The overwhelming majority of the music the Philadelphia Orchestra is enjoying in its eight concert events at Carnegie Corridor this season is by Beethoven.
Underneath its music director, Yannick Nézet-Séguin, this ensemble performs the grasp with heat and verve. And alongside the 9 traditional symphonies, it’s presenting up to date works written in response, a tried-and-true approach to scooch within the new with the outdated, spoonful-of-sugar type. They’ve been worthy performances.
However regardless that three of the concert events are but to return — Beethoven’s First and Ninth on Feb. 21, then his “Missa Solemnis” and a John Williams gala in April — I reckon that nothing the Philadelphians do at Carnegie this season will likely be extra spectacular than Tuesday’s efficiency.
There was not a notice of Beethoven. Nor, for that matter, any piece that could possibly be thought of a regular viewers draw. The closest factor to a chestnut, Samuel Barber’s 1947 soprano monologue “Knoxville: Summer season of 1915,” bloomed within the recent firm of two new works and Florence Price’s once-forgotten Symphony No. 1.
When the Chicago Symphony Orchestra premiered the Worth in 1933, it was the primary work by a Black girl to be performed by a serious orchestra. Whereas ladies and composers of colour are actually higher represented on packages, it’s nonetheless all too uncommon for them (or for something however a canonical piece) to have the anchor place at a live performance’s finish.
So it was a progressive, even inspiring assertion for Philadelphia — which launched a recording of Worth’s First and Third symphonies final 12 months — to shut with the First. And the gamers gave it the identical vitality and subtlety they’ve delivered to Beethoven.
The opening bassoon line was right here much less a solo showpiece than a mellow music nestled modestly inside the textures of the strings. In that bassoon name — together with the mixing of folk-style melodies and classical sweep, and a dancing finale — Worth’s symphony bears the unmistakable affect of Dvorak’s “New World.” However it is extremely a lot its personal piece, with an arresting vacillation between raging pressure and abrupt lyrical oases within the first motion and a wind whistle echoing by the colourful Juba dance within the third.
Worth clearly knew she had tune within the sluggish second motion, a hymnlike chorus for brass chorale that she milks for all it’s price. However the many repetitions, with delicate African drumming beneath, tackle the shining dignity of prayer. And the ending, with fast calligraphy within the winds winding across the theme, rises to ecstasy, punctuated by bells.
Sounding lush but targeted and dedicated, Nézet-Séguin’s orchestra even highlights a top quality I hadn’t notably related to Worth: humor, in her dances and in the way in which a clarinet immediately squiggles out of that sluggish hymn, like a giggle in church.
The live performance opened with a brand new suite by Matthew Aucoin tailored from his opera “Eurydice,” which played at the Metropolitan Opera final fall. On the Met, Aucoin’s rating swamped a winsome story, however in an 18-minute instrumental digest, it was simpler to understand his music’s dense, raucous extravagance, the way in which he whips an orchestra from mists into oceans, then makes pummeling percussion chase it right into a gallop. Ricardo Morales, the Philadelphians’ principal clarinet, performed his doleful solo with airily glowing tone, a letter from one other world.
There was grandeur, too, in Valerie Coleman’s “This Is Not a Small Voice,” her new setting of a poetic paean to Black pleasure by Sonia Sanchez that weaves from rumination to daring declaration. The soprano Angel Blue was eager, her tone as wealthy but mild as whipped cream, in a troublesome solo half, which calls for crisp speak-singing articulation and delves into velvety depths earlier than hovering upward to glistening excessive notes. Blue was additionally very good — candy and mild, however at all times energetic — within the nostalgic Barber.
In its impressed alignment of outdated and new, the live performance recalled last week’s program on the New York Philharmonic, which additionally closed with a rediscovered symphony by a Black composer. In the case of broadening the sounds that echo by our opera homes and live performance halls, change will be frustratingly sluggish. However to listen to, inside just a few days, two of the nation’s most venerable orchestras play symphonies by Julius Eastman and Florence Worth did give the sense of watching the tectonic plates of the repertory shift in actual time.
Seems subsequent at Carnegie Corridor, Manhattan, on Feb. 21.
https://www.nytimes.com/2022/02/09/arts/music/review-philadelphia-orchestra-carnegie-hall.html Assessment: And not using a Observe of Beethoven, an Orchestra Shines