AUCKLAND TOWN HALL - After his Symphony No 1 had a disastrous premiere in Moscow in 1897, Rachmaninov was so depressed that he sought treatment from hypnotist Dr Nikolai Dahl.
Dr Dahl repeated, like a mantra, to the forlorn composer, "You will begin to write your concerto ... youwill work with great facility ... the concerto will be of an excellent quality ... "
The result of these sessions was the emergence of Rachmaninov from the throes of depression, and also, perhaps his most beautifully lyrical work, the Second Piano Concerto in C minor, Op. 18.
Likewise, last Thursday's concert could be summed up as adversity being overcome.
The programmed pianist, Antonio Pompa-Baldi, a 26-year-old Italian and a medallist in the Van Cliburn International Piano Competition, could not fly to Auckland as a result of US flight restrictions.
Instead, Robert Thies, next week's soloist, flew in, and with only 48 hours' notice played Rachmaninov's Concerto No 2 with such assurance that it seemed as if he had been preparing for months.
At times haunting, morose and foreboding, at others gentle and passionate, the music had a strong advocate in Thies. Although the first movement was rather uncoordinated between the pianist and soloist, conductor Nicholas Braithwaite's clear directions brought everything on to an even keel.
Overcoming adversity was also a theme on another, more profound level. Anne Rodda, the Auckland Philharmonia's general manager, announced beforehand that the slow movement of Beethoven's 3rd Symphony was to be dedicated to the victims and rescue crews in New York and Washington. Music that communicates "the hope that the arts can bring", she mentioned.
An apt choice, Beethoven's poetic funeral march moved many in the audience to tears. However often performed, the 3rd always seems to maintain its freshness and originality.
