Gerstein|Langrée @ Mostly Mozart

Author: Oberon

Wednesday August 16th, 1017 – How doubly grateful I felt when I saw that Kirill Gerstein (above, in a Marco Borggreve portrait) would be playing the Schumann Piano Concerto at tonight’s Mostly Mozart concert; grateful first of all because I greatly admire Mr. Gerstein as an artist, and grateful yet again for the opportunity to finally hear this concerto played live. It seems that it is not programmed all that often these days.

It’s rather unusual to find an extended solo piano work included on an orchestral program, but Mr. Gerstein’s rendering of Brahms’ Variations on a Theme by Robert Schumann was a wonderful prelude to his performance of the Schumann concerto…or rather, it would have been, had not audience distractions nearly ruined it. The pianist’s lyric warmth and a beautiful modulations of dynamic were truly congenial, but he had no sooner commenced to play than a loud thudding noise spoiled the music: someone among the stage audience had dropped something – something heavy.

Mr. Gerstein soldiered on, but as the variations continued a plague of coughing swept thru Geffen Hall. Hardly a bar of music went by without a cough, snort, clearing of throat, or other upper-respiratory distraction. After a while it became comical; I gave up thinking I could derive any real enjoyment from Gerstein’s playing, and I have to congratulate him for maintaining his focus: there’s no way he could have been unaware of these annoyances. Before the piece was over, something else had been dropped, and a cellphone went off. As the pianist took his bows, my friend Dmitry and I rolled our eyes; but we were determined that our evening would not be spoilt.

The Mostly Mozart Festival Orchestra players then took their seats, and Mr. Gerstein returned with Maestro Louis Langrée for the Schumann concerto. I became intrigued with this with this work years ago thru the film Madame Sousatzka, and have waited literally decades to hear it played live. I once asked a pianist/friend why it is not performed more often, and he replied: “It’s too easy.” It may be ‘easy’ to play, but it pleases audiences and was tonight given a top-notch performance by Gerstein, Langrée, and Company.

The first movement opens with a dramatic outburst from the soloist, followed by a simple, expressive melody played by the woodwinds; this theme will re-appear in various guises in the first and last movements.  The second movement is referred to as an Intermezzo, and it is perhaps here that the real reason pianists choose other concertos over Schumann to display their artistry is to be found: without a real adagio or andante, expressive possibilities might be considered limited. For all that, Mr. Gerstein found much to be savoured here, and his playing was clear and shining. The final movement is full of vitality and sweeps us along in its dancing rhythms, with enjoyable references back to the concerto’s opening movement.

The Mostly Mozart woodwind players relished their opportunities here: Jon Manasse’s dulcet clarinet was a sheer balm to the ear, and Dwight Parry is a remarkable oboist. Their highlights, and the beautiful flow of Gerstein’s playing of the piano part – which includes a passage of shimmering light over delicate accompaniment – were simply the outstanding moments in a superb performance.

For an encore, Mr. Gerstein chose an arrangement of the Romanze: Andante non troppo, con grazia from Clara Schumann’s piano concerto, opus 7, composed when Fräulein Wieck was only 13 years old. Robert Schumann later devised a setting of the Romanze for piano and cello, with just a touch of timpani at the end. It was this musical love letter we heard tonight, ravishingly played by Mr. Gerstein and Mostly Mozart’s principal cellist Ilya Finkelshteyn. Markus Rhoten’s gentle sounding of the timpani had the magical effect of a heartbeat: the heartbeat of Clara’s love for her Robert. The overall effect of this encore was truly touching.

The evening concluded with Maestro Langrée (above) conducting the Brahms 1st Symphony. The composer declared that this symphony, from sketches to finishing touches, took 21 years – from 1855 to 1876 – to complete.

Tonight’s performance was rich-textured and lovingly paced, giving its 40-minute span a Beethovian air. The inner movements were particularly pleasing: the tender Andante sostenuto and the charming Allegretto. Throughout, the Mostly Mozart wind soloists gave ample pleasure – Jasmine Choi’s flute playing is priceless in it’s clarity and sheen. The symphony swept by, an affirmation of faith in the enduring power of great music as the world around us darkens.

~ Oberon