When 18 year old Park University
student Behzod Abduraimov won the London International Piano
Competition in 2009, he not only became a local musical hero but
garnered world wide attention and acclaim. He has performed world
wide, inked a contract with Decca recordings and performed with some
of the world's great ensembles... all before his 24th
birthday. As with many of his generation he has talent and formidable
technique to burn. Unlike many of his contemporaries, he has an
undeniable sense of musicality.
The Saint-Saëns Piano Concerto No 2 in
g Op. 22, which he performed as soloist with the Kansas City
Symphony, Micheal Stern, Music Director conducting, verily defines
the terms flashy and showy. Abduraimov milked the flash and show to
be sure, but thankfully never fell into the banging and pounding
trap. A committed and sensitive pianist, he (with Stern's able
guidance of the orchestra) found this music's charm, wit,
elegance and drama often hidden behind the challenging performance
demands.
Abduraimov imbued the dramatic solo
that opens the work with deep, rich organ-like sonority. Fitting
since over the years many critics and writers have compared this
passage with a Bach organ prelude. Abduraimov, a native of
Uzbekistan, also infused this intense cadenza with a bit of “Russian”
soul, linking it the later works of Rachmaninoff. The orchestra rode
along superbly in the brisk and forward performance.
Sadly, about 1/3 of the way through the Saint-Saëns on Saturday, November 2nd, Abduraimov suddenly
stopped playing. After a few moments of awkward and confused glances
between Stern and Abduraimov, Stern announced they would be right
back. Returning to the stage, they began the movement from the
beginning. The second time around was free of any mishaps and was a
most satisfying and brilliant performance. From my perch, I could not
hear Abduraimov's obviously heartfelt and sincere apology and
explanation. It didn't matter, things happen (although I am racking
my memory as to anytime I have witnessed a performance break down by
a professional... but it happens for sure) and all was quickly
forgiven if not forgotten.
The 2nd movement, all
charming dance, rippling piano passages and infectious rhythm,
received a clear, ringing performance. Stern and the orchestra saw
this movement as a dialog (not a contest) and the resulting interplay
between the orchestra and piano was simply a marvel. Abduraimov's
brilliant technique served the music well; each phrase was perfectly
articulated, making melody instead of mind numbing repetition.
The concluding tarantella was brisk
with a subtly dark and demonic streak. The middle section with its
sequence of trilled figures in the piano was lithe and breathtaking.
The climatic pounding chords were clarion clear and powerful, aided
by a precise and sympathetic orchestra.
The concert opened with Schumann's
rarely heard Overture, Scherzo and Finale op 52 from 1841. This
little symphony sans slow movement (the composer even called it his
Second Symphony for a time), pales in comparison with his four
numbered symphonies but makes for an interesting change of pace
opener. Stern and the orchestra provided as fine and vivid
performance as one could ask.
The second half was not lacking for
musical drama either. Richard Strauss' early tone poem “Tod und
Verklärung” (Death and Transfiguration) led off followed by
Tchaikovski's “Overture Fantasy Romeo and Juliet”.
“Tod und Verklarung” began
appropriately hushed and atmospheric. The subtle tympani pulsed under
the glowing clarinet, harp, violin and oboe solos. Reluctant
entrances (especially the very beginning of the work) and a general
weakness in string numbers diminished the intensity of the agitated
central section. The brass were guilty of a few blatty entrances as
well, and the final death stroke could have used some more oomph
overall. The all important horns were usually at their best tonight,
often soaring as required over the rich textures.
However, the
final transfiguration pages were a revelation; dignified and imbued
with a cool radiance, achingly, agonizingly rising to the beautifully
offered statement of the transfiguration theme. The audience was
simply transfixed by the simple grandeur of the closing moments, the
prominent harps taking the soul on its journey.
The full program ended with a
passionate but never drippy Romeo and Juliet. A well paced, lyrical
and dramatic performance, notable for the fine wind work (the wind
chorale in the lovers' funeral dirge was
intimate and tender, a highlight of the
whole work) and a lush, full of ardent longing but certainly not
cliched love theme. The battle music episodes were taught and
powerful as well. A most enjoyable and welcome rendering of a work
that can be almost too familiar.