The Tonkünstler-Orchester Niederösterreich, under the baton of Venezuelan-born Domingo Hindoyan, transformed the Großer Saal of the Musikverein into a celebration of cross-cultural brilliance last night. With a program spanning Puerto Rico, Argentina, and Bohemia, it was a testament to Vienna’s enduring role as a melting pot of international artistry.
The evening opened with the Austrian premiere of Roberto Sierra’s Sinfonia no. 6, a work by the Puerto Rican composer that blends modernist rigor with Latin rhythmic vitality. This symphony comprises four movements evoking vivid soundscapes: Memoria urbana, a vibrant portrayal of city life, juxtaposes sonata form with contrasting themes and a percussion-heavy, rhythmic style. De noche offers a brief glimpse into a night scene where a tranquil, endlessly starry sky is juxtaposed with both animal and urban sounds – both nature and industry feel tightly mingled. The third movement, Huracán, a nod to Beethoven’s tempest his Pastoral Symphony, is a much more violent reflection on wild tropical storms, with eerie interludes of calm reflecting the hurricane’s eye. The Finale blends with congos, dance motifs, a slew of exposed instrumental solos and brash, heavy brass lines. Hindoyan, who conducted the world premiere, drew out the score’s Stravinskian rhythmic drive and Bernstein-esque urban flair, particularly in the percussive, motoric third movement, where the lower brass and timpani locked in with razor-sharp precision. The woodwinds shimmered in the more lyrical passages, though at times, the jazzy idiom of Sierra’s less dramatic polyphony could have benefited from a more nuanced touch; the work felt painted in broad brushstrokes. Still, the orchestra’s technical command was undeniable, especially in the crisp, explosive tutti attacks and virtuosic solos, with percussion and brass sections deserving special mention.
The highlight, however, was the Austrian premiere of Alberto Ginastera's Concierto argentino performed with intensity by Macedonian pianist Simon Trpčeski. Ginastera penned this concerto in 1935 at the age of 19 but withdrew it from publication shortly after its premiere. The work resurfaced decades later, offering a glimpse into Ginastera's early exploration of Argentine folk themes within a classical framework. Trpčeski's virtuosic performance captured the concerto's youthful exuberance and rhythmic complexities, forging a dynamic interplay with the orchestra. From the percussive, cluster-chord opening, he confidently fused bravura with dance-like abandon, his octave passages precise and his glissandi flashing. The cadenza of the first movement was a masterclass in dynamic control, nuanced pedalling and clarity of voicing, with Ginastera’s jagged motifs sculpted into a narrative arc of mounting tension.
The orchestra responded, providing a lush, rhythmically taut backdrop, leaning into the danza-like second movement with swinging elasticity which made their rendition of the prior Sierra feel square by comparison. After being called to the stage multiple times, Trpčesk offered an understated rendition of the well-known Danza de la moza donosa, the second of Ginastera’s Danzas Argentinas, as an encore, dedicating his performance to Hindoyan's wife, soprano Sonya Yoncheva.
After the intermission, the orchestra delivered a stirring rendition of Dvořák's perennial favorite, his Ninth Symphony. Composed in 1893 during the Bohemian composer’s tenure in the United States, From the New World reflects his fascination with American musical themes. Hindoyan led a richly textured interpretation, balancing the symphony’s grandeur with intimate moments, such as the heartrending English horn solo in the Largo. While during transitional sections the energy occasionally flagged, the finale surged with triumphant energy, bringing the evening to a close on a note of exhilaration.
