On the occasion of the birthday of Her Royal Highness Princess Sirivannavari Nariratana Rajakanya, the Royal Bangkok Symphony Orchestra in collaboration with the Ministry of Culture of the Russian Federation, Rosconcert, the Embassy of the Russian Federation in Thailand and B.Grimm presented a wonderfully inspiring evening of all-Russian music at the Thailand Cultural Centre to begin its 2025 season in style. Also in attendance for this diplomatically significant occasion was Evgeny Tomikhin, ambassador extraordinary and plenipotentiary of the Russian Federation to the Kingdom of Thailand.
This stunning programme of two great romantic classics, Rachmaninoff's Piano Concerto No.2 In C Minor and Tchaikovsky's Symphony No.2 In C Minor, featured one of today's top concert pianists, the stellar Russian virtuoso Denis Matsuev, and a fresh new talent on the international stage, his young compatriot colleague Ivan Nikiforchin.
A People's Artist of Russia and honorary professor at Moscow State University, Matsuev cast an imposing figure at the keyboard, full of intensity and concentrated focus as he intoned those pensive opening moderato solo chords which lead to one of the lushest string section entries in the repertoire. The full-bodied tutti sound filled the auditorium amply before giving way to the soloist's natural poetic charm, with the movement then unfolding with sublime ease as the RBSO interacted with him expertly in the thick textures of this passionate music.
A hushed, hymn-like introduction to the ensuing adagio sostenuto set the stage perfectly for perhaps the most delicate, introspective pianism of the concert, with Matsuev demonstrating his masterly touch at the keyboard. Principal flautist Teerat Ketmee played his introductory solo with fine breath control, whilst principal clarinettist Vos Vaneesorn subsequently revelled in his own extended solo line. A polished piano cadenza then revealed the true depth of the soloist's innate musicianship.
Piano soloist Denis Matsuev.
Once under way, the quite explosive allegro scherzando finale saw Matsuev unleash an almost demonic level of keyboard wizardry. Rachmaninoff of course specifically composed his concertos for himself to perform, and his own unique super-sophisticated musical personality combined with a famously large hand-stretch invariably has posed a formidable challenge for all other performers who have followed him.
Matsuev though is certainly one of today's select, excelsior concert pianists who is undoubtedly a match for this uncompromising reality. His absolute command over every fiendishly difficult corner of these great compositions is admired the world over. This was indeed abundantly evident at the TCC -- not least in the colossal cadenza of the finale which ultimately leads majestically to what is perhaps the most epic of possible orchestral denouements. That famously expansive, luxuriant climactic melody radiated unbounded glory, appropriately reflecting the sense of triumph that the composer himself felt at the turn of the 20th century when completing what would ultimately turn out to be his most popular work.
To reward the extremely enthusiastic applause, numerous curtain calls and shouts of "Bravo!", Matsuev obliged with two encores of the most staggeringly pyrotechnical brilliance imaginable. The second of these was his own clever, extended arrangement of Happy Birthday for the Princess, which was both humorous and exceptionally witty.
Affectionately known as the Little Russian, Tchaikovsky's second symphony is in fact anything but short or small. Rather, the moniker refers to his copious use of Ukrainian folk melodies throughout, as that region was often referred to as Little Russia at the time. Similarly proportioned to other typical late 19th century symphonies, this is a work positively brimming with vibrancy and colour, and Moscow-born conductor Ivan Nikiforchin was an ideal choice for this youthfully infused opus.
Conductor Ivan Nikiforchin.
Still only in his late 20s, this precociously fresh new maestro on the international circuit had all the requisite energetic focus, combined with an endearing playfulness, to bring this delightful score to full life.
The first movement andante sostenuto-allegro vivo opened with a long French horn solo of Down By Mother Volga (as in the famous river), played with a cool head by Supreeti Ansvananda. This set a nostalgic atmosphere before transitioning into the lively main section, where spirited themes and varied rhythms beautifully captured the essence of Ukrainian folk dance.
Andantino marziale, quasi moderato presented a beautiful march based on Spin, O My Spinner, whilst in the scherzo-allegro molto vivace, the RBSO musicians played with an admirable tautness of ensemble -- enabled by a crystal-clear beat from Nikiforchin.
Perhaps no other composer exceeds Tchaikovsky in consistently creating awe-inspiring finales and, true to form, in this moderato assai-allegro vivo the great Russian master conjures a whirlwind ride of orchestral brilliance built around folk-song The Crane. It is often said that you need to be inspired to be inspiring, and that certainly seemed to pertain here as each and every member of the RBSO were duly driven by maestro Nikiforchin to perform to their utmost ability.
