The Miriam A. Friedberg Concert Hall of the Peabody Conservatory was packed on Saturday night with a buzzing audience eagerly anticipating what was destined to be an intensely satisfying performance.
The program began with Johannes Brahms' Piano Concerto No. 1 in D minor, performed by pianist Benjamin Kim as part of his prize for winning the Yale Gordon Concerto Competition. His own teacher, pianist Leon Fleisher, conducted the Peabody Symphony Orchestra. Upon first flight of Fleisher's baton, he was able to establish an impeccable musical pulse, which remained unyielding throughout each movement of the work. After the orchestra's portent opening, Kim entered with transcendent gusto.
The chemistry between teacher and student was immediately clear and at times electrifying. Every nuance, though passionate with the energy of performance and Brahms' incredible composition, was flawlessly calculated. Fleisher possessed something of a bird's eye view of the work as a whole, matched exactly with that of Kim's vision of the piece. Together with the orchestra, they created a painting full of the chocolate brown chords that only Brahms could be responsible for creating.
Kim, who was once quoted describing Fleisher's attitude -- "It's all about the music" -- gave a performance nothing short of excellent; the notoriously difficult fiery trills in the first movement were masterfully played, the second movement was delicate and beautiful, full of imagination and poise, and the last movement lead the audience through an adventure full of tragedy and victory. A particularly ethereal moment took place in the cadenza of the second movement. Kim, 22, left the ground and explored a different realm with breathtaking elegance, finally descending with several delicate passages back to Brahms' reality. Before the orchestra was able to finish its final chords, the audience erupted in a rampant standing ovation.
Following an intermission, the audience returned to another great German composition by Ludwig Van Beethoven -- his Symphony No. 7 in A major. As he did with the Brahms, Fleisher immediately established musical pulse, and began to make music. It was interesting to watch Fleisher conduct; at times he seemed to dance on his podium, at other times he strictly pointed at different sections with a stern look upon his face. He led the orchestra through a jovial first movement, and into an incredible second movement. It showcased strength within each instrumental section of the orchestra, as they related through dialogue-like passages, performed with singing elasticity. Though there was an element of tragedy, it was performed as if one were reading of the tragedy -- emotionally once removed.
The scherzo movement was exciting and seemed to tell a story of a journey to a palace, after which the music arrived inside the palace and finally saw the King of whatever majestic land Beethoven and Fleisher brought the audience. The close of the breathless third movement meant the opening of the last movement. It seemed almost to be summoned by the chiming of bells, and it maintained the previous movement's element of program and suspense. Though the hall was filled with a wild drive and rich orchestral sound, Fleisher, the man responsible for the catch phrase, "Support the composer!" and a "great-grandstudent" (his teacher, Artur Schnabel studied with Beethoven's student), made sure it was appropriate for Beethoven.
Though Fleisher brought the best out of the Peabody Symphony Orchestra Saturday night, there were several flaws exclusive to the composition of the orchestra itself, which did not disappear. Every entrance of the horns was sloppy and insecure. It was obvious at times, to the untrained ear, that parts of the string sections had not rehearsed enough, and individual musicians had failed to practice to the extent that the work required of them, both points which the orchestra's section leaders should have taken care of. There were, however, strengths of the ensemble that no one had heard before. A sense of musical melding, drive and a real respect and following of the conductor diminished its flaws, which ultimately masked them, preventing them from creating a distraction for the audience from the music.
The audience left the hall after endless rounds of applause having experienced an evening of music that stirred emotions within, and produced an almost cathartic effect.
