REVIEW: QCSO and Ax bring A games to gala
It’s been a long six years (seemingly a lifetime ago) since the last Quad City Symphony Orchestra gala concert, with superstar violinist Joshua Bell.
I’ve had the privilege of attending the buzzy, extraordinary QCSO gala concerts of not only Bell in 2018, but cellist Yo-Yo Ma in 2015, and violinist Midori in 2011, and there was similar electricity in the air at Saturday night’s full audience in the Adler Theatre for the justifiably world-renowned (yet blissfully humble) pianist Emanuel Ax.
It’s been a much longer gap between QCSO performances for the 74-year-old Ax, who made his QC debut 43 years ago, and then did not play at the Adler, but Rock Island’s Centennial Hall and the old Davenport Masonic Temple.
QCSO music director and conductor Mark Russell Smith (who didn’t make any remarks from the podium Saturday), wrote in the gala program that Ax “has graced the international music scene for many years with his extraordinary perspective and musicianship, winning accolades including the Arthur Rubenstein International Piano Competition and the Avery Fisher Prize.
Ax has earned 19 Grammy nominations, and eight wins over a prolific career and returned to the QC just six days after performing solo at Carnegie Hall (April 21), celebrating the 50th anniversary of his debut at that prestigious venue.
The stellar QCSO and the dazzling pianist certainly brought their A games to Saturday’s program, which featured two of the most popular piano concertos in the repertoire.
After the Steinway grand piano was raised on a slowly moving platform below the stage, and put into place by a crew of four, the musicians launched into Ludwig van Beethoven’s grand and glorious Piano Concerto No. 5 (“Emperor”).
Despite the fact Ax must have played this work many times over his long career, nothing about the QCSO performance seemed rote or routine, but thrillingly alive and present, on behalf of soloist and orchestra.
Smith consistently supplied his characteristically clear, crisp conducting, and really got into the music, revealing both a very encouraging and passionate nature. It also was very evident that there was unusually close communication between Smith and Ax (contrasted with many concerto performances where the soloist seems separate in his or her own world), where they were laser focused on each other and had frequent eye contact.
Many times throughout the concert, the soloist and orchestra achieved a seamless blend and balance, and that sensitivity is a hallmark of both Ax and the QCSO.
The pianist’s greatness lies partly in the fact that he can unfurl seemingly effortless trills and rapid-fire runs up and down the keyboard with such flawless grace and fluidity. His playing is silky smooth and brutally forceful in equal measure, and making it look easy is one of the hardest tricks a performer can accomplish.
Especially in the Beethoven first movement, Ax displayed his signature virtuosity in an exacting technique and crystalline tone, building to the triumphant finish and audience applause.
The gentle second movement of the Emporer includes a main melody that is a virtual echo of the opening of “West Side Story”’s “Somewhere” ballad written 146 years later (Leonard Bernstein must have known that). It’s simple, eloquent, and in the QCSO hands, the full-bodied warmth of the string section made it seem like the players never touched their bow to the strings, it magically emerged from the ether.
Ax unveiled more glistening, luxurious trills and I love the modest ending of the movement, which steps down one tone to a new key and into the third movement. It was rhythmic, bouncy and galloping, with more extremely fast, jaw-dropping piano, and exuberant orchestra. It deservedly earned the first of Ax’s three standing ovations.
After intermission, he returned to dazzle us more in Mozart’s dark and stormy Piano Concerto No. 20, K. 466. Like Ax, the QCSO delivered strong, rock solid, dependable playing. Soloist and orchestra were confident, commanding, and it was profoundly satisfying.
Even in the elegant slow movement, Ax showed off tremendously demanding passages, without breaking a sweat, and he perfectly handled some parts where the left hand plays above the right, another challenge mastered deftly.
The last movement highlighted boisterous, sprightly playing in piano and orchestra, running like clockwork, with a last vigorous cadenza. After a rousing ovation, Ax satisfied the audience desire for more in this rare, historic event by performing a solo encore.
True to his unassuming, unpretentious nature, he gave a immaculate, tender, and lovely reading of a Schubert Serenade, as arranged by Liszt.
The piano pieces were bookended brilliantly by two colorful orchestral works – Gustav Mahler’s “Blumine” (a QCSO premiere), and Igor Stravinsky’s famous Firebird Suite.
Both were remarkable and featured astounding sections of barely perceptible strings. The Mahler highlighted a beautiful trumpet theme, with gentle, warm, comforting strings, building up to a bright vista like sun breaking through clouds, and a triumphant sound.
Due to Smith’s expert precision, the QCSO showed impressive focus and cohesiveness in their performances throughout the program. “Firebird” was a perfect representation of their ability, a showy showcase for the orchestra – including mysterious, quiet, meditative sections, and chaotic wonder, with explosive flourishes from xylophone and bass drum, and an overpowering, enveloping, huge sound at the end, with an exhilarating, blazing climax.
The gala was the very definition of breathtaking and it was an honor to attend.
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