For a measure of how the Dvořák’s Prague festival has grown over its 17 years, look no further than Czech composer Petr Wajsar taking the stage after the Czech Philharmonic premiered his latest work. Decked out in black tie with a wild shock of long hair flowing over his shoulders, Wajsar embodied the spirit and purpose of the festival – honoring the grand master of Czech music not only by showcasing his oeuvre, but nurturing young talent that builds on a proud national tradition.
Wajsar was fortunate to have Ingo Metzmacher, a champion of contemporary music, on the podium for his Violoncelloops concerto, which featured one of the youngest concertmasters in the orchestra’s history, cellist Václav Petr. Wajsar writes audacious music that rumbles, bangs and explodes off the stage, blithely combining classical elements with contemporary sonics and beats. As its name suggests, this piece sets up repeating loops between the soloist and the orchestra that traverse a broad soundscape, ranging from gauzy sustained strings to riotous honking brass. The cycles whip into a frenzy, subside, then get kicked into high gear again by rat-a-tat percussion.
Petr sliced his way through the tumult with short jabs, jagged attacks and occasional plaintive lines that bent notes up, down and sideways. Watching him play was like a clinic in bowing techniques, not to mention using the cello as a percussion instrument. Petr’s precision was matched by Metzmacher, who corralled a cacophony of noise into a tight, cohesive sound. He showed a deft hand with the modern dance beats underpinning some sections, and a smart feel for the humor in the unexpected turns of phrase. And in a nod to his traditional training, Petr offered a finely detailed encore of Ysaÿe’s Violin Sonata no. 3 in D minor, “Ballade”.
The evening opened with Martinů’s Memorial to Lidice, an elegy for a town decimated by the Nazis in 1942. The atrocity still has strong resonance in the Czech lands, and Metzmacher eloquently captured the combination of sorrow and solace in the piece. Dissonant tones were neatly enunciated, but what stood out was the dignity and nobility he found in the music amid the ominous, almost overwhelming thunder. Ending with an admixture of hope and horror, as Martinů did, was a sensitive and impressive accomplishment.
In any other setting, Tchaikovsky’s Fifth Symphony would have provided a rousing and satisfying finale, especially the way Metzmacher handled it. He started at maximum and never turned down the intensity or volume, giving the music a powerful, driving pulse. The headlong momentum took nothing off the playing, which was crisp and clean, though it did rob the melodies of some of their typical flow and charm. And the horn and woodwind sections were outstanding. But after the pathos of Martinů and brashness of Wajsar, the symphony felt like a Romantic relic, with Metzmacher working hard to give it relevance and impact.
The festival has not strayed far from Dvořák, who remains the dominant presence on other programs this year. But the injection of new work and burgeoning talent adds another layer that takes it up a notch, broadening the parameters while refreshing the foundation. For as long as anyone can remember, Prague Spring has been the festival in the Czech Republic, the sine qua non of the musical year. It now appears to have an estimable fall counterpart.
