SoNA features Rachmaninov, Shostakovich

FAYETTEVILLE — The Symphony of Northwest Arkansas (SoNA) planned an ambitious program for concertgoers Saturday night, and for the most part, those ambitions were realized. Showcased were two highly regarded Russian compositions – Rachmaninov Piano Concerto No. 3 in D Minor and Shostakovich Symphony No. 5 in D Minor.

Classical music lovers were treated to a rare if not once-in-a-lifetime performance by Armenian-American pianist Sergei Babayan, who offered his talents as a substitute when the scheduled performer, Ching Yun-Hu, suffered a recent hand injury. Making the situation even more problematic for SoNa Music Director Paul Haas was the general acknowledgment that the “Rach Three” is among the most difficult piano concertos to perform.

Babayan, an internationally acclaimed artist who has played with major orchestras all over the world, showed from the first note that he was not intimidated by the extreme demands of the piece. He displayed dexterity and strength in perfect sync with the orchestra.

The second movement began with a melodic introduction by the strings. The theme was reiterated by the oboe, and then Babyan rejoined. The soloist literally rose from his piano bench with the physicality of the piece. The third movement began with the clarinet and bassoon, providing a variant of the first-movement theme. The artist’s hands flew down the keyboard with a repetition of themes by the piano, flutes and horns. The concerto ended at the height of the excitement and tension.

Haas readily admitted that the Symphony No. 5 in D Minor, composed by Dmitri Shostakovich, is one of his favorite symphonic pieces. In a pre-performance interview, he called the piece “bold and passionate,” and “the story of life and death.” Haas explained that Shostakovich was trying to rehabilitate himself with the Soviet government headed by Joseph Stalin, with the composition of the Fifth.

In the Fifth, Shostakovich writes an idealistic view of the Revolution, mourns the death of “Mother Russia” and “exults” at victory. The entire symphony must be viewed as ironic, masking the underlying deep emotions of sorrow and desperation. As far as the exultation in the finale, it is meant to feel forced.

The first movement begins with a tragic lament, a tug at the heart strings by the harp. The horns come in on an ominous note, a cry of despair. There is chaos with the rounding up of prisoners. The chaos continues in the second movement, which is introduced with a goose-stepping march, the beat maintained by the percussion section. The third movement has been said to be one of the most despairing pieces of music ever written, a memorial for those sent to the labor camps. The violins, flutes and cellos repeat the theme with the harp adding individual tears. It is during this movement that the orchestra falls somewhat short of convincing the audience of the utter tragedy and devastation of the horrific events.

As for the “exultant” finale, Shostakovich himself writes, “What exultation could there be?  I think it is clear to everyone what happens in the Fifth.  The rejoicing is forced, created under threat….You have to be a complete oaf not to hear that.”

One was able to recognize during the SoNa performance the “false” celebration upon hearing the “merry” notes that are laden with heavy undertones.

Northwest Arkansas is indeed fortunate to have Haas with his baton at the SoNA podium. He is a man of talent, humor, and passion. The evening, a sold-out performance, was extraordinarily enjoyable. Northwest Arkansans are very generous with their standing ovations, but these performances were worthy of them.