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Spooky conductor and brilliant pianist at Seattle Symphony

Spooky conductor and brilliant pianist at Seattle Symphony
by Rod Parke - SGN A&E Writer This concert of twentieth century music by the Seattle Symphony was living proof that new excitements lay waiting to be discovered by ears that are open. Although none of the works was new to me, my way of listening to one of them was new and strange, showing an uncanny power of the composer to dictate how to experience his music. The concert, under guest conductor Ilan Volkov, began with a short, very early work by Stravinsky, namely his "Feu d'artifice, Op. 4," ("Fireworks). Written in 1908, while Stravinsky was still a student of Rimsky-Korsakov, this short work employs a very large orchestra and shows already the master's great skill at orchestration and lively invention. It was a tasty way to start the evening. Volkov is in his mid-twenties. With his longish black hair and black beard and suit, his small frame looked like something out of an episode of the "Dark Shadows" TV series. His conducting, however, quickly overcame his somewhat off-putting appearance; for he showed complete technical mastery and musical coherence with every move. The "must-see" factor of the program was the appearance of pianist Simon Trpceski (terp-ches-ki). Both in a previous appearance with the SSO and in recital, Trpceski has convinced me that he is at the very top of the list of excellent young pianists making their mark today. With technique to spare and musical depth to match any, he also is one of those artists who exude joy in playing for us. Even the extremely demanding bravura of Prokofiev's 'Piano Concerto No. 3,' seemed like a joyous game, no matter how serious the moment. Yet there was no lack of lyricism, repose, and sheer beauty in his playing. Comments about the first night of this series of three performances indicated that the orchestra was too loud and often drowned out the piano. Volkov had apparently corrected this flaw by Saturday, for balances were fine, even though Prokofiev's orchestration is quite heavy. In fact, soloist and conductor seemed in complete union at all times. I can't imagine a finer performance of this lively work. The audience responded with abandon. The surprise of the evening came after the intermission, when Volkov led the orchestra in Olivier Messiaen's 'L'Ascension.' Having known this piece only from recordings, I discovered in this live experience a strange compulsion to close my eyes, not from any fatigue but because I could not follow the music's thread while watching the players. Generally I love watching the orchestra and conductor, but time and again I found, when I opened my eyes, that I lost what the music was saying. No wonder Messiaen described these movements as "orchestral meditations"! They demanded that I enter a meditative state in order to hear them. Each movement is inscribed with Biblical quotes, but I had no need of them to become totally engrossed in the orchestral timbres Messiaen so beautifully employed. The first movement was scored for the brass section alone. What a glorious sound the brass choir intoned! They began again and again on the same chord but turned slowly, like a kaleidoscope, into slight changes of light. I was entranced. In other movements I had to open my eyes briefly to try to figure out where certain unfamiliar sound combinations were coming from, each time with no success. Mystical and marvelous. Another movement employed only strings in statements of great warmth and celestial airiness. Conductor Volkov demonstrated an obvious affinity for this music from 1932-33. Debussy's 'La Mer' closed the evening with a fine performance of delicate orchestral textures and thrilling climaxes. A little light in emotional content for my tastes, this work is nonetheless fun for its French colors and sensuality. I hope Ilan Volkov returns to Seattle Symphony, but I hope he shaves that super-black beard! It gives him a very austere and almost frightening appearance. Reviewer Rod Parke can be reached at rmp62@columbia.edu.