Fryderyk Chopin and Robert Schumann shared not only the year of birth but also passion for piano playing. Tonight’s concert reflected that in programming both composers’ works for piano and orchestra. The Canadian, Louis Lortie, was both the soloist and conductor of Sinfonietta Cracovia.
The first item of the programme was Schumann’s Konzertstück Op. 92. This work is surprisingly underplayed and it is hard to understand why the first performance was received with reservation. It is very nice, compact and coherent virtuoso work with some of the best of Schumann’s orchestra writing. It is interesting that the work was composed at about the same as the Symphony No. 3, often criticized for bad orchestration. It is quite the contrary as Schumann invented new way of orchestral texture in the Symphony – and more usual and perfect orchestration of Konzertstück proves that Schumann’s choices in Symphony were conscious and deliberate.
After a very successful performance of Schumann’s long neglected work, the Concerto in F minor by Chopin was presented. The orchestral tutti was full interesting details as Lortie was conducting the orchestra with confidence. Without any doubt he had something new and interesting to offer. The solo part was played with some extra accents and with sometimes over-emphasized left-hand part, as Lortie was attempting to warn and conduct the orchestra with those additional elements. This resulted in very limited dynamic range of a solo part: the sound was clear and audible and tone-colour very attractive one, but the volume of sound was always kept within forte region. From the other hand an extra accent in the third movement that anticipated the kettle-drum sforzato by few bars was very interesting and convincing addition to the tradition of performance of this work.
After the intermission the Concerto in E minor by Chopin was performed. Tutti section was again very successful. The demanding solo part left no room for Lortie to gain full control over orchestra, therefore there were moments when Sinfonietta was too loud or when musicians were concentrated on their respecting parts, without any aim for the big picture.
Despite those inconveniences the evening was successful. Sinfonietta Cracovia was performing with skill, showing its potential. Notable was performance of bassoon player. Especially in Concerto in E minor, the bassoon part was performed with great musicianship and sense of ensemble playing, with beautiful phrasing and logic.
As the audience’s satisfaction was expressed by means of standing ovation, a single encore was offered: Schumann’s Chopin from Carnival.


Krzysztof Komarnicki