Auckland Philharmonia shine with unforgettable Tchaikovsky, Prokofiev performances
Back in 2011, the Macedonian pianist Simon Trpceski stressed to me that Prokofiev's Third Concerto was not all steel-like energy, but full of joy and humour, being written in a more or less happy period of the composer's life.
On this night, Alexander Gavrylyuk might well have been in total accord with him, delivering a performance of single-minded immersion, hovering over the keys, engendering expectation and exuding exhilaration, all with palpable delight.
Sung's insistence on impeccable orchestral clarity was the perfect inspiration for the soloist's rushing toccatas and marching chords; and, in amongst the glitter, could one almost sense a playful wink in his cheeky grace notes?
And what a thrill it was when an innocent clarinet theme returned, in full and stirring orchestral garb.
In the second movement, Gavrylyuk proved himself a skilled alchemist when he took on the orchestra's perky march theme, most memorably recasting it as a moody melancholic nocturne.
Sung's remarkably cohesive finale brought all the musicians together to enjoy the diverse panorama of Prokofiev's music, followed by Gavrylyuk's encore, a passionate account of the very first etude by a teenage Scriabin.
It is always daunting for a critic to assess yet another performance of Tchaikovsky's Fifth Symphony. Yet on the night, Sung drew a rare vibrancy from familiar pages, laying out a compulsive journey from the Russian's doom-laden introduction to the triumphant glow of its final apotheosis.
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Auckland Philharmonia shine with unforgettable Tchaikovsky, Prokofiev performances
Back in 2011, the Macedonian pianist Simon Trpceski stressed to me that Prokofiev's Third Concerto was not all steel-like energy, but full of joy and humour, being written in a more or less happy period of the composer's life. On this night, Alexander Gavrylyuk might well have been in total accord with him, delivering a performance of single-minded immersion, hovering over the keys, engendering expectation and exuding exhilaration, all with palpable delight. Sung's insistence on impeccable orchestral clarity was the perfect inspiration for the soloist's rushing toccatas and marching chords; and, in amongst the glitter, could one almost sense a playful wink in his cheeky grace notes? And what a thrill it was when an innocent clarinet theme returned, in full and stirring orchestral garb. In the second movement, Gavrylyuk proved himself a skilled alchemist when he took on the orchestra's perky march theme, most memorably recasting it as a moody melancholic nocturne. Sung's remarkably cohesive finale brought all the musicians together to enjoy the diverse panorama of Prokofiev's music, followed by Gavrylyuk's encore, a passionate account of the very first etude by a teenage Scriabin. It is always daunting for a critic to assess yet another performance of Tchaikovsky's Fifth Symphony. Yet on the night, Sung drew a rare vibrancy from familiar pages, laying out a compulsive journey from the Russian's doom-laden introduction to the triumphant glow of its final apotheosis.
