The vivacious Järvi fils
Kalichstein Works His Magic

Wednesday, May 11, 2005
By Amanda von Goetz

New Jersey Symphony Orchestra, Kristjan Järvi (conductor), Joseph Kalichstein (piano). Annual United Jewish Communities of MetroWest New Jersey Benefit Concert. Bernstein: Overture to Candide; Beethoven: Piano Concerto no. 4 in G minor; Bernstein: Symphonic Dances from West Side Story. Prudential Hall, Newark.

Joseph Kalichstein's performance of Beethoven's Fourth Piano Concerto with the New Jersey Symphony Orchestra led by Kristjan Järvi left few to question the pianist's stature as one of the finest musicians currently on the concert circuit. Kalichstein is a fabulous combination of the "intellectual" musician that may spend hours toiling over manuscripts in libraries in the far corners of the world, and the "intuitive" player that not only breathes new life into music, but who also allows the music to breathe through him.

From the opening bars of Beethoven's most sophisticated and arguably most difficult concerto, it became obvious that Kalichstein possessed masterful technical command of his instrument, as well as supreme control over various tone sonorities. His ability to change modes and slide into alternate color worlds from one note to the next was most impressive, and his crisp attacks throughout the work were perfectly suited to the energetic musical textures. After the first movement of the concerto concluded, the audience immediately broke into applause. This Kalichstein accepted gratefully with a gesture, before raising his hand in the air and declaring, "Wait - the best is yet to come!" It was clear from the warm smile upon the performer's face that this comment was not made in utter self-indulgence, but more in respect to Beethoven and the masterpiece he had created.

A superb chamber ensemble musician, Kalichstein seemed to inspire the members of the NJSO with his enthusiasm, very content to play with them, as opposed to expecting them to play for him, and he watched conductor Järvi attentively, almost as if their roles were reversed. Each modulation was delightfully different from the one before and the one that followed. The second movement *cadenza began very simply and built to a powerful climax before the re-entrance of the orchestra, and Kalichstein's transition was so smooth and seamless that it was difficult to discern how it was done.

Also on the program was Leonard Bernstein's Symphonic Dances from West Side Story and Overture to Candide. The NJSO had a ball with these two works, led by the vivacious young Järvi, who really got into dance-mode on the podium. The West Side Story suite contained all of the familiar tunes, and the percussion section totally went to town, followed up with the swingin' strings' fingersnapping and shouts of, "MAM-BO!"

The Overture, though lighter than the Symphonic Dances, was still very Bernstein-esque, and the NJSO strings matched his style with tremendous accuracy, employing the Heifetz-style fast-and-frantic vibrato that was popular back in the composer's day.

The United Jewish Communities of MetroWest New Jersey does a great service to its community, providing a common forum for an array of charities and vital humanitarian causes. In holding their 8th annual benefit concert, the organization succeeded in bringing together people of contrasting backgrounds and histories to enjoy an evening of friendship and fine music. The program was a commendable choice, from Beethoven to Bernstein, thus emphasizing the UJA's aim for communal unity. Bernstein was a wonderful 20th century composer who recognized great music regardless of its roots, as shown in his West Side Story suite through the distinct compositional use of a Wagnerian quote from Götterdämmerung.