Occasionally child prodigies fail to sufficiently mature with respect to the profundity of their interpretations. Beyond a doubt this is not the case with superstar Alexander Malofeev who was nothing short of spectacular in Prokofiev's Third Piano Concerto with the Orchestre symphonique de Montréal. Malofeev had performed the same concerto with a different Montreal orchestra fairly recently; both performances were technically flawless but this account revealed significantly more musical insights – in one notable instance by evoking a preternatural mood in the fourth variation of the middle movement.
Malofeev is a marvel to witness, showcasing impeccable technique that seems to transcend the limitations of the instrument itself. Yet, what sets him apart is his ability to infuse each note with a profound sense of expression, thereby weaving an impactful narrative. This captivating blend of piano mastery left the audience spellbound. In this rendition, the opening clarinet work was sublimely rendered by Todd Cope and Alain Desgagné. Rafael Payare engineered a dynamic culmination of the first movement. Unfortunately, at times the accompanying forces drowned out the soloist. Malofeev's encore, a rhapsodic excerpt from Tchaikovsky's Swan Lake, proved that in the hands of a virtuoso, the piano is more than able to make the most of a gentle cantabile melody.
Mahler's Symphony no. 1 in D major predates the Prokofiev concerto by a couple of decades. In this OSM performance, the haunting opening section was marred by ragged entries. Payare employed a tapping gesture at the bottom of his prep beat which, at least in this instance, did not clarify matters for the players. In marked contrast, the ensuing offstage trumpet work of Paul Merkelo, Stéphane Beaulac, and Robert Weymouth was rhythmically tight. Shortly thereafter there was an unfortunate woodwind gaffe.
By the second half of the Langsam though, the OSM pulled together and some gorgeous music-making began to emerge. In the third movement, the well-known Frère Jacques theme that begins with a solo double bass and is subsequently taken up bassoon and then a tuba revealed inidvidual stylistic approaches that were not emblematic of a cohesive interpretive approach. Matters eventually gelled as Payare and his forces subsequently achieved a sumptuous degree of expressiveness. Towards the conclusion of the finale, the horns did not stand at the usual point, diminishing the impact of what is typically a thrilling moment. Despite this, the final section was spectacular.
Lera Auerbach's Icarus launched the program. This composition is a melange of sharply contrasting musical vignettes. Arguably, the piece would have benefited from a more thorough development of these disparate musical impressions. The solo work of concertmaster Andrew Wan was stellar, but Icarus was met with a tepid audience response.
This Saturday matinée concert was sparsely attended. Presumably, when Payare is more consistently able to reach what Mariss Jansons dubbed “the cosmic level” of orchestral music-making, the prodigiously accomplished players of the OSM will garner the community support they richly deserve.
