The Wisconsin Chamber Orchestra’s latest concert, “Fialkowska on Fire,” served as an enchanting introduction to the new Masterworks series Friday evening, thanks in no small part to the impassioned flourishes of guest pianist Janina Fialkowska. The concert also marked the beginning to maestro Andrew Sewell’s 25th season with the WCO.
The WCO opened the evening with German composer Carl Stamitz’s “Symphony in C Major, No. 5.” Stamitz’s father founded the Mannheim school, which was renowned for its popularization of crescendos and decrescendos. True to this tradition, Stamtiz’s “Symphony in C Major, No. 5” is a delightful work full of contrast and color.
The first movement begins at a regal pace before entering into an electrifying gallop and closes with a glowing, triumphant finale. The WCO exercised excellent dynamism throughout and did so while maintaining a delicate balance. Although Sewell conducted a full cadre of strings, they never overpowered the woodwinds, consisting of just two clarinets. The WCO played the remaining two movements with similar color and poise.
Janina Fialkowska performed with the Wisconsin Chamber Orchestra at its first Masterworks performance of 2024-25.
Joining the WCO onstage for Beethoven’s “Piano Concerto No. 4 in G major,” Fialkowska’s performance, glowing with virtuosity, clearly highlighted the evening.
The piano and strings trade remarks throughout the second movement, which Fialkowska interprets as Beethoven’s internal monologue. According to her, the irritation expressed by the strings reflects Beethoven’s anger over his declining hearing. The piano interjects with a gentler counterpoint, representing moments when the composer finds tranquility.
Fialkowska fully realized this interpretation in her performance, lacing it with a sentimentality that grounded the orchestra at its most turbulent. In the third movement, the orchestra took on a more boisterous attitude, freeing Fialkowska to flaunt her full expressive breadth. At times, the notes seemed to glide from the piano, fluttery and harp-like. At others, Fialkowska almost jabbed at the keys, lending the piano greater assertiveness. In all, she gave a bold and invigorating performance.
The WCO closed the evening with composer and virtuoso Louise Farrenc’s “Symphony No. 3 in G minor.” After receiving broad acclaim as a concert pianist, Farrenc was the only woman of her day to become a professor of piano at the Paris Conservatory. Farrenc’s compositions received such praise that she successfully fought for pay equal to her male peers. As expected, the WCO’s rendition of “Symphony No. 3 in G minor” was phenomenal, creating a sonic depth that the audience could almost lose themselves in.
“Fialkowska on Fire” proved to be a remarkable overture to the WCO’s new Masterworks series, and there is still much to look forward to next year. The next Masterworks concert, “Márquez & Meyers,” will debut Jan. 24. In the interim, the WCO is set to perform two holiday concerts starting with “Handel’s Messiah” on Nov. 22-23.
