Borodin, Say, Prokofiev
Most of the Mozarteum Orchestra‘s first chairs seemed to have taken this morning off, but no matter: the orchestra nonetheless produced wonderful, colorful, evocative music worth waking up early on a Sunday morning for.
Russian conductor Andrei Boreiko chose to highlight eastern sounds in classical music, and this let him feature many individual lines that contributed to the orchestra members getting the chance to demonstrate their versatility. He opened the concert with the Polovtsian Dances from Borodin‘s opera Prince Igor – here performed using the orchestral lines only. Although the operatic excerpt sounded distinctly odd without the chorus, with the singers out of the way we had a chance to hear the underlying orchestral lines more clearly. And so while I would not necessarily recommend this particularly wordless version (which defies the Erich Leinsdorf rule against performing operatic excerpts without the singing – orchestral excerpts should be limited to orchestra-only passages in the opera), as an opportunity to listen to the “eastern” (not just Russian, but the Turkic tribes that made up the peoples the early Russians referred to as “Polovtsians”) textures Borodin set for the instruments, particularly the winds, it was a worthwhile exercise. And we got much fine playing.
I do not believe I have ever heard music by Turkish pianist-composer Fazil Say before, so the next item on the program was bound to be a new experience: Say’s violin concerto 1001 Nights in the Harem, with the talented Spanish violinist Leticia Moreno. Say incorporated Anatolian Turkish sounds into the classical tradition, particularly use of percussion. One thinks of the “Turkish” music popular in Austria in the 18th and 19th Centuries, which used Turkish instruments – but in this case Say employed not just the instruments but also actual Turkic music into the mix. The blend of traditions worked well, balanced by Boreiko, with Moreno’s lively dexterous performance in front of a fully-engaged and engaging Mozarteum Orchestra.
Prokofiev‘s Fifth Symphony came as the lone work after the intermission. Here the horde from the East was not Turkic, but Russian (although there is the saying: scratch a Russian, find a Tatar). Prokofiev wrote the symphony to mark Russia’s invasion of Poland for the second time in the Second World War – this time to drive the Germans out (the first time they invaded Poland during that war, they were allied with Germany and divided Poland up between them). Boreiko’s interpretation lacked some of the drive I have heard in other performances of this symphony, but he seems to have done this in order to focus on the finer details: a clear relationship to the evocative sounds from the Borodin excerpt that opened the concert, as well as to some of the angularity – particularly in the percussion – of Say’s concerto. The orchestra clearly appreciated the chance Boreiko gave them to show off their talent – the guest conductor crafted the sounds, but did not make the performance about himself but rather about the musicians who actually produced the music: a felicitous combination all around.