Posts Tagged ‘Lindberg’

A Genuine Jolt at the NY Phil

Wednesday, February 8th, 2012

by Sedgwick Clark

Alan Gilbert and the New York Philharmonic are on a European tour for a couple of weeks, and for a change I didn’t roll my eyes in despair when I saw the list of repertoire. His predecessors as music director, Kurt Masur and Lorin Maazel, for all their superb work at building the ensemble, utilized Dvořák’s “New World” Symphony (1894) as the orchestra’s calling card. But not only has Gilbert leapt ahead half a century to show off the ensemble with another Philharmonic commission conducted by its composer at its premiere, Stravinsky’s Symphony in Three Movements (1946), on February 17 he has included the U.K. premiere of Thomas Adès’s hot-off-the-press Polaris, which the Phil played in its New York City premiere only a month ago. Moreover, he has also programmed Composer in Residence Magnus Lindberg’s 1997 Féria three times.

The repertoire list below must come as a genuine jolt to anyone who has looked at how the orchestra presents itself to the world. Not even Zubin Mehta, who was not averse to contemporary music during his tenure, had the nerve to acknowledge the 20th century so thoroughly on tour. The only German chestnut here is the Beethoven Violin Concerto. And while Lang Lang plays the First Tchaikovsky Piano Concerto three times, he also plays Bartók’s Second Concerto thrice on a bracing program that begins with the Lindberg piece and ends with Prokofiev’s Fifth Symphony.

Don’t get me wrong. These programs are hardly the adventures of the Boulez years. But when it seems that everyone’s idea of selling tickets these days is to advance to the rear, I applaud Gilbert and my home orchestra for making a statement on tour with meaty works by Bartók, Stravinsky, and Prokofiev and hors d’oeuvres by Adès and Lindberg.

EUROPE / WINTER 2012
New York Philharmonic
Alan Gilbert, conductor

Feb. 2, 8:00 pm (Cologne, Philharmonie)
Frank Peter Zimmermann, violin
Beethoven: Violin Concerto
Stravinsky: Symphony in Three Movements
Ravel: Daphnis and Chloe Suite No. 2

Feb. 3, 8:00 pm (Luxembourg, Salle de Concerts)
Frank Peter Zimmermann, violin
Beethoven: Violin Concerto
Stravinsky: Symphony in Three Movements
Ravel: Daphnis and Chloe Suite No. 2

Feb. 4, 8:00 pm (Luxembourg, Salle de Concerts)
Lang Lang, piano
Tchaikovsky: Piano Concerto No. 1
Prokofiev: Symphony No. 5

Feb. 6, 8:00 pm (Paris, Salle Pleyel)
Frank Peter Zimmermann, violin
Beethoven: Violin Concerto
Stravinsky: Symphony in Three Movements
Ravel: Daphnis and Chloe Suite No. 2

Feb. 7, 8:00 pm (Paris, Salle Pleyel)
Lang Lang, piano
Lindberg: Féria
Bartók: Piano Concerto No. 2
Prokofiev: Symphony No. 5

Feb. 8, 8:00 pm (Frankfurt, Alte Oper)
Lang Lang, piano
Lindberg: Féria
Bartók: Piano Concerto No. 2
Prokofiev: Symphony No. 5

Feb. 9, 8:00 pm (Frankfurt, Alte Oper)
Frank Peter Zimmermann, violin
Beethoven: Violin Concerto
Stravinsky: Symphony in Three Movements
Ravel: Daphnis and Chloe Suite No. 2

Feb. 11, 8:00 pm (Düsseldorf, Tonhalle)
Lang Lang, Piano
Tchaikovsky: Piano Concerto No. 1
Prokofiev: Symphony No. 5

Feb. 1, 8:15 pm (Amsterdam, Concertgebouw)
Frank Peter Zimmermann, violin
Beethoven: Violin Concerto
Stravinsky: Symphony in Three Movements
Ravel: Daphnis and Chloe Suite No. 2

Feb. 14, 8:15 pm (Amsterdam, Concertgebouw)
Lang Lang, piano
Tchaikovsky: Piano Concerto No. 1
Prokofiev: Symphony No. 5

Feb. 16, 7:30 pm (London, Barbican)
Mahler: Symphony No. 9

Feb. 17, 7:30 pm (London, Barbican)
Joyce DiDonato, mezzo-soprano
Adès: Polaris (U.K. Premiere)
Berlioz: Les nuits d’été
Stravinsky: Symphony in Three Movements
Ravel: Daphnis and Chloe Suite No. 2

