Switzerland Rachmaninoff: Francesco Piemontesi (piano), Tonhalle Orchestra Zürich / Gianandrea Noseda (conductor). Tonhalle, Zurich, 08.11.2023. (VL)
Rachmaninoff – Piano Concerto No. 4 in G minor, Op. 40; Symphony No. 1 in D minor, Op. 13
The concert evening on November 9, 2023, marks a special highlight in the joint Rachmaninoff cycle of the Zurich Opera House and Tonhalle Orchestra. The conductors swapped podiums and orchestras – and shared the soloist. Thus, the Tonhalle Orchestra performed Rachmaninoff’s Symphony No.1 under the direction of Gianandrea Noseda, as well as Rachmaninoff’s Piano Concerto No.4 with pianist Francesco Piemontesi. The pianist from Ticino has a special connection to the piece: as a child, the recording with Arturo Benedetti Michelangeli was one of his favourite records.
The evening began in the packed Tonhalle with the piano concerto. It was the first time in about five years that visitors to the Tonhalle were able to hear the piece again – the last performance was by Yuja Wang in June 2018 at the temporary venue Tonhalle Maag. Gianandrea Noseda and Francesco Piemontesi took to the stage to expectant applause. Noseda launched straight into the first movement. It begins with a powerful orchestral exposition and the introduction of the main theme. The piano then takes over the theme and develops it with virtuosity, while the brass reinforce it with fanfare-like motifs. A second orchestral exposition is followed by the development section, in which the theme is developed in different variations. The woodwinds play melodic lines that contrast with the piano. The brass reinforce the power and energy of the movement. The movement ends with a virtuoso finale in which all the instruments play together. Piemontesi played with concentration and, at the same time, with unparalleled lightness – his dedication and joy evident in every finger movement.
This was followed by the second movement. It is written in a simple, melodic language. The piano plays a restrained role in this movement and accompanies the orchestral parts. The movement ends in a calm, meditative mood. The third movement has a similar structure to the first movement but is even more virtuosic and dramatic. The piano plays more of a leading role in this movement and develops the theme. The movement ends with a triumphant finale. Piemontesi played the work with supreme aplomb and was rightly rewarded with thunderous applause.
The encore was Karol Szymanowski’s Etude in B flat minor Op.4 No.3.
Without a break, we continued with the First Symphony, a work I was already very excited about. After a brief reorganisation of the stage, Noseda once again took the stage to expectant applause. Sergei Rachmaninoff’s No.1 in D minor Op.13 was special in terms of his future career. It was composed in 1895 and premiered in St Petersburg in 1897. The premiere was a failure, and Rachmaninoff was so depressed that he withdrew from public life for several years. In the 1930s, he then revised some of his works, including the First Symphony. Among other things, he added a piano. On this particular evening, we heard the version without the piano.
In the first movement, the main theme is played by the brass and strings together. This gives the movement a more orchestral character. I particularly liked the expressive and powerful playing of the musicians, which built up the tension right at the beginning and made me curious about the rest of the piece. The further development of the theme in the course of the movement was also very successful. Noseda allowed the individual orchestral parts to sound on an equal footing. The strings played the lyrical themes with a warm and expressive tone colour, while the brass played the powerful themes with a powerful and dramatic sound.
Noseda begins the second, comparatively short movement with a slow, solemn introduction. The strings play the theme in a melancholy mood that immediately casts a spell over the audience. The conductor allows the movement to breathe and unfold so that every single note can be felt. The third movement is an almost seamless transition – Noseda began with a slow and restrained tempo to continue the melancholy mood of before. Only as the movement progresses did he speed up the tempo and allow the music to become more cheerful and lively. It begins with a short introduction, calm and solemn, played by the strings. The bassoon then begins with the main theme. The theme is melodic and catchy and is repeated by the strings. About halfway through the first part of the movement, the brass enters for the first time.
The last movement begins with a short introduction played by the strings. The brass then enter – they play a short motif that emphasises the drama and menace of the music. Noseda had the strings and brass play the theme in a stormy mood. As the first part progresses, the tempo quickens, and the music becomes even more dramatic. Noseda and the Tonhalle-Orchester Zürich play the theme with even more energy and passion. In the second part of the movement, the tempo slows down again, and the music becomes more melancholy. The movement ends with a slow finale, emphasised by a tam-tam gong.
The last note sounded, the piece came to an end and the audience applauded enthusiastically. Noseda had done an outstanding job, conveying the symphony in all its beauty and expressiveness. It was a magnificent evening, and I will remember the Tonhalle Orchestra’s performance of this symphony under Gianandrea Noseda for a long time to come.
Valérie Litz