Beethoven's Fourth Piano Concerto

Sara Davis Buechner: Soloist

Orchestra London: Masterworks Series; 2010 Season Opener

Sunday October 17, 2010

Orchestra London: Beethoven's Fourth Piano Concerto
Masterworks Series; Viennese Classics, Season Opener

by Brian Hay

It's never a bad idea to introduce a new season of musical performances with something by Mozart. The Impresario Overture stems from one of his creative peaks and it shows in every note, The music is playful, exuberant and as fresh today as it was in 1786. The players of Orchestra London led by Conductor Timothy Vernon gave it a spirited and dramatic reading that sent that freshness to the audience as easily as the music itself seems to flow. One key passage that's repeated a few times introduces a motif through the winds before it's taken up by the entire orchestra. That passage was played with a flourish by the entire ensemble.

Both Concertmaster Joseph Lanza and Associate Concertmaster Mary Elizabeth Brown were unavailable for this show. Atis Bankas, one of the first violin players from the Toronto Symphony Orchestra and also the Artistic Director of the Niagara International Chamber Music Festival, stepped in to the Concertmaster's position while Émilie Paré, a key player from the Orchestra's First Violin section filled the Associate's chair. The arrangements had to be made at short notice but everyone seemed at ease with it. If they weren't it didn't show in their playing. That this orchestra can draw on such resources from within and immediately around speaks volumes about how well the organization is run.

The second piece on the program was the First Serenade by Johannes Brahms. It may be an inaccurate observation but after hearing them perform a few pieces of his work (this and the First Symphony back in May) it seems as if Brahms is a composer these musicians have an especially intimate connection with. Wave after wave of heartfelt feeling pours forth yet it's always pulled back before it can become excessive. This was particularly evident through the first, third and sixth movements of the work. The fourth movement, the Menuetto I and II, was a bit of perfectly restrained fun. The first movement featured some especially lovely work from Clarinetist Graham Lord and Oboist Ian Franklin. The string players took up and finished the passages their work led into perfectly.

The featured work in the second half was Beethoven's Fourth Piano Concerto. Saying they brought in a fine soloist to cover the piano part would be a gross understatement. Sara Davis Buechner was a marvel to watch and to listen to. She doesn't play the music as much as she lives it. Her control of the instrument borders on digital. Her playing is restrained when the need is there and she's not shy about leaning into the instrument. When she does that it roars. When it purrs the expression is pure and lovely. The spacing that she places between notes during the soft moments is something that can't be taught. She and the players of the orchestra captured the nuances of Beethoven's musical dialogue (which often sounded like an argument) well. The lyricism of the piece shone like a soft beautiful light. The heroic passages were grand. The fact that there's seldom a musical resolution between the soloist and orchestra was kept in balance nicely. Each section was given full measure but none was ever permitted to completely overpower the others. It was thrilling to watch and to listen to.

After the show (which was played to a standing ovation) Miss Buechner played a pair of encores, both pieces by Gershwin. The first was 'Swanee Rose' (I believe) and 'The Man I Love' (again, I'm guessing). They were played exquisitely. The only ones more rapt in the attention they paid than the members of the audience during the performances of these numbers were the members of the orchestra themselves. They looked like kids who suddenly found themselves in a Candy Store. Those were played to standing ovations as well. Anyone who gets the chance should see this lady. She is truly a great artist.

It was a great show.

This performance took place at Centennial Hall in London, Ontario on Saturday October 16, 2010. This reviewer was blown away.

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