Let’s Count in All “First-Rate Russians” at SF Symphony on Sunday Nov.8, 2009

I sincerely admire Heuwell Tircuit for making his effort to delve into the coverage of this outstanding concert of All-Russian music at the San Francisco Symphony in his recent review "First-Rate Russian at S.F. Symphony". And, I am certainly sympathetic to the reasons why it can be at times so overwhelming for some western listeners (including the reviewer himself, according to his own admission) – after all, the vast and unique legacy of Russian music is still not taught even to the music majors in USA. Reviewer’s gastronomical references also inspired me to add some personal remarks, including a comparison of this concert to the grand “feast” of Rachmaninov’s music:

I think that there were more than only a single “First-Rate Russian” on the SF Symphony’s stage this past weekend (actually the number certainly should be further expanded to include many more excellent and "First Rate Russian" orchestra musicians, of course)… I believe that in addition to unquestionable First-Rate Russian genius of Sergei Vasilievich Rachmaninov, it most certainly included at least (!) another one - the conductor Bychkov, whose interpretation of Rachmaninov’s pieces was impeccable to my mind – we thoroughly enjoyed it, and for many reasons too. Bychkov’s most detailed conducting technique projected a myriad of coloristic and rubato nuances and generously showcased the unique orchestration treasures of performed pieces, as well as great expressive (not to mention the technical!) capacities of the world-class SF Symphony Orchestra.

So much can be said about a multitude of memorable details, but the performance of “The Bells’” (op.35) 3rd movement by SF Symphony under conductor Bychkov is simply a must to be mentioned. Indeed, lots can be lost in translation, but how much can be also gained at times as well… Balmont’s translation of Poe’s poetic expression is at his highest in this section of “The Bells”, and Rachmaninov was sure to weave his music canvas around every single word, or rather - every single breath and sigh of it. Particularly in this 3rd section, dedicated to the “fiery” alarm bells, Bychkov brilliantly highlighted the ways of Rachmaninov’s almost visually “painting” the raw feelings of “burning” ecstatic passion (or, the fear of its uncontrolled power..? or, sometimes …both at the same time..?) through incredibly vivid and intricate orchestral texture.

This piece’s orchestration (quite unique for Rachmaninov actually) resonates with Stravinsky’s “Firebird” and Scriabin’s “Prometheus” and stems right from such picturesque masterpieces of “papa” Rimsky-Korsakov, as “Snegurochka” and “Mlada”. It is both an incredible opportunity and a major challenge for a conductor to deliver this complex and constantly fluid scenery of shimmering visual connotations and ecstatic emotional nuances. And, this Rachmaninov’s quite demanding task was not only well performed by the conductor Bychkov, but he transformed this performance into “the music occasion to remember”, earning sincere and long-lasting standing ovation from the audience for all his skillful “pyrotechnics of conducting”. (And for an obvious reason, his recordings were sold out leaving none for us to bring home on the 3rd day of performances…)

(Regrettably, also several factual corrections need to be made, including the above reviewer’s remark “Each section features one soloist at a time”. But, in actuality, the 3rd movement of “The Bells” is performed without any soloist’s participation, leaving the creation of the entire magic to the orchestra and chorus. Also, contrary to the reviewer’s “The opening movement is set for bass, chorus, and the composer’s obese orchestration, which calls on almost all of his large orchestra.”, actually the tenor is leading in the 1st section, while bass is not engaged until the very last movement.)

Luxuriously-written music canvas of “The Bells” is not performed now days as often as it deserves. Maybe it is because it requires Russian imperial-style grand chorus and also is very demanding of soloists’ powerful, yet nuanced vocal projection (or, in the case of our SFS hall - more precisely adjusted “magic-making” plastic acoustic boards and related to that more particular sound engineering?). Or, maybe it simply scares those conductors, who are not yet ready to follow dutifully the famous performer’s rules of Stanislavsky, that call to fully immerse and to re-live the exact creator’s authentic experience while performing on stage, “as if performing for the last time during one’s life”? That is particularly why, I think, we were quite lucky to catch this rare treat on Sunday November 8, 2009, being simply delighted to hear Bychkov’s mastery of eliciting most extreme ranges of orchestral pallet and rubato, perfectly fitting the complexities of poetic and musical imagery of the piece.

Last, not the least… Every time when I am present at a good performance of Rachmaninov’s music, I can not help but having a persistent thought about how much more of incredible music could have been created by this genius, to be enjoyed for centuries by the entire human race, if… … if only he did not have to be troubled by his “immigrant’s faith” of “living from his suitcase”, while endlessly touring USA for his piano and conducting engagements until his fairly late years, due to the basic needs to provide for the family that he loved so dearly…

That is one more reason to preserve the existing Rachmaninov’s legacy as well as to foster a visionary and more supportive attitude towards a creative artist.