Guest conductor Tito Munoz pulled out all the stops Thursday
night as he conducted the Rochester Philharmonic Orchestra in Igor Stravinsky’s
“Le Sacre du printemps” (“The Rite of Spring”). The musicians of the orchestra
filled the stage, including no fewer than 10 kettledrums and a gong struck by a
huge mallet. It was precisely the kind of chandelier-rattling sound Stravinsky
intended, and it left me wondering why the word “spring” appears anywhere in
the title. It was clear that Munoz not only knows, but loves this iconic piece
by Stravinsky.

Also on the program, which will be repeated on Saturday
night, was “Finding Rothko” by American composer Adam Schoenberg (b. 1980). Part
of the 15-minute work inspired by painter Mark Rothko is available for previewing
on the composer’s website (AdamSchoenberg.com). Some of the longer, sustained
notes captured the majestic emotions a viewer experiences when standing in a
gallery, viewing Rothko’s canvases. But was the piece true to Rothko, the
artist? You’ll have to let me know your thoughts, because I can’t say I would
ever have thought to use, for example, a triangle or the upper registers of
metal xylophones to express either his work, particularly post-1947, or to
describe my own reaction to his work. It was an interesting piece to hear,
particularly on the same program as the Stravinsky.

The long work of the program was the Rachmaninoff Concerto
No. 3 in d-minor for Piano and Orchestra, Op. 30, a work in three movements, of
approximately 45 minutes in length. At the piano was Leonardo Colafelice, 17 years old, and the gold medalist of the 2012
Eastman Young Artists International Piano Competition, among other global piano
contests.

Colafelice’s performance raised
every question associated with a young musician, competitions, and the bridge
from competitions to professional orchestras. There is a line of argument in
the classical-music world that puts these monster concertos on the “approved”
list for contestant selection. There is a thrill among audiences who revel in watching
a young person with hands blurred as they dash up and down the keyboard. There’s
even a willingness for some to say that they don’t
care if a young musician has missed notes because, “Just imagine how good it
will be.” And there can be an unheralded talent at the baton, when a conductor
understands working with a young musician who is a guest soloist.

The issue I debated last night was whether to write a review
considering Colafelice’s age, or whether to write a
review as if I didn’t know how old he is. What I can say, having followed his
performances during the competitive and final rounds in last year’s Eastman competition,
is that Colafelice is demonstrating measurable growth as a pianist. It is clear
that he engages in disciplined practice and it is abundantly clear that his
stage presence reflects the many, well-deserved bows taken by this young man.

But, I am going to raise the question of programming for Colafelice.
Rachmaninoff is, by my sensibilities, the God of composers for the piano. Rachmaninoff
is so much more than a beautiful melody or a flash of hands or the lowest of
notes. Rachmaninoff is about artistry and about the complexity of emotions,
especially love.

The opening theme, which repeats several times, is
deceptive. It is a single note, the same in each hand. And yet, it is exquisite
as a melody with phrasing. Each of those repetitions should be blocked off and
pulled out and considered. What is the relationship of one to the next? What
has happened in between to advance the story? Where will it eventually
culminate, and how do you use the earlier presentations to build toward that
end? The melody, most especially the first time it is played, is not a simple
line of individual notes.

Another early consideration for any soloist with an orchestra
is the relationship of the instrument to the orchestra. Just because the
soloist is out in front does not stop the soloist from having to learn the
complete score. So, for example, in the latter part of the first movement,
there is a conversation between the piano, the flute, and the oboe. These three
instruments should be speaking with each other and wrapping each other’s sounds
into a blend that pulls the orchestra along with it.

And so yes, I agree, I look forward to hearing Colafelice perform the Rachmaninoff third piano concerto
some years hence. But, for me, on Thursday night the gap was too wide between a
performance in a competition of peers, and a performance with a professional
orchestra of the RPO’s caliber.

The Rochester Philharmonic Orchestra will repeat the program
Saturday, June 1, 8 p.m. at Kodak Hall at Eastman Theatre, 60 Gibbs St. Tickets
cost $15-$82. For more information visit rpo.org.

This article appears in May 29 – Jun 4, 2013.