Glinka, Tschaikowsky, Rachmaninov, Schostakowitsch
The Tschaikowsky Symphony Orchestra of Moscow Radio pays a visit to Austria this week with its long-time (since 1974!) music director Vladimir Fedoseyev. Of three concerts in Salzburg there is some program overlap, which I avoid by going to my subscription concert tonight, skipping tomorrow, but returning on Friday, and then I get to hear them in Vienna on Saturday with yet another set of works on the program. Tonight’s performance was definitely a concert of two halves: whimsical Glinka and Tschaikowsky before the break, and Schostakowitsch served raw after.
The Overture to Glinka’s Ruslan and Lyudmila gave a spirited start to the Orchestra’s arrival in the Great Festival House. This fairy tale opera is mostly known only by this Overture, which is a shame – I did have a chance to see it once (at Moscow’s Novaya Opera) and wish opera houses would stage it more (not least because, in a fun performace such as the one I saw at the Novaya, children will get hooked on opera). But if we only get the overture, then Glinka’s music marks as good a place as anywhere to open several nights of Russian music.
Next came Tschaikowsky’s Second Piano Concerto. I am not sure I had been aware that he had written more than one (the famous one) until I showed up tonight and realized that the one in the program was number two! It’s perhaps not as memorable as his first, and might have used some editing (particularly the far-too-long first movement), but it was fun in its own way. The first movement certainly used every key on the keyboard (I was half expecting pianist Andrei Korobeinikov to run out of keys at both ends). While that movement did not contain exciting music, it did have intrigue. In the second movement, Tschaikowsky never quite figured out what sort of piece he was writing, switching among several, including various chamber combinations (not all of which even utilized a piano – the violin-cello duets were certainly special, then with strong continuo; the combinations involving piano and different winds also stood out). What would he have thought of next? Well, that would be the final movement, which exhibited the skill and coloration with which the composer had constructed his moody opera Yevgeny Onyegin, except without the depressants.
Korobeinikov’s treatment was flat (in a good way): this was not a flashy work (Tschaikowsky’s friend Nikolai Rubinstein, known for his excellent musicality but sober and contained technique, was supposed to have performed the premiere, however he died suddenly right before the concert and Sergey Taneyev took over, under the baton of Nikolai’s even more famous older brother Anton – the composer dedicated the concerto to Nicolai’s memory). Korobeinikov gave us a flashier (unidentified – UPDATE: subsequently identified as Rachmaninov‘s Piano Prelude #5 – I am not so familiar with solo piano reportary, as I am actually not a fan of the instrument) encore to show us he could do flash too (I hope so, since he’s performing Prokofiev’s absolutely nutso second piano concerto on Friday).
After the intermission, Fedoseyev led an almost restrained reading of Schostakowitsch’s Symphony #10. Begun in dark times, right after the end of the Second World War when Soviet Russia had defeated its one-time ally Nazi Germany and then people woke up and realized they still had to live in Soviet Russia. This performance was all gloom and doom, yet nevertheless quiet, passive, and even submissive – never bombastic (I’ve heard good bombastic interpretations of this symphony, too, but that was not Fedoseyev’s approach tonight). This interpretation worked, as it allowed the periodic harsh dissonance and jarring syncopations to jump off the stage, scraping at an open wound. By the time Schostakowitsch finished writing this symphony, Stalin had died, and the final movement tonight came across as an off-kilter dance on his grave – off kilter because, despite that evil man’s demise, the Soviet Union was still around and ultimately outlasted Schostakowitsch, who would never know freedom. For this work, this orchestra’s unmistakable Russian tone stood out – not always the most polished noises come out of the instruments, but the style is intentional and the sound authentically Russian.