This all-Russian program, featuring, ironically, a Ukrainian-Australian pianist for the concerto, creates many emotions for the audience, and probably is utterly exhausting for the musicians.

The concert begins with Sergei Prokofiev’s romping and frolicking third piano concerto, which he completed after a decade’s gestation. The composer was soloist in the 1921 premiere performance in Chicago, during his self-exile from Russia amid the chaos after the 1917 revolution. He needed to practise three hours a day to learn his own piece, having discovered “it turned out to be devilishly difficult.” 

In Alexander Gavrylyuk’s hands, though, it is devilishly charming. His flawless technique underscores his expressive touch, delivering beguiling lyricism one minute, and explosive power the next. And all of this is without the bodily histrionics some soloists seem to think create drama or emotion.

QSO’s Chief Conductor Umberto Clerici sets a cracking pace. But the orchestra and soloist are up for the challenge, even if, at times, the quite large orchestra somewhat overpowers the piano.

It is a truly exciting performance, and quite the contrast to what is offered in the second half.

Umberto Clerici conducts the Queensland Symphony Orchestra. Photo supplied

But before that, Gavrylyuk affords his very appreciative audience a truly beautiful arrangement for solo piano of Rachmaninov’s Vocalise, the last of his 14 Romances, Op. 34. This is lyricism at its very best.

The main event is Dmitri Shostakovich’s Symphony No. 10 in E minor, Op. 93. He began writing it in March 1953, soon after Stalin’s death, which, by the way, coincided with Prokofiev’s death, hence the inclusion of the piano concerto in the program.

In introducing the work to be played by an even larger orchestra, Clerici notes that the ensemble includes 19 students from the Queensland Conservatorium. He remarks that the orchestra recognises its “responsibility, as custodians, to create a link with new generations”. This would not happen without the vision of Griffith University. Perhaps the Australian National University should take note in relation to what is happening with the ANU School of Music.

A still image from William Kentridge’s Oh to Believe in Another World

Accompanying the Shostakovich is a remarkable film by William Kentridge, titled Oh to Believe in Another World. The operative words here are “accompanying the Shostakovich”, for this is not a film to be accompanied by music; it’s the other way around. Here, the film artist operates the film speed to sync with the music. Clerici calls it “a new art form”.

Shostakovich said the symphony is about Stalin. It’s a dark, threatening, scary, even violent work, evoking the savagery of the regime and reflective of the life of uncertainty facing many, including Shostakovich, if they dared to say or do something the regime thought was contrary to its ideology.

Clerici and the QSO deliver all of that in spades, perhaps with an eye on what is happening in that part of the world today.

The film is remarkable, with the sets made from cardboard in the studio and various puppet-like figures superimposed on the sets, with motion created by human dancers in the puppets’ costumes. They include Shostakovich himself, his student, Elmira Nazirova (who features in the third movement), poet Vladimir Mayakovsky, and his lover, Lily Brik, along with Lenin, Trotsky and Stalin.

Throughout the film, there is a narrative, much like the dialogue slides in silent films. They set the mind racing, with quotes such as “Ladies and Gentlemen of the future. Who are you?” or “We will chase humanity into happiness with an iron fist” or “Lenin – an idol. Now scrap metal.”

This film gives the whole performance a seriously sinister edge, but for this viewer, it seeks to show the futility of oppressive regimes – especially relevant in the current world order. It is very confronting, with even stronger messages.

It really is quite brave of the QSO to program a concert like this. But it’s success is palpable, setting the mind racing off into thoughts perhaps never before contemplated in such depth.

This is art in the truest sense.