This concert saw the welcome return of former Chief Conductor and TSO Conductor Laureate Marko Letonja for the first time since 2022. The late indisposition of Serbian-French violinist Nemanja Radulovic also resulted in a program change; Radulovic was to make his TSO debut with Prokofiev’s second Violin Concerto. Fortunately, the brilliant Ukrainian born Australian pianist Alexander Gavrylyuk, a frequent collaborator with the TSO and Letonja over the years, was available.

Alexander Gavrylyuk. Photo © Ben MacMahon

These musicians previously performed the Tchaikovsky Piano Concerto No. 1 in B flat minor, Op. 23 with the TSO in March 2012. Their rendition on this occasion had lost nothing in power and poetry in the intervening years. The pianist’s blend of extreme virtuosity at speed in the bravura passages of the outer movements, and poetic sensibility and subtle rubato in the central Andantino with its dancing middle section, was dazzling.

The orchestra accompanied with great rapport; Letonja and the strings handling gentler moments like the delicate pizzicato opening of the slow movement with finesse. A standing ovation resulted in a refined encore – Schumann’s Träumerei (Kinderszenen No. 7), Scenes from Childhood.

The concert opened with a Suite from Norwegian Wood, drawn from the 2010 film score by Radiohead’s Jonny Greenwood. Dense, intense string textures and frequent glissandi later joined by woodwind, brass and bass drum strokes, created a feeling of disquiet and unease. At around 10 minutes duration, the piece was texturally interesting but opaque and unrelenting in its effect.

Interestingly, Brahms and Tchaikovsky had a friendly and respectful personal relationship but heartily disliked each other’s music. Brahms, feeling intimidated by the great example of Beethoven, did not complete his Symphony No. 1 in C minor, Op. 68 until 1876, when he was aged 43.

Marko Letonja last gave it in Hobart with the TSO in March 2014. His interpretation, already powerful then, has evolved somewhat since that time; he has recently completed a Brahms cycle with his current orchestra in Bremen, Germany – the Bremer Philharmoniker.

The conductor now brings the same rugged power to the symphony along with sharper focus and clearer pointing of climactic moments, as well as a greater flexibility and sensitive response to the more lyrical sections.

The orchestra responded with fervour to Letonja’s direction and there were notably excellent solos from oboe (Shefali Pryor) violin (Emma McGrath), and horn (Greg Stephens) in the Andante sostenuto second movement.

For more information on the Tasmanian Symphony Orchestra in 2026, visit www.tso.com.au