Page 187 - Royal Liverpool Philharmonic Coverage Book 2023-24

We then had two concertante works for which the orchestra was joined by local star
pianist Paul Lewis, whose first encounters with orchestral music were in this very hall. The
two works were written only a few years apart: Gershwin’s ever-popular Rhapsody in Blue,
premiered in February 1924, and Copland’s Piano Concerto, first performed in January
1927.

Copland’s sole work in the genre is something of a rarity in the concert hall but is a
rewarding piece to hear. The composer seemed to be experimenting in different styles from
impressionism to jazz to experimental modernism, occasionally anticipating Copland’s
better-known ballet scores, film music and even the world of West Side Story. It was as if
he was inventing the sounds that we now associate with America. Lewis’ playing was
sophisticated and refined.

Lewis has the power to make every note count and draw us into every phrase as if telling
an unfamiliar story. He was also willing to enter into the more extrovert sections with
abandon. It was unfortunate that sometimes the orchestra overpowered the piano.

If Lewis did not have much opportunity to show off his virtuosity in the Copland, that was
rectified in Rhapsody in Blue where he dazzled with jazzy exuberance. In both works his
charismatic playing was matched by that of the orchestra. The woodwinds were particularly
striking throughout, including the famous clarinet glissando that sets the scene for
Gershwin’s infectiously melodic work. Lewis’ rapport with the players was evident
throughout, an episode in the Copland concerto where pianist and woodwinds delivered a
spiky exchange particularly striking. I could often see Lewis smiling. He really seem to be
enjoying himself and this communicated to the audience.

The final work in the programme was another American set of Symphonic Dances, those by
Rachmaninov, long exiled from his native Russia. They were the composer’s last work,
written at his home on Long Island, New York, and first performed in 1941. There is a
smoothness of line and clarity of expression that eschews the flamboyant decoration of
some of his best-loved works but his characteristic melodiousness is to the fore. The
smoothly flowing waltz of the central movement was a delight, followed by gripping intensity
in the final dance. Hindoyan imbued this music with a special feeling and elicited fine
performances from all the players, boding well for the new season.