When he announced in 2004 that he was stepping down as music director from the Royal Concertgebouw, easily one of the best orchestras in the world, it would have been easy for anyone to brand
Riccardo Chailly as clinically insane. His announcement stunned the music world. The young, passionate
Chailly had succeeded in bringing a new energy and vitality to the Concertgebouw during his impressive 16-year tenure. What was this 51-year-old, barely middle-aged (by conducting standards) maestro on to? Where do you go when you're on top of the world?
The Leipzig Gewandhaus Orchestra? The answer seemed as confusing as the question. This was certainly a surprise. The orchestra, widely touted as the oldest around, had to confront an interesting dichotomy: a rich, cultural heritage with a set of performance traditions dating back to its most famous, historical conductor, composer
Felix Mendelssohn, but all poised against past problems with their stature, performance consistency, and funding.
Chailly reveled in the challenge; a self-proclaimed orchestra-builder, he knew better than anyone that he could get results.
The fruits of
Chailly's labors have revealed themselves early on; now there are two recordings issued by Decca to prove it. The first, in homage to
Mendelssohn, consisted of A Midsummer Nights Dream and the Lobgesang, material from his inaugural concert as music director. The second, featured here, is his November 2005 performance of the
Brahms Piano Concerti, recorded live from a subscription concert with virtuoso Brazilian pianist
Nelson Freire.
Much can be learned about Leipzig's future from this powerful and grandiose opening introduction of the First Piano Concerto. Seething with fire and energy even within the weakest of performances, the intensity is so strong with
Chailly at the helm it alone is more than enough to hold anyone captive for the work's substantial 45-minute duration. The long D minor pedal has a weighty richness that
Chailly seems to revel in (and indeed we can be sure that
Brahms would have, too).
Freire's performance has the perfect balance of passion and sensitivity
Brahms requires, he also seems to be listening carefully to the orchestra, often matching its depth of sound luxuriantly on his piano. There is much more accuracy in the orchestral playing than has been heard from this orchestra in the past. The sound from Decca is excellent as usual. With a bit of luck, a new recording featuring the
Brahms Complete Symphonies performed by this new dream team will soon be on the way!