Gilbert and Bronfman Perform Tchaikovsky, Prokofiev, and Rachmaninov

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Thursday, October 27, 2016

Pianist Yefim Bronfman. Pianist Yefim Bronfman. (Chris Lee)

Tune in Thursday at 9 pm as Alan Gilbert leads the New York Philharmonic in Rachmaninoff's Symphony No. 2, Op 27. Soloist Yefim Bronfman performs. The program also consists of Tchaikovsky's Polonaise from Eugen Onegin and Prokofiev's Piano Concerto No. 2 in g-minor, Op. 16.


TCHAIKOVKSY: Polonaise from Eugen Onegin
PROKOFIEV: Piano Concerto No. 2 in g-minor, Op. 16
RACHMANINOFF: Symphony No. 2 in e-minor, Op. 27

Conductor: Alan Gilbert

Soloist: Yefim Bronfman, piano

Comments [1]

Les from Miami, Florida

The "Evgeny Onegin" Polonaise, played in a luxurious palace before Prince Gremin's aria, has a tempo marking of "Moderato. Tempo di Polacca". For me, there was a trifle too much "moderato" which, for me, meant a tifle less gaiety. Yefim Bronfman is an artist of supreme accomplishment; and the technical and stylistic demands of the Prokofiev Second Concerto held no terrors for him, from the cadenza opening to the hurried Scherzo to the canons with orchestra in the last movement. He and the orchestra were clearly of one mind. The Rachmaninoff Second Symphony was performed uncut. From the ppening three bars of lugubrious and heart-sorrow in the 'cellos and contrabasses, I felt sure this would be a memorable performance whose moods would be satisfyingly conveyed. The numerous divided strings in the Introduction were heard with clarity. Alan Gilbert asked for ritenuti before the Exposition and subsidiary themes throughout and oh, how that added to the expression. In the subsidiary theme of the second movement, beginning with the notes in the strings C B A G, the langour and "romanticism" were there in earnest. I wish the string complement were of the number of the popular and "pops" ensemble of many years ago called "101 Strings" because I can never hear too much sonority in instances like this. In my score, the "Trio" marked "meno mosso" yet has a metronome mark of 104 to the quarter note was played (to my delight) at that faster tempo. I've never understood who or why the "meno mosso" indication was put there. (Presumably) Marc Nuccio's clarinet solo in the third movement was meltingly beautiful and sorrowful. It brought tears to my eyes. Admittedly, it always does. The magical moment with a theme from the Introduction in the flutes, oboes and clarinets played in tandem with the main theme of the third movement in the first violins was certainly that: magical. In the last movement when the subordinate theme appears, I thought to myself Mr. Gilbert, please "pour on the Stokowski or Ormandy here"! If I were in the audience, I would have applauded enthusiastically and exuberantly.
Stokowski or Ormandy here"! If I were in the audience for this performance, I would have applauded enthusiastically and

Nov. 13 2016 03:06 PM

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