Columbus Symphony Orchestra
Rossen Milanov, conductor
Inon Barnatan, piano
Ohio Theatre
Columbus, OH
January 23, 2022

Tchaikovsky: Orchestral Suite No. 3 in G major, Op. 55
Rachmaninov: Piano Concerto No. 3 in D minor, Op. 30

Two weeks after a memorable first entry of the Russian Winter Festival, the Columbus Symphony offered an even more compelling second foray into the repertoire, in this case focusing on Tchaikovsky and Rachmaninov. Despite the seemingly innocuous title, at over forty minutes, Tchaikovsky’s Suite No. 3 is a work very much on the scale of the symphonies. If there are salient differences to be noted, the Suite is rather lighter in character than the often tragic symphonies, and includes scoring for English horn and harp – instruments the composer avoided in the symphonies. The opening Élégie was graceful, delicate, and tinged with melancholy. Tchaikovsky’s arching lyricism was in plain sight, heightened by a languid English horn solo from Robert Royse. The Valse mélancolique that followed was of an ineffable charm, a lilting waltz but with doleful underpinnings, subsequently countered by an energetic yet featherlight scherzo.

The closing theme and variations is as long as the first three movements combined. Matters were inaugurated by a stately presentation of the theme in the strings, and with charm and delight, Milanov shaped each of the twelve variations that followed with individual character in this first CSO performance of the work. Variation 4 featured a powerful invocation of the Dies irae, and the fugato of the following was given with exacting clarity. Variation 9 closed with a wonderfully virtuosic violin cadenza from associate concertmaster Leonid Polonsky, leading into the deeply melancholic tenth variation. Not only is the suite as a whole end-weighted, but so are the variations themselves with the final few being the most extensive and expressive. A grandiose polonaise concluded the set in bellicose fashion. Following the performance, Milanov offered gratitude and tribute to violist Mary Farrington, stepping down after a remarkable 42 years.

Rachmaninov’s famously virtuosic Piano Concerto No. 3 brought Israeli pianist Inon Barnatan in the spotlight. Haunting, monastic beginnings were taken at an indulgently slow tempo, but vigor was amassed in due course. The sumptuous orchestral accompaniment complemented Barnatan’s virtuosity well, with the pianist conveying a rich tone, amply projected, though perhaps a bit too mild-mannered for such impassioned repertoire. Barnatan opted for the shorter of the two cadenzas Rachmaninov provided, though it still packed a punch, putting his commanding technique on full display – certainly one of the most thrilling moments in the piano concerto literature. Lush textures crested to passionate outpourings in the central movement, and a seamless transition led directly into the energetic march of the finale, building to a blazingly virtuosic conclusion.