Amsterdam’s Concertgebouw audiences are spoilt for choice when it comes to hearing some of the finest pianists in the world. This season alone, Vikingur Ólafsson, Jean-Yves Thibaudet, Yuja Wang and Evgeny Kissin to name just a few have graced Amsterdam’s stage. Nothing however, prepared us for the force of nature that is Giorgi Gigashvili joining Germany’s Bundesjugendorchester, (National Youth Orchestra) under Aurel Dawidiuk for the second date in their summer schedule.
The programme
The piano concerto
Rachmaninov’s Third Piano Concerto with its complex emotional demands was a bold programming choice. Nevertheless, all looked promising as their gentle orchestral opening and Gigashvili’s turbulent sea quickly awakened thoughts of Rachmaninov’s own journey across land and sea to give the 1909 New York premiere. Increasingly though, naïve simplicity had to hold its own against volcanic eruptions as Rachmaninov’s sumptuous melodic lines struggled to find voice amidst a tumult of angst, and unnecessary foot stomping. Restoring some semblance of order, a dulcet flute broke the cadenza’s spell as the young Georgian turned to face the audience, almost pleading for forgiveness.
Seductive strings opened the Intermezzo. However, soaring melodies remained hidden. The Concertgebouw’s exquisite Steinway seemed too brash, even too loud – more akin to the ravages of a youthful lover, only without the charm.
Wisely, Dawidiuk and the BJO reasserted the narrative, eager to lavish Rachmaninov’s finale with all the glory it rightly deserves. It was hard not to feel somewhat battered and bruised after such an assault upon the ears.
Time to shine
After the interval, Gija Kantsjeli’s intriguing and very colourful Noch einen Schritt (One more cut) featuring recorded sounds and off-stage viola required the listener to question what is real? Where do sounds actually coming from? Unintentional ‘live’ baby cries seemed a natural response to recordings of an old-fashioned wind-up jewellery box. A very clever choice for this powerhouse ensemble.
It was left to the trumpet’s welcoming Promenade theme to invite all on Mussorgsky’s memorial tour of his friend’s Pictures at an Exhibition. A timely antidote, and an exciting showcase for such accomplished German talent (aged 14-19), of which the formidable strings were the absolute stars. The most effective moments found the young musicians luxuriating in the Concertgebouw’s expansive resonance. Bydlo’s tentative tuba melody built impressively to a resounding climax before trudging homeward into the distance. And dark, threatening Catacombs intensified the harp’s angelic chorus while a fearsome Baba Yaga, rather like Homer’s Greek fortresses in Christopher Nolan’s recently released The Odyssey, proved that these Germanic walls were falling for no man.
Aurel Dawidiuk, former associate conductor to Klaus Mäkelä at the Concertgebouw Orchestra, was in his element, and in complete control. This brave decision to entrust the fortunes of a nation on such young shoulders was one which on the whole paid off. As the doors at the top of the famous Concertgebouw stairs opened to reveal a splendid tolling bell, the only question on my mind: Is the bell Dutch? Is it made by the world famous Eijsbouts foundry near Eindhoven? If so, this was European diplomacy at its finest.
Mussorgsky’s Gopak from Sorochintsy Fair to conclude, rocked the house.
Clare reviewed this concert at the Concertgebouw on Wednesday 29th July, 2026
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