Zinman and Trpčeski and Oregon Symphony create memorable concert

The Oregon Symphony delivered a stellar concert (October 16) with guest conductor David Zinman and pianist Simon Trpčeski at the newly revamped Arlene Schnitzer Concert Hall. It was my first time to see Zinman, who has a storied career that includes five Grammys. Now at 85, he used a cane to get to the podium and directed from a chair. But once seated, he synced up with Trpčeski for a brilliant Tchaikovsky Piano Concerto No. 1, and topped that off by collaborating with the orchestra to in marvelous interpretations of works by Sibelius and George Walker.

Tchaikovsky’s First Piano Concerto is a beloved piece that could sound old and stale, but in the hands of Trpčeski, it was amazingly fresh and inspired. With an impeccable technique and pianism, the music sparkled with outstanding dynamic contrasts. During the cadenza in the first movement, he perfectly balanced the notes in the upper register with those in the lower register. The lyrical themes in the second movement had just a hint of playfulness, and the lighthearted third movement was just plain fun to hear. In addition to impressing everyone with his artistry. Trpčeski made it all look effortless.

The audience brought Trpčeski back to center stage several times, and before engaging the keyboard once more, he said that he had performed in Portland 17 years ago. The encore that he played was not nearly as engaging as his Tchaikovsky, but it would be great to hear him again with the orchestra some day in the near future.

Although Sibelius did not intend for his Third Symphony to depict a particular landscape or story, it was easy to close one’s eyes and imagine a forest or a scene from the far North. Some of the passages evoked a rustic, almost brawny sound while others were more sinewy and refined. High notes from the violins contrasted wonderfully with low tones from the basses. The woodwinds had a field day creating all sorts of magical moments – especially the bird-like phrases in the second movement. The rich, full chorus of cellos and violas in the third – joined by the entire ensemble – brought the piece to a satisfying conclusion.

The concert opened with George Walker’s delicate and somber “Lyric for String.” Sans baton, Zinman guided the ensemble with great sensitivity, so that the tenderness and gentleness of the piece filled the hall with warmth. It was as if a band of murmuring angels wafted about for a few exquisite minutes. Perhaps the orchestra would consider recording more of Walker's music someday.

Overall, from my perch in the upper mezzanine, the voices of the lower instruments could be heard more clearly than ever before. So the new sonic treatment in the hall does give listeners a fuller musical experience. Ergo, the orchestra is sounding better than ever.