Brahms Piano Concerto No. 1 and Stravinsky’s Firebird Suite

Image: “Phoenix”, Friedrich Justin Bertuch (1790–1830)

We start our writing today with a confession: Brahms has never been our favourite composer. There are some notable exceptions, like the Brahms Requiem which we have written about previously which we do love, but overall Brahms had never spoken to any of our team members strongly. However, with this most recent Toronto Symphony Orchestra concert this past Saturday, our minds have been changed.

               With guest pianist Mao Fujita, the full expressive potential of Brahms' Piano Concerto No. 1 was experienced by all in attendance. The first movement marked maestoso, showed off the passion and nimbleness which is required for the form, with Fujita oscillating between passages spanning the whole keyboard, and then later moments of extreme pathos. The second movement followed suit with an emotional turn to what felt like a dream. A dream where everything seems perfect, but there was something off, something not quite right, which was told in the skillful harmony Brahms chose. The emotion and deep sensitivity of the work was on full display in Fujita’s playing, and it left the audience quite impressed.

               The second half of the performance was more mixed in its tone and reception.

Arvo Pärt is undeniably amongst the most known concert hall composers of this time. His works are innovative, complex, and experimental. However, his piece “Symphony No. 1, Op. 9 ‘Polyphonic’” was one that we think required warming up to, or more introduction than provided in the concert notes. The concept of music and art, and their accessibility to wider audiences, is a rather nuanced and complex discussion (with accessibility referring to comprehension or understanding of the work and form), however when gauging audience reaction there was what felt like a requirement for a little more introduction. Even a two minute spoken explanation of what to listen for etc., would have been very beneficial to help guide those who are not familiar with contemporary styles or this composer. One might argue that it would potentially influence the listener’s perception, which is true. But in the case of a piece as complex as this one, it would have served better perhaps to lead the listener to experience the music for themselves rather than non-contextualizing an experimental work. 

As for the finale, Stravinsky’s Firebird was a phenomenal conclusion to the evening. The work shows off the skill of the orchestra, as from one movement to another the textures and rhythms move between rhythmic and mentally stimulating passages to sections of sweeping passion and depth. The work required a large amount of agility from the players, especially the woodwinds signifying the Firebird and it’s story, exemplifying fantastic technique. And probably most exciting, under the direction of maestra Eva Ollikainen, was the absolute power of the orchestra when they played the full orchestra hits. The sound exploded forth in an example of the impact that happens when skilled artists all come together.