The Guardian calls Aram Khachaturian’s Piano Concerto a “Giant technicolor work...that’s a great fit for Jean-Yves Thibaudet’s flamboyant yet precise playing style.” Variously described as exotic, thrilling, bold, brash, bombastic, evocative, beguiling, beautiful, and a showstopper, Khachaturian’s Piano Concerto had a somewhat adventurous debut. The pianist Lev Oborin performed it outdoors on an upright piano, and just kept playing from memory after the wind blew away his music. Even in this early work, Khachaturian’s unique blend of Armenian folk music and extroverted virtuosity captivated audiences and even earned the blessing of Stalinist authorities.
The concerto’s second movement holds a very special solo opportunity for Assistant Principal Percussionist Erin Dowrey, who gets to play an instrument you might have in your tool kit: the musical saw: “Learning the musical saw for this piece has been a very enjoyable challenge,” he says. “As a percussionist, we are often tasked with playing strange and unexpected instruments. I love getting a chance to stretch myself musically and create a unique texture.” Don’t try playing your saw at home, though as Erin explains...
What a blast! In fact, the whole program is a grand orchestral showcase of Russian music with a French accent. Stéphane Denève conducts Maslenitsa by Guillaume Connesson, a rousing celebration celebrating the Slavic sun festival, and ends with Mussorgsky’s evocative Pictures at an Exhibition (It was No.1 in WETA’s 2024 Classical Countdown—but that’s another story!).
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