Review: MSO concert lives up to expectations
Gerstein, Wilkins make for impressive night
The Memphis Symphony Orchestra's concert on Saturday night was much anticipated on several levels.
The program featured the Rachmaninoff "Piano Concerto No. 2," robust, romantic and enduringly popular.
Thomas Wilkins
Memphis Symphony Orchestra guest pianist Kirill Gerstein.
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Better yet was that it was performed by guest artist Kirill Gerstein, Russian-born U.S. citizen with a background in jazz and a gift for direct, expressive performance.
Gerstein is well enough regarded as an artist to have just last month received the coveted Gilmore Artist Award, a $300,000 prize given only every four years to a pianist.
It was plain to see -- and hear -- how he came about the honor.
His interpretation of the Rach 2 was both tender and muscular, combining a full understanding of the technical and emotional content of the work. Quiet moments and furious arpeggios received the same level of detailed attention which allowed for the fullest appreciation of the piece.
The packed house at the Cannon Center for the Performing Arts was mesmerized through all three movements and gave him one of the strongest ovations from an MSO crowd in some time.
Another aspect of high expectation of the evening was the appearance of conductor candidate Thomas Wilkins, who is in the running for the permanent position of MSO maestro and music director.
Wilkins last led the orchestra in November at a chamber music performance at Buckman Performing and Fine Arts Center. The more intimate setting then brought forth an intriguing blend of works by Beethoven, Haydn, Hindemith, Stravinsky and Antheil.
This weekend's program included Dvorak's Symphony No. 8 and Chabrier's "Fete Polonaise," a less diverse menu -- the three compositions were created between 1887 and 1901 -- but suitably grand for a Masterworks concert.
Wilkins showed again a terrific presence at the podium, elegant and restrained while effectively guiding the orchestra.
The Chabrier was a delightful confection, large but light and sweetly played by the MSO.
The Dvorak is one of those grand celebrations of folk music elevated to symphony level. The MSO poured its heart out and, other than a few instances of unbridled trombones at the beginning, was beautifully and dramatically directed by Wilkins.
Especially impressive was the way he kept the orchestra perfectly integrated with Gerstein's Rach 2 performance -- waves of keyboard blending with waves of symphonic sound, dancing as one and spiraling to a glorious conclusion.
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