Orchestra’s classic concert rewards attentive listeners
The Oklahoma City Philharmonic’s recent classics concert showcased a pair of orchestral masterworks, the first a brilliant example of 20th century modernism and the second, a work steeped in 19th century nationalism.
Sergei Prokofiev’s “Symphony No. 5 in B-Flat Major” proved to be an ideal platform for musical virtuosity. Nearly every section of the orchestra was given a moment in the spotlight, from searing string passages to snarling brass outbursts.
For pure sonic brilliance, the Prokofiev Fifth is unsurpassed. But this symphony yields far greater rewards for the attentive listener. In the opening movement, melodies are frequently repeated but Prokofiev dresses them in a different guise each time. Such an approach not only provides structural unity but keeps the listener intrigued.
It was fascinating to hear a passage that emerged from the depths of the orchestra, only to have it climb magnificently through the ranks. And when Prokofiev flexed his musical muscles, the orchestra responded with brilliant and menacing sonorities.
Prokofiev’s fondness for unrelenting rhythmic propulsion found its way into the scherzo, a movement that asks the musicians to jump in and out of the musical texture. Their timing wasn’t always flawless but that didn’t diminish the movement’s effectiveness.
With its cries of anguish and passages that verged on the grotesque, the adagio was a constant reminder of this work’s wartime origins. The finale, in turn, offered one of Prokofiev’s most ingratiating melodies set against martial rhythms. To hear Joel Levine and the orchestra negotiate its myriad challenges with such skill made this performance a standout.
Jon Nakamatsu, the gold medalist at the 1997 Van Cliburn Competition, closed the second half of the program with a performance of Grieg’s “Piano Concerto in A Minor.” From the commanding opening, it was clear this would be no ordinary reading.
Nakamatsu’s playing had a spontaneity about it that drew the listener into his realm. In the opening allegro, the secondary theme truly scampered, the filigree passages were delivered with remarkable facility and the cadenza was rhythmically free but compelling.
In the heartfelt adagio, Nakamatsu employed considerable use of rubato but never allowed it to sound excessive. His phrasing was graceful and elegant in more introspective passages. Kate Pritchett’s horn solos nicely mirrored the mood of this lovely adagio.
Nakamatsu summoned plenty of energy and swagger for the finale, his playing noted for its impressive sweep and fine textural clarity. It was a treat to hear such a thoughtful and probing soloist, one who brought a fresh approach to this all too familiar concerto.
Following a lengthy ovation, Nakamatsu delighted the crowd with Chopin’s “FantaisieImpromptu in C-Sharp Minor,” a fine blend of technical proficiency and musical poetry.