The Sydney Symphony concluded their mini Russian series with an all-Tchaikovsky concert featuring one of his lesser-known concertos and a most beloved symphony.
The first half was devoted to his Piano Concert no. 2 in G major, less recognisable than his first with its opening crashing chords, but every bit as endearing and lyrical. Chosen for this evening’s performance was the concerto in its original format. Tchaikovsky’s critics criticized this version for being too long, leading pianist Alexander Siloti to make cuts. It has been this version which has endured, although Tchaikovsky’s original has been performed recently with increasing frequency. The soloist was American pianist Garrick Ohlsson, who is perhaps best known for his performances of Chopin, but nevertheless he has a vast, all-encompassing repertoire. To me, he came across as something of a gentle giant – a tall man, his playing was authoritative and commanding, but self-effacing. There was nothing showy about his performance. It was technically brilliant and exciting, but it appeared so easy. The two long piano solos in the first movement were powerful and dramatic. He played with such a rich tone, both beautiful and perfectly judged, that it was like watching a grand master giving a masterclass to his students.
The Sydney Symphony Orchestra under its principal conductor Vladimir Ashkenazy responded to Ohlsson’s mastery, accompanying him sensitively and with great precision. Particularly delightful was the second movement, which contains long episodes for a solo violin and cello. The violin solo was played by the SSO’s guest leader Daniel Dodds, who produced a wonderful silky sound, which was one of the highlights of the performance. Equally pleasing was the solo from principal cellist, Catherine Hewgill. The concerto was rounded off with a thrilling finale, which once more showcased Ohlsson’s stunning virtuosity and elicited an enthusiastic response from the large audience. Ohlsson finished off the first half with an encore of Tchaikovsky’s Humoresque. This was a wonderfully delicate performance, which captured the mood of this piece perfectly and sent the audience out for the interval on a light hearted note before the drama of Tchaikovsky’s Symphony no. 4 in F minor in the second half.