In a truly all-Russian concert, Vladimir Ovchinnikov joined the SSO for a breathtaking rendition of the most famous of all piano concertos. It is surprising that when this concerto was composed it was called "worthless and utterly unplayable" by Nicholas Rubeinstein. In fact this was exactly what had happened when Tchaikovsky composed his Violin Concerto in D major. Just imagine a composer composing a masterpiece only to find out that he himself could not play it and there was not a single person that could either!

In fact it was in this period when many of the Russian composers were looking for "imprimatur" from their mentors and friends. When they did not get this sense of approval, many were thrown into depression and self-exile. Tchaikovsky (right), already facing a multitude of problems (his homosexuality, a failed marriage and being supported by a person he never met) became a victim of this. Fortunately the concerto took off and was greatly accepted (Hey, it looks like it pays to have self-confidence irrespective of what your friends think of you).

Ovchinnikov is clearly no stranger to the concert stage. Having a string of accolades, a winner at the Harvey Leeds International Competition (1987), a second at the Coucours International de Montreal (1980) and a Silver Medal at the Tchaikovsky Competition (note: there was no First Prize that year, 1982), his mesmerizing power was clearly evident. From the onset of the initial chords you just knew he had all the makings of a great "Russian pianist" (Gavrilov, Ashkenazy, Berman). The initial chords were taken with great panache and strength as opposed to some pianists who prefer the prompt release of the initial chords. The horn introduction that began the concerto was mellow and set the pace. At first, the orchestra drowned the soloist; however under the baton of Shui Lan, this was put under control quickly.

The first five minutes of this concerto are marked by some very distinct chords. It was interesting to note how Ovchinnikov was able to put in a great intensity into these chords rather than just filling them up. This showed a profound understanding of the music, and his pedaling was immaculate with all the chords heard sparklingly clear. Most of the running passages (the legatossimo s) were taken at a pace whereby every note could be heard. This is important because many pianists use the pedal to hide or camouflage a bad run. Ovchinnikov has a distinctly strong left hand and in areas where there was a greater need for con moto ("more movement") and a greater diminuendo or a pause, it was greatly effective. Also, when Ovchinnikov takes a descending run, he is able to control the pace on the descent rather than just letting the speed come crashing down without allowing any room for control .

Another aspect of his virtuosity was his use of "throwing of sound". Often the SSO piano sounds rather pedantic if not ordinary. Ovchinnikov (left) was able to generate a level of power from the piano which is seldom seen. I suppose it also comes from the way he plays - there is no lifting up of wrists or heavy movement of the body. Although most of the strength comes from the body, it is the arms that generate the inner strength in the manner of a martial arts exponent. This is what Claudio Arrau called the Tao or "inner power", which he says manifests in this inner strength. Few pianists have this.

While most of this piece is virtuostic (remember it was once "unplayable") there are some slow passages that give you the feeling that Tchaikovsky was already feeling the depression setting in. This comes in the form of a dialogue in the cadenza, the chords are often repeated as if asking questions but not getting answers.(While this is my opinion, I stand corrected.)

The second movement, with the flute marking the entrance, was nicely stretched and not hurried as in many other previous accounts by the SSO. It is surprising that often when a soloist is of international reputation, the SSO also rises to the occasion as they did tonight. There was also a certain rapport between the pianist and the celli, giving the interlude the blend needed to provide the intensity that the soloist was already emanating.

The third movement once again showed the dazzling virtuosity and speed which Ovchinnikov displayed with ease. It was as if he had thrown caution to the wind. However, being so experienced, this difficulty looked liked child’s play in the hands of such an expert. There is a climax in the final stages with a tutti that builds up gradually. This gives the pianist the opportunity to ponder and then strike (similar to the final stages in a hunt between predator and prey). Ovchinikov lashed across the keyboard with a dexterity hardly matched by many a pianist. Shui Lan did a good job of building the crescendo to an apex and then bringing the orchestra to a complete halt, allowing Ovchinnikov to take over. His breathtaking tempo was so confidently taken that in the final descent, his hands seemed nothing but a sheer white shadow. The audience greeted the final chord with thunderous applause. The only disappointing moment was that he did not play an encore, unlike the three encores that he gave at the Singapore International Piano Festival.

Tchaikovsky's Orchestral Suites are seldom played and are certainly not as famous as his symphonies, ballet music or concertos. However, of the four Suites, No.3 in G is said to be the most beautiful and also the longest, spanning about 42 minutes. Shui Lan ran through the Suite at lightning speed. The Suites are so similar to the four movements of a symphony that they could easily be mistaken as Tchaikovsky’s 'minor symphonies'. It is surprising that Tchaikovsky wrote "I want to compose a suite so that I may have a good rest from symphonic music". The work opens with an Elegie, followed by a Valse melancholique and the third movement a Scherzo.

Alexander Souptel gets a special mention because his solo section was played with great charm and finesse. Souptel has this ability to draw sweetness from his violin in intricate solo passages for violin. The Suite ends energetically in a string of fortissimo tutti. Although taking this work rather quickly, Shui Lan (right) was able to draw out the finer aspects of the suite by paying attention to details between the various sections of the orchestra. While this work was brilliantly played I did have some reservations of the first movement, which I felt could have been viewed more introspectively. The markings were "Andante molto cantabile", so Shui Lan could have taken the pace a bit slower.

This suite is characterized by the many avenues in which Tchaikovsky is able to blend a number of solo parts for the wood wind section. The woodwinds echo the various themes and our orchestral players rose to the occasion by being responsive to Shui Lan’s interpretation. I think that he was apt to pick out the piccolo and flutist who did a good job of presenting the themes clearly at the end of the concert. (Bravo! Bravo!)

110: 9.2.98. up.10.5.98

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