Another Sunday morning concert with the Vienna Philharmonic in Salzburg’s Great Festival House, in which the work I specifically wanted to hear got overshadowed by the one I did not know and was initially less interested in.
The surprise for me came in the first half of the concert, with Prokofiev‘s Second Piano Concerto, which I did not believe I had ever heard before (I looked it up after the concert: indeed, I heard it in 2009 and seem to have been equally stunned). Written to fulfill a graduation requirement from the conservatory, the precocious student Prokofiev decided to smash all conventions. The result produced a whole lot of sound, often coming at odd angles, emerging from the piano but also bombarding the ears from across the stage. There may have been no particular order to the madness – mostly Prokofiev showing off: “look what I can do!” – but this was no cacaphony.
Soloist Daniil Trifonov, a Russian Wunderkind himself still only 26, siezed the piano in his arms and practically hurled it around the stage. OK, it stayed put, more or less, but he jumped around on the stool more than conductor Andris Nelsons on the podium. His arms were blazing, and hands everywhere (does he only have two hands?), fingers pounding the keys. It was all a blur. But the music… perhaps the snarky young Prokofiev had been on to something, and Trifonov discovered it.
For his part, Nelsons made sure the orchestra provided the perfect context for Trifonov (maybe not as hard with this orchestra, but someone had to put it all together).
After the intermission, Schostakowitsch‘s monumental Seventh Symphony – the work I dearly wanted to hear – became somehow anti-climactic. This is the one symphony that Schostakowtsch wrote knowing it was to be used for propaganda purposes. There’s also a whole lot of sound here, and the orchestra got it all. The subtext is harder to find than in other Schostakowitsch symphonies (according to propaganda, the “invasion” theme in the first movement depicts the German invasion of Russia in 1941; yet Schostakowitsch had actually written this portion nearly two years before, moved by the Russian invasion of Poland as the first phase for implementation of Russo-German alliance that opened the Second World War). In truth, Schostakowitsch had seen firsthand the misery in Leningrad during the German siege and the bravery of the people to attempt to survive, and this required memorialization. Yet when it would all be over, it would not be over: the Soviet regime of terror still reigned.
Nelsons, born in Latvia 39 years ago when it was still very much under Russian occupation, should understand that subtext, as hard as it may be to find. I’m not sure we heard it this morning. Nevertheless, the orchestral playing was spectacular.