The second evening featuring Deutsches Symphonie Orchester became the opportunity to admire a slightly different aspect of their playing. It was so because of the programme: in the first part a neo-romantic, nearly classicistic Piano Concerto No. 2 in B flat major Op. 83 by Johannes Brahms, an unrivalled masterpiece of the genre with pianist Kirill Gerstein; the second half listed one more opportunity for the Orchestra to show off the skills – the ballet Firebird by Igor Stravinsky.
Brahms’ Second is a touchstone for the pianist’s ability. It allows the musician to show off the technical skills, and also to “measure” the level of pianist’s musical sensibility and, above all, maturity. In the four movements of the Concerto there are sections calling for full-bodied sound, and there are moments of virtuoso show off (in a sense, as it departs from style brillant, that was out of fashion in Brahms’ times). The specific “tone of Brahms” has to be present in performance as well. In Gerstein’s interpretation the cantilena moments of the solo part were particularly admirable. The third movement, a charming Andante, was well-planned. The dialogue of Gerstein with orchestra soloists (wonderful performances by cellist and oboe player!) was played with refined sound, in a proper tempo that served well the mood of peacefulness and cheerful idyll. There was plenty of air in this interpretation, no rush at all; we were thus able to relish the pastel tone-colours that the musical structure was drawn with. Subtle piano of noble origin was the main virtue of Gerstein’s playing. Maybe there was just too little of sound density and some more pathos would be welcomed in the first movement, but, from the other hand, Gerstein’s touch was perfect in scherzo (Allegro appasionato) and in finale as well. In those fragments the pianist highlighted the cheerful cordiality of the music. As if there would not be enough of virtuoso passages in the Concerto, Gerstein selected Schubert’s Erlkönig as an encore. This ballade, as transcribed by Ferenc Liszt, was truly demoniac in expression.
After the splendid yesterday’s performance of Mahler’s Symphony No. 7 and the enjoyable first part of tonight’s programme, we were awaiting the Firebird suite with expectations raised. This music is just a perfect choice for the orchestras that would like to show their full potential. The ballet is scored for a large orchestra (with impressive percussion section), it sparkles with various moods (from idyll to dark, demoniac motives associated with Kashchei) and it keeps listeners nose to the grindstone. (It isn’t the nose so much as the ears said Piglet solemnly). Stravinsky’s ballet is full of colours and frequently changing scenes. Ingo Metzmacher – a natural born interpreter of 20th-century as well as contemporary music – stayed apart from the emotional aspect of the Firebird. Russian musicians often perform this work in an emotional way – Metzmacher’s interpretation, on the contrary, was rationalistic and objective. The effect was amazing, as the precision of details (perfectly performed by the musicians) seemingly increased each other, adding up to the artistic completion of Stravinsky’s ballet music. The dramatic plot was at the same time crystal clear with the climax reached in Infernal Dance of Kashchei and praiseworthy final tableau. If Mahler was passionate and ecstatic, then Stravinsky was objective and nobly rationalistic, however, the emotional dimension was still present in this music. All aspects of the performance were well-balanced. We should state one more time that professionalism of Deutsches Symphonie Orchester is coupled with the joy of music-making. The only regrettable thing was that the evening had ended so soon. As the sole encore we were presented with Circus Polka by Stravinsky, subtitled For the Young Elephant. As interpreted by the Orchestra, this work was full of coarse lightness.
We are looking forward to Deutsches Symphonie Orchester reappearance in Warsaw. We hope this would be very soon.

Marcin Majchrowski (Polskie Radio)