight’s concert of the Moscow State Symphony Orchestra was under the baton of Pavel Kogan, and opened with the Philip Glass Violin Concerto #1, my first time hearing this piece. The tone was nice, but – like most Glass – it never went anywhere. Glass should stick to movie scores, as his music makes good background music and portrays a certain tension, but should never be the focus of anyone’s attention.

As for the soloist, I could probably say the same thing about her as I have said about Glass’ music. She’s a 23-year-old Brit, Chloe Hanslip. Like the Glass concerto, her tone was good but did not go anywhere. Kogan did his best to keep the orchestra playing quietly, but she was still barely audible. What I could hear of her sounded fine.

For the second piece, the same soloist came out for Tschaikowsky’s violin concerto. I think between the pieces someone must have mentioned to them the problem with the dynamics, because Kogan was clearly making the orchestra play even more gently pianissimo than in the Glass piece, and she turned her own volume up a few notches. Unfortunately, when she turned herself up, she flailed at her violin and also lost her tone, making her playing now sound forced and unpleasant.

She came out for a solo encore. I did not hear her when she announced what it was, but it sounded like the Tschaikowsky again, but this time disfigured and rewritten for the Devil’s fiddle. She used the same forced technique she used for the Tschaikowsky concerto. Certainly her unpleasant tone was indeed appropriate for this ugly piece.

After the intermission, having thankfully dispensed with the soloist, Kogan could take the lid off the orchestra for Rimsky-Korsakov’Sheherazade. This may be a warhorse, but it is always fun to hear live performed by a good Russian orchestra. The solo playing was very good, particularly the extensive violin solos by the concert master (Gayk Kazazyan). They should have let Kazazyan play the solo parts in the concerti before the intermission rather than importing the British woman.

The concert concluded with a bunch of spirited encores: a Slavonic Dance by Dvořák and some ballet music I couldn’t quite identify.


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