Redwood Symphony puts on concerto designed for left hand

“It’s kind of a return for me, after two years,” Lundtvedt said.

Though she has been performing solos with Redwood Symphony since 2017, Lundtvedt was mostly unable to perform during the first two years of the pandemic. Her rendition of the concerto was originally slated for June of 2020 before being postponed for health and safety reasons. Two years later, she is finally able to perform it.

“This is a marvelous piece,” symphony maestro Eric K said. “The left hand is called upon to sound as if there are two hands playing, and that requires a lot of jumping from both ends of the keyboard.”

Ravel’s piece is both physically and mentally demanding, and not something she would have chosen to learn on her own. The physical pressure of playing a 19-minute concerto left-handed combined with the focus required to play alongside the orchestra makes the piece uniquely challenging, Lundtvedt said.

“The thing is, the more I played … the more I started falling in love [with it],” Lundtvedt said. “Honestly, I’m very happy Eric made me learn it.”

Weekly rehearsals for the concert began in mid-April, according to concertmaster Danny Coward.

“When we’re in rehearsal, I close my eyes and I can’t believe that Natalya is playing one-handed,” he said. “The music is so complete, you can’t believe that it’s only being played by half the hands … there’s just a kind of marvel in the musicianship of that.”

Lundtvedt said her interpretation of the concerto is informed by the history of the piece. The concerto was commissioned by pianist and war veteran Paul Wittgenstein, according to Kathy Henkel for the Los Angeles Philharmonic Orchestra. At the concerto’s debut in 1932, however, Wittgenstein changed parts of Ravel’s original composition, infuriating the composer.

Lundtvedt plans to honor both Ravel and Wittgenstein by playing the score exactly as written and not “cheating” by using her right hand, as some musicians do.

“I’m paying my respects, both to Ravel and to this pianist,” she said.

Born in Minsk, Belarus, Lundtvedt grew up as the daughter of a piano teacher and began music lessons at age 6.

“I remember piano … since I remember myself,” she said.

As a child, she composed her own music and participated in piano competitions before studying at the Belarus State Academy of Music. After graduating, she moved to the United States to earn a master’s degree from the San Francisco Conservatory of Music and a doctorate in musical arts from UCLA.

Lundtvedt has competed and performed internationally, from Imola to Carnegie Hall. She has played with several Bay Area orchestras, as well as the Belarus Symphony and the Russian Chamber Orchestra. She also teaches piano lessons, though she said it can be difficult at times to juggle teaching and performing.

“You become better because of [your students],” she said.

Moving forward, Lundtvedt plans to continue teaching and performing, and hopes to gain more recognition beyond the Bay Area.

Despite the pressure of performances and the busy life of a professional musician, Lundtvedt says she has never thought about pursuing a different career.

“I guess my destiny was predetermined,” she said.

Previously at Redwood Symphony, Lundtvedt performed Camille Saint-Saëns’s Piano Concerto No. 5 in a 2017 concert.

“We’re really, really happy to have [Lundtvedt] returning to play with us again,” K said. “She’s just wonderful, and we love having her.”

“Hand of Fate” features Amit Poznansky’s “Suite from Footnote” and Tchaikovsky’s Symphony No. 4 in addition to Lundvedt’s solo performance.

The symphony, founded by K in 1985, is in its 37th concert season. Described by the San Francisco Classical Voice as a “community orchestra,” it is composed entirely of volunteer musicians.

“We still try to do repertoire that’s much more difficult than other groups will attempt,” K said. This has included two Mahler symphony cycles and several world premieres. The orchestra mainly focuses on contemporary composers, and works closely with local composer Mason Bates.

Despite its focus on demanding repertoire, the symphony makes a point to keep things casual and community-oriented. Its annual Halloween concert is geared toward families with young children, with several interactive features that allow participants to meet members of the orchestra and conduct alongside the maestro. Of course, both the audience and the musicians don costumes for the event.

According to Coward, there is a strong sense of community among the musicians.

“A lot of great friendships have grown up in the orchestra,” he said. “I think that really adds to [the camaraderie]: just going there and being with people you like, plus playing this great music. I think that’s what … makes us different from some other orchestras that I’ve played in.”

Redwood Symphony is nearing the end of its concert season, with only two performances left. Their next venue is the Summer Outdoor Concert, scheduled for June 25 at Courthouse Square in Redwood City. It will focus on the repertoire of John Williams, including themes from “Star Wars,” “Harry Potter” and “Indiana Jones.” Its final concert of the season, “Summer Magic,” will take place at Cañada College July 23.

Go to redwoodsymphony.org for more information or to buy tickets.