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Tchaikovsky, Rachmaninoff, and Sibelius: Vassily Sinaisky, cond., Yevgeny Sudbin, piano, Seattle Symphony, Benaroya Hall, Seattle, 20.11.2008 (BJ)


Back in March 2007 Vassily Sinaisky conducted Shostakovich’s Tenth Symphony with the orchestra whose own music director, Gerard Schwarz, ranks as one of that composer’s foremost contemporary exponent, emerging from the challenge with much honor.

The big symphony on the program for his impressive return Seattle Symphony engagement was Sibelius’s Second, a work tailor-made for the gifted Russian maestro’s combination of eloquence with refinement and intelligence. It was clear from the very start that this was to be a distinguished interpretation, for the little silences that punctuate the opening string phrases were rightly treated as minuscule breathing spaces rather than allowed, as often happens, to interrupt the musical flow.

Many such felicities followed. After a first movement in which every phrase grew inevitably out of its predecessor, the conductor launched without pause into the Andante. It was interesting in this context that Sinaisky, baton-less last time he was here, was using a baton on this occasion: the most astonishing performance of this movement I ever heard was conducted by Leopold Stokowski, who, without a baton, made both of the conflicting rhythms of its opening virtually visible just with the fingers of one hand, keeping his left hand motionless. But if less spectacular as theater, Sinaisky’s performance was equally secure in ensemble and fully realized the drama of this darkly atmospheric music. Christopher Olka’s sonorous delivery of the important tuba part was a major asset. A lissome reading of the scherzo enclosed some fine solo work from principal oboist Ben Hausmann in the trio section, and the finale, which can sometimes sound too sectional, was shaped with unbroken unity, culminating in a brass-rich peroration as organically integrated as it was majestic.

The program had begun with a no less vividly characterized and subtle performance of Tchaikovsky’s overture-fantasy Romeo and Juliet. Then, in Rachmaninoff’s Rhapsody on a Theme of Paganini, the widely-feted Yevgeny Sudbin made his local debut. The work is not one that can really tell you what kind of musician its performer is, but considered simply as a pianist the 28-year-old Sudbin is clearly a force to reckon with. He makes a lovely sound, and fashioned a compelling reading, tautly integrated with the orchestral part. The piece emerged more sternly concentrated if less mercurial than that great showman Shura Cherkassky used to make it sound. Let us please hear Sudbin soon in one of the great classical concertos.

Bernard Jacobson

Note: this review appeared also in the Seattle Times.


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