Feb. 18, 4:00 p.m. (London, Barbican)
Young People’s Concert: Bernstein’s New York
Leonard Bernstein’s New York
Jamie Bernstein, host
Benjamin Grosvenor, piano
Bernstein/Peress: Overture to West Side Story
Copland: “Skyline” from Music for a Great City�
Strayhorn: “Take the ‘A’ Train”
Bernstein: “Ain’t Got No Tears Left,” from On the Town
Bernstein: “The Masque,” from Symphony No. 2, The Age of Anxiety
Bernstein: Three Dance Episodes from On the Town
                        The Great Lover
                        Lonely Town Pas de Deux
                        Times Square 1944

Feb. 18, 8:00 p.m. (London, Barbican)
Lang Lang, piano
Lindberg: Féria
Bartók: Piano Concerto No. 2
Prokofiev: Symphony No. 5

Stage Door Johnny Dept.
Tuesday night while picking up tickets for Porgy and Bess, I found myself standing next to playwright Neil Simon. I try not to bother celebrities, and I succeeded for a few seconds, but I couldn’t resist telling him that on my first night after moving to New York from Muncie over 43 years ago I saw George C. Scott and Maureen Stapleton in his Plaza Suite on Broadway, and what a great introduction it was to my new home. He seemed genuinely pleased and thanked me for telling him. A nice man.

Looking Forward
My week’s scheduled concerts:

2/8 Peter Jay Sharp Theater. Gluck: Armide. Juilliard Orchestra/Jane Glover. Emalie Savoy (Armide), Alexander Hajek (Hidraot), David Portillo (Renaud), Alexander Lewis (Artémidore), Luthando Qave (Ubalde), Noah Baetge (Le Chevalier Danois), Wallis Giunta (Phénice), Devon Guthrie (Sidonie), Evan Hughes (Aronte), Renée Tatum (La Haine), Soo Yeon Kim (La Naïade), Pureum Jo (2nd Coryphée), Deanna Breiwick (Une Bergère), Lilla Heinrich-Szász (Lucinde), and Raquel González (Mélisse).

2/14 Carnegie Hall. Philadelphia Orchestra/Charles Dutoit; James Ehnes/violin. Martin: Concerto for Seven Wind Instruments. Mendelssohn: Violin Concerto. Bartók: Concerto for Orchestra.

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Masterly Mann at Manhattan

Wednesday, January 11th, 2012

by Sedgwick Clark

In their wildest dreams, the six string quartets couldn’t have asked for more. Nor could music lovers, as the Manhattan School of Music rang in the New Year with what it called the “Inaugural Robert Mann String Quartet Institute.” Yes, this is why I left Muncie, but this time my hometown friends could share the event, for the Thursday and Friday master classes were streamed worldwide. Those who couldn’t attend could watch the great man inspire several gifted young musicians in works by Brahms, Bartók, and Beethoven, among others. And now they can see both classes by going to www.dl.msmnyc.edu/archive. Which I highly recommend!

For those not into chamber music, Robert Mann is renowned as the founding first violinist of the Juilliard String Quartet (in 1946) and, moreover, probably the postwar era’s foremost influence on the “American” style of chamber-music playing. Since retiring from the Quartet in 1997, he has continued to perform chamber music, conduct, give master classes, and teach on the faculty of the Manhattan School. The passion and personality of the many JSQ performances I’ve heard over the years in concert and on record were fully evident in his comments at Friday’s session. Indeed, his many expressive tips to the PUBLIQuartet in the Poco allegretto of Brahms’s Third Quartet gave me an appreciation of the music I’d never had before.

As usual, however, it was the Bartók performances that grabbed me. The Juilliard recorded the six quartets three times since 1950. It was the second cycle—recorded in 1963, released in 1965, and honored with a Grammy the next year—that introduced me to the works and which I still prefer above all others. (The CD reissue, now on Sony Classical/ArchivMusic 77119, sounds excellent. Mann is on all three cycles; be sure you get the one with Cohen, Hillyer, and Adam.) A complete Juilliard Bartók cycle at Alice Tully Hall, 43 years ago this month, is no less vivid in my early New York memory bank than my first Bernstein/Philharmonic concert, or Colin Davis leading Peter Grimes with Jon Vickers and Wozzeck with Geraint Evans at the Met. In the mid 1980s, the JSQ’s long-time press rep, Alix Williamson, presented the group in the complete Brahms and Bartók quartets at Tully, and I complained that she was devaluing Bartók. Alix, who loved Brahms and detested Bartók, barked endearingly that if she listened to the likes of me, no one would come. I miss her.

Mann’s insightful blend of performance comments, anecdotes, and cheerleading at Manhattan—filmed admirably, by the way, with none of the herky-jerky camera cross-cutting that can compromise one’s attention—revealed a master of persuasion. When the Ars Nova Quartet plays the Allegro molto capriccioso second movement of Bartók’s Second Quartet, Mann initially has nothing but praise, telling of the time a group played the Third Quartet for the composer and was disappointed when Bartók simply stood up and said, “Good, let’s have lunch.” Mann continues, “The great composers are less critical than you might think.” He suggests that the young players should worry less about wrong notes and dig in more. “You know, Bartók as a performer played very cool, but he liked performers to play wildly.” The violist demurs, “But we’re on the Internet.” Still, the Ars Nova foursome plays part of the movement again, digging in as prescribed, and the results are markedly superior—as in every case of following Mann’s masterly advice.

