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Just two works were performed on the CPO’s last Curated Series concert, which in the past was called its Main Series. These concerts, the heart of the reason for the orchestra’s existence, normally present the major classics of the established orchestral repertoire.
On this occasion, this was only partially the case. Pianist Roman Rabinovich, the featured performer for the evening, performed Witold Lutoslawski’s piano concerto, the first performance of this work in Calgary and almost certainly one of the first performances of this work in Canada. Lutoslawski’s music has not been heard much in Calgary, although there was a performance of his Symphonic Variations about 18 months ago. He remains, in Canada at least, largely unknown.
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The Piano Concerto is an impressive work. Challengingly modern, it represents the final phase of the work of this remarkable Polish composer, likely to be the most enduring of the modern composers from that country. Lutoslawski was an exceptionally able pianist, and this work, composed with Krystian Zimmerman as the intended soloist, is difficult beyond imagining.
That Rabinovich could play this concerto at all is impressive. That he could play it with total mastery and complete technical freedom was spellbinding. While the complex sounds were a challenge to the audience, the manner of the performance was so compelling that the audience, not always warm to music of this kind, was swept away, rising to its feet to applaud the soloist.
For the orchestra, the score contains complex elements that go beyond conventional notation, posing a challenge for both the players and the conductor. This is music that keeps everyone on their toes, and it is a credit to the orchestra and conductor for managing a piece of this complexity. Both pianist and orchestra gave the best of themselves in this performance, the rhythms taut and exciting, and with terrific climaxes in the final movements.
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For an encore, and in anticipation of the music of the second half of the concert, Rabinovich performed Rachmaninoff’s Moment musicaux No. 4 in E minor, a tempestuous torrent of sound that demands the kind of transcendental virtuosity often associated with the composer. Here, as in the Lutoslawski concerto, Rabinovich performed with the utmost confidence and bravura. Slightly diffident in manner, Rabinovich was all authority when seated at the piano, his performing persona one of focused musical concentration and technical command. He is up there with the best.
The other work on the program was Rachmaninoff’s Second Symphony. This was offered with the Julie Andrews approach to the programming: “A spoonful of (musical) sugar makes the medicine (or modern piano concerto) go down in a most delightful way.” Few works for orchestra are more melody-drenched than this symphony, especially the slow movement, one of the composer’s most heavenly and inspired moments.
The orchestra was happy to play this piece, and it was given an affectionate, sentiment-filled performance, enlivened by a peppy finale movement. The performance featured some very fine solo playing, especially from the woodwinds, including the long clarinet solo expressively played by principal clarinettist Slavko Popovic. The solo moments for the other instruments were also poised and gracious.
This was a big concert to prepare for conductor Rune Bergmann, and with his usual good humour he guided the orchestra with clarity and assurance. In all, this was the full meal deal for the audience, which left smiling, having had a very worthy and stimulating night at Jack Singer Concert Hall.
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