February started off with the proverbial bang at the Kennedy Center Concert Hall. And what a thrilling and commanding experience it was for the capacity audience Sunday as Alexander Vedernikov led the Russian National Orchestra in a powerful concert. The program included Bartok's Piano Concerto No. 3, with French-born soloist Helene Grimaud, and Shostakovich's Symphony No. 5. His "Festive Overture" opened the program, with the orchestra appearing for the second time under the sponsorship of the Washington Performing Arts Society.
A massive orchestra of more than 130 players assembled onstage for the opening work, written in 1954 to celebrate the Russian Revolution. Vedernikov summoned breathtaking agility and tight ensemble from his players.
The conductor captured every bit of the glow in the Bartok while also attuning his players to Grimaud's radiant account of the piece. In the Allegretto, the pianist's keen articulation and supple legato produced a fully percussive yet finely etched keyboard contribution, while a bluesy Gershwinesque tang suffused the Adagio, with Vedernikov's ruminative response hinting delicately at resignation.
It was interesting to compare Vedernikov's version of Shostakovich's Fifth with the version conducted in January by Yuri Temirkanov and the Baltimore Symphony Orchestra. The two performances were memorable but quite different. Temirkanov favors rather circular gestures that highlighted gently blended and voluminously sonic instrumental colors. Vedernikov tends toward vertical motions; he guided his troops Sunday through a Fifth of more crystalline textures, with wind solos sounding in soft pastel tints and more focused dynamics. The Russian orchestra offered a vehemently sardonic waltz for the third movement, the fourth bringing an electrifying finish.
Source.
A massive orchestra of more than 130 players assembled onstage for the opening work, written in 1954 to celebrate the Russian Revolution. Vedernikov summoned breathtaking agility and tight ensemble from his players.
The conductor captured every bit of the glow in the Bartok while also attuning his players to Grimaud's radiant account of the piece. In the Allegretto, the pianist's keen articulation and supple legato produced a fully percussive yet finely etched keyboard contribution, while a bluesy Gershwinesque tang suffused the Adagio, with Vedernikov's ruminative response hinting delicately at resignation.
It was interesting to compare Vedernikov's version of Shostakovich's Fifth with the version conducted in January by Yuri Temirkanov and the Baltimore Symphony Orchestra. The two performances were memorable but quite different. Temirkanov favors rather circular gestures that highlighted gently blended and voluminously sonic instrumental colors. Vedernikov tends toward vertical motions; he guided his troops Sunday through a Fifth of more crystalline textures, with wind solos sounding in soft pastel tints and more focused dynamics. The Russian orchestra offered a vehemently sardonic waltz for the third movement, the fourth bringing an electrifying finish.
Source.
Russian National Orchestra / Alexander Vedernikov
Cecelia PORTER, Washington Post, February 4, 2004
