Early in his tenure as music director of the Indianapolis Symphony Orchestra, Krzysztof Urbanski put his stamp
on programming with the inclusion of music from his homeland, Poland — just as one of his predecessors, the late Raymond Leppard, included more English music than ISO patrons had been used to hearing.
|Mieczyslaw Weinberg (1919-1996)|
Taking in the symphonic Weinberg at Hilbert Circle Theatre with previous knowledge of this particular string quartet revealed to me the signature style of an inviting musical mind. Symphony No. 3, op. 45, is a lavish, unexpected exemplar of the ISO's current slogan, "You're Invited." I would describe the style as emotional, mercurial, briskly wide-ranging, and both restless and persistent in its hold on the listener's attention. Everything works, and there is about it neither doctrinaire modernism nor yearning for the past. The huge ovation that greeted its final ensemble shout, a confirmation of well-stated brass glory, indicated how grateful Friday's audience was for the invitation.
That string quartet I'm familiar with is colorful enough, to be sure. Taking advantage of the symphony orchestra's broad palette, Weinberg in this work actively distributes his material around from section to section, soloist to soloist. There is a kind of "concerto for orchestra" display about the piece. A lofty flute theme over a rustling accompaniment gets things started, and among the rewards of the first movement is a feverish, thickening assembly of forces, with a violent cast to it, that manages to allow room for a waltz with a memorable oboe solo. A striking episode leading toward the end relieves all the tension that has been wound up in an almost prayerful way.
|This weeekend's soloist, Anna Vinnitskaya, took command of the Brahms Second.|
The Weinberg certainly held its own in a concert featuring one of the most formidable and admired of piano concerotos, No. 2 in B-flat major, op. 83, by Johannes Brahms. Urbanski conducted with evident rapport for the guest soloist, Anna Vinnitskaya, a Russian pianist of stamina and vigor sufficient to bring off the work creditably. In the first movement, often her properly loud playing — from the initial fiery outburst on — seemed overloaded with accents. The authoritative touch she applied to the piano part could have been firmly asserted without quite so much highlighting. But the forcefulness never seemed mechanical.
She certainly had a range of sonority at her fingertips over the course of the 50-minute work. There was a nice flow to her phrasing, and by the Andante, it was evident that she didn't find the concerto's lyricism an unwelcome arena for expression. She was fully engaged with the composer's tender side, which was indelibly put forth in the initial butter-smooth solo (and subsequent revisitings) by principal cellist Austin Huntington. Particularly gratifying was Vinnitskaya's light touch and almost elfin manner when the finale shifts to zesty triplets, as Urbanski guided an accompaniment that had complementary nimbleness.