United States Numerous: Daniil Trifonov (piano), The Philadelphia Orchestra / Yannick Nézet-Séguin (conductor). Carnegie Corridor, New York, 29.9.2022. (RP)
Ravel – La valse
Liszt – Piano Concerto No.1 in E-flat main, S.124
Gabriella Lena Frank – ‘Chasqui’ from Leyendas: An Andean Walkabout
Dvořák – Symphony No.8, Op.88
Carnegie Corridor opened the brand new season with a gala live performance by The Philadelphia Orchestra and Yannick Nézet-Séguin. Final season, when visiting orchestras had been few and much between, Nézet-Séguin and the Fabulous Philadelphians had been a relentless presence at Carnegie Corridor. The heat of the reception that the viewers gave them was undoubtedly partly in gratitude, however in equal measure in anticipation of a program that was designed to please – and it did.
The primary work was Ravel’s La valse. Ravel composed it after World Warfare I and will not evoke imperial Vienna and the swirling, sleek waltzes so recognized with the town, as he had initially envisioned the work greater than a decade earlier. As a substitute, he created a tone poem that’s charged with vitality and, at occasions, downright terrifying.
Nézet-Séguin led a efficiency of the Ravel that teetered between flashes of good shade with driving rhythms and moments when a melody would joyously bloom. One was nearly breathless because the orchestra appeared to play ever quicker with spectacular precision and the power to reply to Nézet-Séguin’s slightest change in tempo or quantity.
Composed nearly a century earlier, Liszt’s Piano Concerto No.1 has the identical frenetic vitality because the Ravel, in addition to passages which might be nearly diabolical of their fierceness. A single theme runs by means of the complete concerto, to which the phrases ‘Das versteht Ihr alle nicht, haha!’ (‘None of you perceive this, ha-ha!’) turned hooked up – maybe added by the composer, maybe not.
Pianist Daniil Trifonov was the embodiment of a Romantic artist with flowing hair and open-collared shirt. At occasions he leapt off the piano bench as he dispatched the concerto’s formidable technical challenges with ardour and virtuosity. It was simply as exhilarating to observe him play the thundering octaves, intricate ornamentations and sweeping arpeggios.
In his encore, it was as if Trifonov sensed that the second demanded one thing serene to cleanse and ease the thoughts after the Ravel and Liszt, and he performed Bach’s ‘Jesu, Pleasure of Man’s Needing’ in a transcription by English pianist Myra Hess. Trifonov’s enjoying of the well-known chorale tune above the triplets that accompany it was at occasions forceful and others reflective, however at all times pure and soothing.
Gabriella Lena Frank is presently composer-in-residence with The Philadelphia Orchestra and the recipient of quite a few awards and commissions, in addition to being included in The Washington Publish’s 2017 listing of essentially the most important girls composers in historical past. Frank’s music displays her expertise as a multiracial Latina dwelling in America. There may be typically a narrative behind her works, that are impressed by her research of Latin American cultures and incorporate poetry, mythology and native musical types that she fuses with conventional Western classical types and strategies.
Leyendas: An Andean Walkabout was initially composed for string quartet in 2001, however Frank organized it for string orchestra two years later. She drew inspiration from the time period mestizaje, used to discuss with an individual of combined European and Indigenous American ancestry as envisioned by Peruvian author José María Arguedas, the place cultures can coexist with out the subjugation of 1 by the opposite. ‘Chasqui’, the fourth of the piece’s seven actions, depicts a legendary determine from the Inca interval, the chasqui runner, who sprinted nice distances to ship messages between cities separated from each other by the Andean peaks.
In her program observe, Frank writes that the chasqui wanted to journey gentle, and she or he captured that fleetness in 5 minutes of music that sparkled, popped and was lighter than air. Nézet-Séguin and the orchestra displayed their affection for and understanding of the music in a efficiency that was easy, pleasant and enjoyable.
The live performance concluded with Nézet-Séguin main the orchestra in a grand efficiency of Dvořák’s Symphony No.8. The fabled sound of the strings was on full show, from the wealthy, heat sound of the low strings within the first motion to the sweeping melodies for the complete part that course by means of the symphony. It’s a work that showcased the orchestra’s soloists in addition to complete sections enjoying en masse, and the Philadelphians didn’t disappoint.
The trumpet fanfare that asserts the finale was shiny and good, equaled by the superbly executed trills from the horns and flights of fancy from the flutes later within the motion. Nézet-Séguin and the orchestra let it rip, with the ultimate notes of the symphony bringing the viewers to its toes.