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Review: Winston-Salem Symphony starts the year in Russian style

In the first concert of their 2016 season, Maestro Robert Moody and the Winston-Salem Symphony Orchestra presented a program of brilliant, colorful music Sunday afternoon by Russian composers, playing Nikolai Rimsky-Korsakov’s “Russian Easter Overture,” Sergei Rachmaninoff’s “Piano Concerto No. 3” with Andrew von Oeyen as guest artist, and Igor Stravinsky’s orchestra suite from the ballet, “Petrouchka”.

The program was particularly interesting because it presented the music of three composers who lived at the same time, who actually knew each other and whose particular focus lay in writing music that used old Russian folk tales, folk music and liturgical chant, instead of the academic forms of Western European art music so entrenched at the time.

Rimsky-Korsakov composed his “Russian Easter Overture” in 1887-88, in memory of Mussorgsky and Borodin, when as a member of the Czar’s Royal Chapel, he would have absorbed the ancient liturgical chants of the old Russian Orthodox Church.

The bold, rich colors in his work were striking and provided a rousing introduction to what turned out to be the event of the evening, and probably of the season, as Andrew von Oeyen entranced us playing Rachmaninoff’s “Piano Concerto No. 3.”

Rachmaninoff composed the piece in 1909 at his country estate, “Ivanovka,” failing to finish in time to learn it before he left for a tour of the United States. He practiced it at a silent piano while on ship and the premiere took place in New York City. However, because of its monumental difficulty, the work didn’t enter the piano repertoire until the 1930s when the great piano virtuoso, Vladimir Horowitz, promoted it.

In von Oeyen’s hands, the music was simply marvelous and took dramatic shape with his easy command of technique and nuance, his control of touch and color and his projection of personal feeling. His ability to build a towering climax, filling the space with tremendous sound, especially in the cadenzas, held the audience rapt.

Notable at the beginning of the second movement was the luscious sound of the strings, the piano’s overarching melodies and the broad meditative horn solo during which von Oeyen bowed his head and put his hands on his knees. Then we were swept into some pyrotechnics: huge fast chords and double octaves of the third movement. We were on the edge of our seats, and the audience erupted with cheers and bravos.

After intermission, we heard Stravinsky’s “Petrouchka,” a ballet about puppets. Subtitled a “Ballet Burlesque,” the concert version was presented in four scenes whose story line was projected on a screen above the orchestra. After the lush romanticism of the Concerto, the perky insouciance of this work was refreshing, and the vivid exuberance and satirical humor chased away any winter blues.

Throughout the concert, Moody was brilliant. His accompaniment to the concerto was immaculate and totally in sync with von Oeyen, while his command of the ever-changing rhythms in the Stravinsky was a lesson in virtuoso conducting. This is a concert not to be missed.

Margaret Sandresky is Professor of Music Emerita at Salem College

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