Moscow State Radio Symphony electrifies UNLV

Marilyn LaRocque

Monday, March 8, 2004 | 8:17 a.m.

Very tall, lean and angular, the handsome thirtysomething Kondrashev led the 77-piece ensemble in the performance of three bravura 19th century works that were not only a tour de force but also an endurance contest for the musicians. Unlike many male-dominated orchestras from Europe, nearly half of the players, including the concertmaster, were women. The group was also appreciably younger, with most of the players in their 20s to 40s.

Mikhail Glinka's Overture to "Ruslan and Ludmilla" opened the program. Conducted at breakneck speed, it put the string section through a fingering and bowing torture chamber that showcased their brilliance and technical skill. It also anticipated the musical fireworks to come.

Known for her poetic and lyrical style, Navah Perlman sparkled in Frederic Chopin's concerto No. 2 in F minor for Piano and Orchestra, Op. 21. Written when the composer was only 19, it is a virtuoso showpiece demanding ultimate finger dexterity and finesse.

The work reflects Chopin's music theory that if two notes sound good, they'll be even better with a dozen or more between them. Trills, arpeggios, scale passages, elaborate embellishments abound. Perlman mastered them all with eloquence and brilliance.

Her demeanor at the keyboard was calm, restrained. Her hands as they approached the keys were flattened as opposed to arched, and her fingers flickered up and down the keyboard like fireflies.

Her opening solo passage in the first movement, "Maestoso," demonstrated flowing grace and lyricism. She inserted the rapid, florid embellishments effortlessly within the overall melodic line and punctuated the music with strong chord emphasis. Her arpeggios and scales in both hands, from one end of the keyboard to the other, were spectacular.

The second movement, "Larghetto," began serenely, with string harmonies reinforcing the piano. A soft horn interlude and a mellow bassoon obbligato added a peaceful overtone. However, it wasn't long before the lacy musical frills reappeared. The twinkling, tinkling sound in the extreme high range of the piano sounded like musical icicles.

Torrents of notes cascaded from the piano in the dramatic third movement, "Finale: allegro vivace." Perlman cleanly articulated the notes and applied the pedal effectively to add emphasis but not to cloud the sound. The music gamboled playfully up and down the keyboard and concluded with a dazzling flourish.

Kondrashev guided the orchestra with body English as well as his baton in a consummately supportive role, always there, always complementing the soloist, but never overpowering or dominating. Their playing was controlled and well balanced and resonated with warmth.

After intermission, it was the orchestra's turn to shine in Pyotr Illich Tchaikovsky's Symphony No. 4 in F Minor, Opus 36. Tchaikovsky was undergoing emotional turmoil and confusion in his life at the time he wrote the symphony, which is reflected in the music. A "fate" motif presented by the brass begins the piece and occurs throughout the work. Each section enjoyed its time in the spotlight.

A bassoon solo was golden and rich, while the oboe expressed a beautifully round, plaintive sound. Flippant, bright passages in the clarinet and flute yielded to subtle interplay among the woodwinds. The trumpets exchanged crisp challenges, and the horn harmonies were riveting.

The honey-toned strings swarmed in sweeping sonorities and then bristled in amazing pizzicato passages. At times the rapid-fire beat of the timpani was a visual blur.

From its thunderous opening to its final chord, Kondrashev conducted the fourth movement, "Finale: Allegro con fuoco," at a spine-tingling, breathless pace, building to the final onrush of sound and massive, concluding chords.

Marilyn LaRocque

writes performing arts previews and reviews for the Sun.