Next, the Old City Quartet plays the Mesto-Burletta movement of Bartók’s Sixth Quartet. Mann asks for more march character (“It lacks rhythmic swing”) and evokes the opening of Stravinsky’s L’Histoire du soldat as a guide. Later he remarks about a precipitous speedup, laughing robustly, “Your accelerando is too fast: You’re very exciting, but it’s too fast.” After a slower runthrough he says, with a huge grin, “Terrific!  I’d like you in my quartet,” and the four players break into smiles. A final comment: “Can you make a bigger bite on that C?” he asks the first violinist, and when he does Mann shouts, “Ah-h-h-h, wonderful!”

Now 91, Robert Mann seems the youngest man in the room. I can’t wait for next year’s master classes.

Looking Forward

Concerts I would attend next week were I not on vacation:

1/14 Galapagos Art Space, 16 Main Street, DUMBO, Brooklyn. 4:30-9:00 p.m. Brooklyn Art Song Society. Complete Songs of Charles Ives (114).

1/18-21 Avery Fisher Hall. New York Philharmonic/Alan Gilbert; Lang Lang, piano. Lindberg: Feria. Bartók: Piano Concerto No. 2. Prokofiev: Symphony No. 5.

1/20 Carnegie Hall. American Symphony Orchestra/Leon Botstein. Stravinsky: The King of the Stars; Mavra; Requiem Canticles; Canticum Sacrum; Babel; Symphony of Psalms.

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Afterthoughts

Tuesday, June 28th, 2011

By Alan Gilbert

I have been thinking generally about how orchestras define themselves and, specifically, about what the New York Philharmonic means to the public we serve.

Last week’s Philharmonic production of The Cunning Little Vixen was a joy to work on, and I am hugely proud of what we achieved as an institution. For the last month or so, our various departments banded together and effectively functioned as a top-notch opera company. Hallways became costume and prop storage areas, people could be heard discussing the story and meaning of Janáček’s masterpiece, and the buzz of activity with its unifying force was truly gratifying.

The experience we had last year with Ligeti’s Le Grand Macabre was helpful — we certainly learned a lot that came in handy this second time around. But, at the same time, the bar had been set so high by the enormous triumph of the Ligeti that I think we all felt real pressure to have a great success. Many of the previews in the press openly wondered, ”Can they do it again?” and ”Will lightning strike twice?” On a personal level, I was hoping to provoke a response that would justify the unusual commitment that presenting a staged opera demands of the Philharmonic.

It worked. Reactions were overwhelmingly positive, and many opera buffs even said that they felt that we achieved a greater-than-usual emotional power with Doug Fitch’s enchanting production of Vixen. I am sure that the unexpected and non-traditional setting was largely responsible for this — as soon as one entered Avery Fisher Hall one felt a fresh sense of possibility that naturally comes along with the unexpected. Who had ever seen a huge grove of sunflowers sprouting among the musicians of the New York Philharmonic?

What was most gratifying, however, was the response to the Orchestra’s playing. Each night the ovations were the loudest when the musicians stood. Of course, my choice of this particular opera was largely influenced by the prominent role that the orchestra plays, but the combination of hearing the New York Philharmonic play this ravishing score, with its range of opulence and shimmering tenderness, and of actually seeing the musicians on stage had to have been extremely powerful in inspiring this reaction. It felt like a new paradigm not only for opera, but also for orchestras. Why shouldn’t we do away with the artificial boundaries that separate art forms?

Of course the New York Philharmonic’s primary mission remains that of performing great orchestral repertoire at the highest possible level. I will never forget this season’s many highlights, which include memorable performances of Mozart’s Symphony No. 40, Bruckner’s 2nd, Mahler’s 5th, and Beethoven’s Eroica. I will equally remember Lindberg’s Kraft, and Vixen, both because they were artistically important and gratifying, but perhaps even more because they were accepted and received with an enthusiasm that is doing away with the lines that would have at one time caused them to be defined as ”out-of-the-box.”

Last week more than one audience member came backstage after a performance of Vixen to tell me that the applause for the Orchestra and for me was not only for that night’s performance: it was also for our vision, and for what this Orchestra is coming to mean for New York City. All of us on stage sense this as well. We feel the support and connection with the audience that is based on this identity — an identity that is, after all, at the very core of our aspiration to be, in the deepest, most meaningful way, New York’s own Orchestra.

(For more information on Alan Gilbert and the New York Philharmonic, visit nyphil.org.)

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