Hochman plays Bartok Piano Concerto No. 3

Hochman led the work with refreshing calm, clarity, and friendliness: almost every note seemed to wear a smile. In his hands, the opening melody with its unpredictable warbles felt like a natural conversation starter. And the Philharmonic proved a receptive partner, particularly in the second movement’s “Andante religioso,” where gorgeously blended chorale textures from strings, winds, and soloist were carried by a gentle breeze. Against this backdrop, the nature sounds of the movement’s middle section, usually considered a classic example of Bartók’s “night-music,” readily evoked the coming of dawn.
In the finale, the orchestra brilliantly executed Bartók’s swings from folk dance to Baroque dance, so that Hochman’s return to the stage for a Bach Sarabande was a perfect companion. Indeed, Hochman’s encore demonstrated enlightening continuity with his approach to the Bartók, respecting the integrity of each individual tone and embracing the silences in between them.