I’m always intrigued when European orchestras take up the cause of American music, a simple enough notion to understand semantically but difficult at the stylistic level for continentals to adopt idiomatically. Our music’s frequent combination of seemingly naive musical prayerfulness with ungoverned explosive energy has typically left European musicians a bit puzzled, and the Teutonic world at times more than a little stiff and earnest. So I wondered about this release. Could the Swiss sashay down Broadway with that long-legged swagger and impudence implicit in so much of American life? Could Lucerne really let go?
Concerts this good have become our norm and good fortune in twenty-first century America—especially in San Francisco. We are used to charismatic conducting, to fine piano debuts, to engaged orchestral playing and the rediscovery of great neglected symphonies. What differs from time to time is the realization that a performer may not only be accomplished, or even inspiring, but one of a kind. I begin to think Vasily Petrenko is such an artist.