- Berlioz Roman Carnival Overture, 9′
- Prokofiev Sinfonia concertante, 37′
- Tchaikovsky Symphony No. 6 (Pathétique), 45′
Review by Katherine Dixson, BachTrack:
Click here for full review
… “From the opening notes it was clear we were in for a warm, emotional time of it. By the end of the first movement, with interventions from different quarters of the orchestra but basically an improvisation for the cellist, you could sense that Weilerstein held the audience in the palm of her hand. The middle movement also held the gems of a heart-rendingly lyrical melody and a captivating extended cadenza, as well as some noteworthy wind highlights.
Theme and variations was the order of the day for the final movement, with a relentless sensation of impetus throughout. The cello played the stately main theme, contrasting with a more light hearted cadenza. This in turn led to a little comic relief courtesy of bassoon then cameo for soloist and a sextet of solo strings, which they all clearly enjoyed. Countless high arpeggios on the cello concluded this passionate interpretation and the audience responded equally warmly.
If Prokofiev hadn’t long to live after Sinfonia Concertante was finished, Tchaikovsky’s death came even harder on the heels of his Symphony no. 6 in B minor, “Pathétique”. He famously commented on being pleased with this symphony: “I give you my word of honour that never in my life have I been so contented, so proud, so happy in the knowledge that I have written a good piece”, but he died just over a week after its première, rumoured to be suicide although never proven.
Unusual in its mood, since minor key symphonies in the 19th century were generally darkness-to-light journeys, this remains dark, reflected in the “Pathétique” label which conveys deep feeling and suffering. By the end of the finale, the music fades away into the darkness from which it emerged in the first place. A sense of struggle is highlighted by dynamic extremes and it’s full of powerful emotion. But there are plenty of beautiful lyrical melodies, as well as opportunities to showcase the various orchestral forces, with the balance well-handled by Payane – the violas were under the spotlight for a couple of passages, and rightly basked in their applause afterwards. The whole indulgent performance got an enthusiastic reception from the packed Symphony Hall audience.”