Not as universally beloved as his Cello Concerto nor as rarely performed as its piano counterpart, Dvořák’s Violin Concerto in A minor took center stage in this second Czech Philharmonic performance at Carnegie Hall this month under the baton of Semyon Bychkov. These concerts, dedicated to Dvořák’s most important works for soloist and orchestra, were part of New York’s contribution to the Year of Czech Music, a global celebration honouring the rich legacy of Czech composers and their creations.
Dvořák’s Violin Concerto masterfully fuses German Romanticism with Czech folk traditions. Its orchestration vividly captures the rustic charm of Czech village bands, with the warm resonance of the strings and the earthy interjections of the woodwinds, most evident in the spirited exchanges of the final movement. The rhythms, particularly in the dance-infused Allegro giocoso, ma non troppo, draw on Bohemian dance forms such as the furiant and skočná, while the lyrical themes throughout the concerto echo the song-like simplicity of Czech vocal traditions. Bychkov, shaping the expansive, Brahmsian-inspired forms, gave the Czech players the freedom to illuminate the score’s rich folkloric details, creating a performance deeply evocative of their shared heritage with the composer.
Gil Shaham’s exceptionally warm, amber-toned sound blended beautifully with the orchestra’s. His remarkable ability to spin and caress melodies found an ideal vehicle for expression in Dvořák’s score. Whether melancholic or merry, Shaham’s violin was never overly assertive, and the dialogues with the woodwinds remained consistently well balanced, with bravura never being the objective. A distinguished accompanist, Bychkov knew precisely when to bring out the sweeping romantic waves and when to offer subtle support to the soloist. Moreover, he skilfully tempered several of the score's longueurs, ensuring they didn’t feel overly drawn out.
The violinist responded to the audience’s loud appreciation with a single encore: the Gavotte en Rondeau from Bach’s Violin Partita no. 3, played with the same limpid, straightforward tone he had employed throughout Dvořák’s concerto.
In the evening’s Czech context, the opening of the Scherzo in Mahler’s Fifth Symphony – where a Ländler evolves into a Viennese waltz – felt especially evocative of the composer’s childhood in his Bohemian Heimat. This transformation,, introduced by Jan Vobořil’s French horn solo and later mirrored in Walter Hofbauer’s trumpet line, unfolded with a poignant blend of melancholy and irony, making it a standout moment of the evening. There were others: the fading, lower-strings-led sound in the final bars of the second movement, following the earlier boisterous brass explosions; the intertwining of strings and harp in the Adagietto, with Bychkov’s brilliant decision to place one of the two harps in the center of the stage, between the cellos and the second violins; and the subtle, transfigured evocation of previously stated motifs in the final movement.
Truth be told, following a penetrating and accurate initial solo trumpet statement, the rendition of the first movement was not entirely satisfactory. Bychkov placed too much emphasis on the opposition between the two main themes and, at times, the brass-strings balance was less than ideal, resulting in inner voices that were not sufficiently brought out. Nonetheless, the performance quickly rose to higher levels. The orchestra’s rich and distinctive sound filled the hall. Passion and dedication were palpable in nearly every sound emanating from the ensemble that Bychkov has led as Chief Conductor since 2018. With its intricate contrapuntal clockwork in high relief, the life-affirming Rondo Finale sounded glorious.
