Pianist Jeffrey Kahane wowed in Ravel’s Piano Concerto in G Major with the Cincinnati Symphony Orchestra. But it was his surprising encore that left the evening’s most indelible impression.
He made no announcement. But his somber, reflective improvisation on “America the Beautiful” felt like a memorial to the victims of the horrible events that had unfolded two days earlier in a Florida high school. The tune rested briefly in the minor mode before ending quietly. It was heartfelt and moving, and listeners stood in appreciation.
Kahane, who recorded the difficult Strauss “Burleske” with the Cincinnati Symphony in 1995, made his fourth appearance on Friday with the orchestra, this time under Louis Langrée. The conductor’s crowd-pleasing program opened with Prokofiev’s Symphony No. 1, “Classical,” and included Stravinsky’s Divertimento from “The Fairy’s Kiss” and Ravel’s “La valse.”
Ravel began his concerto after a tour to America, where he met George Gershwin and they visited Harlem’s jazz clubs together. Consequently, the 1932 piano concerto has many examples of jazz, along with Ravel’s gift for melody and atmosphere.
Kahane’s technical prowess was effortless, including brilliant runs and glissandos, and the fastest, most electrifying finale I’ve ever heard. But what I really enjoyed was his musicality. He played with color and singing tone, even in the jazzier moments. The slow movement, with its solitary little theme, was beautifully felt. What a treat it was to hear the duo between English hornist Christopher Philpotts and the pianist, who accompanied with featherweight ripples. It was breathtaking, and Langrée brought Philpotts out to take his own bow after the piece ended.
Langrée kept a sure balance, and the orchestra provided excellent support. Many orchestral soloists shone. Among them was a ravishing episode for harp (Gillian Benet Sella) in the first movement.
To open the program, Langrée’s view of Prokofiev’s “Classical” Symphony was energized from the first note. It’s a delightful work. Langrée illuminated its witty moments with crisp articulation, and offered for a contrast a big, lush string sound in the Larghetto.
Stravinsky’s rarely-played “The Fairy’s Kiss” Divertimento, which opened the second half of the program, is a charming pastiche from his ballet. The composer found his inspiration in Hans Christian Andersen’s “The Snow Maiden.” But he also channels Tchaikovsky as his musical inspiration. Even though it was well-played, and there were notable orchestral solos, somehow the performance failed to move me.
The evening concluded with a show-stopping performance of Ravel’s “La valse.” Underneath its glitter is a work that bids farewell to an époque, and the decay and dissolution of the Viennese waltz is its metaphor.
It could not have been more vibrant or more vividly played. Langrée’s tempos grew more and more frenzied until, ultimately, there was nowhere else to go. Its cataclysmic climax was greeted by shouts in the audience.
The performance repeats at 8 p.m. Saturday Feb. 17 in Music Hall. Tickets: 513-381-3300, cincinnatisymphony.org.
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