One for Two

by Peter Burwasser

My, but it was nice to hear Vladimir Ashkenazy playing the piano in public again. A generation ago, Ashkenazy was the standard bearer, playing and recording virtually the entire standard repertoire with uniformly dazzling virtuosity and mastery of diverse styles. Then, the occasional guest-conducting job turned into an entirely new career, and the piano bench gave way to the conductor’s podium on a continuous basis.

He showed Philadelphians both sides of his musical life in an appearance with The Chamber Orchestra of Philadelphia, playing and conducting in two Mozart piano concertos, but it was without a doubt his solo work at the center of attention. Indeed, all of the hallmarks of Ashkenazy at the peak of his pianistic powers sounded intact: a pearly tonality, stunning dynamic control and a selfless ability to communicate the emotional and dramatic content of the music.

But what of this format, with the pianist, his back to the audience, splitting his duties? There are some strong arguments for this arrangement. The historical precedent is clear; this is almost certainly how Mozart himself premiered the music. There is also the opportunity for some very lovely give-and-take between the soloist and orchestra members, such as the eloquent dialogue between the French horn and Ashkenazy's singing phrases in the first movement of the Piano Concerto No. 9. On the whole, though, the tradeoff favors the modern arrangement of utilizing a separate conductor. Visually, the strain of dual responsibilities seemed obvious, as Ashkenazy constantly pulled away from his bench to engage the players. It is unlikely that Mozart directed as much attention to the orchestras of his day.

Every time Ashkenazy traded hats, a slight stutter affected the flow of the music. None of these transitions were made with the smooth dovetailing that is usually imparted when a dedicated conductor is at work. There was also an odd imbalance between the lusty, somewhat rough-hewn playing of the orchestra and the refined sound of the piano. This superb ensemble could easily have played in a more delicately nuanced way, so one must conclude that this was an interpretive choice by the conductor. How different this concert might have been if the fine principal conductor of The Chamber Orchestra of Philadelphia, Ignat Solzhenitsyn, were at the helm. As it was, it was quite wonderful to hear Ashkenazy draw out the dark beauty of Mozart's great Piano Concerto No. 20, and yes, away from the piano, he and the players rendered a fine, brooding performance of the Overture to Don Giovanni. The next time he is in town, and the sooner the better, he should share the spotlight. Or better yet, how about an evening of solo Chopin? Now that would be something.

CHAMBER ORCHESTRA OF PHILADELPHIA

Nov. 9, Kimmel Center