Andrey Boreyko Conducts Tchaikovsky, Tcherepnin and Shostakovich

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Thursday, February 20, 2014

Cellist Gautier Capuçon. Cellist Gautier Capuçon. (© Gregory Batardon)

For the second week in a row, Andrey Boreyko leads the New York Philharmonic, this time in an all-Russian program of Tchaikovsky’s Suite No. 3, featuring Concertmaster Glenn Dicterow; the orchestra's first performance of N. Tcherepnin’s The Enchanted Kingdom; and Shostakovich’s Cello Concerto No. 1 with cellist Gautier Capuçon in his debut with the orchestra.

Program details:

N. Tcherepnin: The Enchanted Kingdom

Shostakovich: Cello Concerto No. 1

Tchaikovsky: Suite No. 3

Comments [1]

Les from Miami, Florida

This concert, the second consecutive of Andrey Boreyko's, is another that demonstrates his adventurousness and creativity in program-building. "The Enchanted Kingdom" is revelatory in its blend of orchestral color. This work is Russian Impressionism and one hopes will be taken up by other conductors and orchestras. The Shostakovich 'Cello Concerto No. 1 was imformed with the disguised triumph and joy the composer felt; and Gautier Capuc^on was of the same impetus as conducror and orchestra. I hope many in the audience as well as those listening to the broadcast thought when they heard the Tchailovsky Suite No. 3 "Where has this been all of my life?" A more beguiling, ingeniously orchestrated and engagingly melodic score we'll look hard for to find as an equal by so beloved and well-known a master. "Ele'gie", Andantino molto cantabile, G major, 6-8, is a melancholy-tinged movement reminiscent in spirit with the Second Movement of the Second Symphony. "Valse me'lancolique", Allegro moderato, e minor 3-4, is rapid and quicksilver with many flourishes of woodwinds and strings. Divided violas contribute a fascinating sonority of "opposite octaves". "Scherzo", e minor, 6-8, is another quicksilver movement, I venture to say, as difficult to play because of rapid dynamic and changes of meter as the Berlioz "Queen Mab Scherzo". The last movement, "Tema con variationi", offers a theme in G major, 4-8, followed by 12 variations, each a small masterpiece highlighting sections or solo instruments. Variations 3 and 7 feature the Woodwinds; Variation 6 could have come out a ballet score; Variation 8 features an English horn solo over tremolo strings followed by a solo violin cadenza that continues into the next Variation. Variation 12 is a Polacca; and it could easily have been used in or come from "Yevgeni Onegin", or it could also have been used as the basis of the Finale of the Third Symphony, so redolent is it with high spirits. Variation 5 is a surprise of sorts in that it's polyphonic and we don't usually think of Tchaikovsky and polyphony as kindred spirits. Then again, this Suite No. 3 is treasure trove well worth discovering or re-discovering by conductors, orchestras and us listeners.

Feb. 23 2014 03:01 PM

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