Columbus Symphony Orchestra
Rossen Milanov, conductor
Shai Wosner, piano
Ohio Theatre
Columbus, OH
November 5, 2022

Montgomery: Starburst
Brahms: Piano Concerto No. 2 in B-flat major, Op. 83
 Encore:
 Schubert: Hungarian Melody, D817
Dvořák: Symphony No. 6 in D major, Op. 60

Jessie Montgomery is a contemporary composer that has rightfully garnered much attention in recent years, and the Columbus Symphony opened their program with her 2012 work Starburst – a welcome further foray into her work after their inclusion of Banner last season (a program which in fact paired Montgomery with the same composers here). Starburst quite literally bursted with infectious, sparkling energy. One only wished this was sustained longer than its 5-minute duration, and I hope Montgomery is a composer the CSO continues to visit.

Brahms’ vast Second Piano Concerto made for a heavier contrast, and featured Israeli pianist Shai Wosner. A mellow horn call from principal Brian Mangrum made for a majestic opening to the weighty first movement. Wosner performed with intense, singular focus, though I felt his playing veered a bit too cautious and restrained. Although his technique wasn’t flawless, it nonetheless served well the daunting demands of the work. Both pianist and conductor Rossen Milanov seemed aligned in their conception of the grand, sweeping arc of the movement.

The scherzo that followed was hardly a trifle, still bearing much of the weight of the preceding, but sprightlier material contrasted. A deeply lyrical cello solo (Luis Biava) opened the Andante, and the piano entered with a gentle, song-like touch. The payoff came in the finale with its folk-inflected abandon, though hardly short on drama. As an encore, Wosner offered a lovely account of Schubert’s Hungarian Melody.

Dvořák’s Sixth Symphony was a milestone for the composer in that it was the first to published, and shows him blossoming into a mature symphonist. The spacious, expansive Allegro non tanto opened with a gentle, bucolic theme over pulsating accompaniment. It was certainly apposite to precede the symphony with Brahms as it bears the elder composer’s influence (particularly from Brahms’ own D major symphony), yet not without Dvořák’s individual hallmarks. 

A touching moment of repose was to be had in the Adagio, its thematic material charmingly introduced in the winds. The composer unmistakably revealed in his Czech origins in the lively furiant that followed, and the orchestra deftly negotiated the ever-changing meters, an energetic warmup of sorts for the jubilant finale.