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New York Philharmonic Perform Kurtág & Elgar at Lincoln Center
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- Parent Category: Film and the Arts
- Category: Reviews
- Published on Friday, 27 March 2026 13:36
- Written by Jack Angstreich
Photo by Chris Lee
At Lincoln Center’s wonderful David Geffen Hall, on the night of Saturday, March 7th, I had the privilege to attend a superb concert present by the New York Philharmonic under the stellar direction of the ascendant Mirga Gražinytė-Tyla.
The event started powerfully, with an outstanding version of Edward Elgar’s extraordinary Violin Concerto in B minor, Op. 61, which was completed in 1910–the impressive soloist was Vilde Frang in her debut performances with this ensemble. The long, ambitious Allegro that inaugurates the composition opens passionately and Romantically—its long introduction has a symphonic quality, while the entry of the violin is soulful, reproducing some of the initial emotionalism but eventually turning more lyrical before recapturing some of the original turbulence. The solemnity and intensity is sustained throughout the movement although at moments the mood appears more hopeful; it closes somewhat abruptly but emphatically. The ensuing Andante is song-like and has a more positive valence—it becomes more animated and then loftier before concluding gently. The Allegro molto finale is brisk and energetic at first, projecting a much more strongly affirmative outlook but with slower passages. This movement is the most highly virtuosic of the three—although the long, Lento cadenza is more inward in character—and it ends majestically.
The second half of the evening was comparably memorable, starting with György Kurtág’s Brefs messages, Op. 47, from 2010, a work for nine players which, alas, I am not competent to judge. It is divided into four movements:
I. Fanfare (à Olivier Cuendet)
II. Versetto: Temptavit Deus Abraham [apokrif organum]
III. Ligatura Y
IV. Bornemisza Péter: Az hit…
In excellent notes on the piece, Nicholas Emmanuel—who “has taught musicology at the University at Buffalo and writes on matters of contemporary music, aesthetics, and modernity”—provides a valuable description:
In Brefs messages Kurtág looks back on his career and his relationship to sacred music. The work opens with a brass fanfare dedicated to Olivier Cuendet — a composer, conductor, and longtime creative collaborator of Kurtág's. The movements that follow are all arrangements of earlier works by Kurtág that take as a point of reference vocal music practices of the late Middle Ages, Renaissance, and Baroque.
The second movement, Versetto: Temptavit Deus Abraham (God Tested Abraham), is drawn from a set of three verses for piano (or organ) that Kurtág wrote in 1990 and dedicated to the Gregorian chant specialist Laszlo Dobszay. The English horn follows the rough contour of historical chant settings and is joined by bass clarinet in an “apocryphal” imitation of organum, the earliest form of polyphony in the Western tradition. The third movement — an arrangement and expansion of a 1993 piano work — draws on the use of ligatures (a means of notating multiple notes on a single syllable of text to produce fluent melismatic lines) found in mensural notation of the late Middle Ages and Renaissance.
In a neat bit of symmetry, the fourth and final movement of Brefs messages is adapted from the fourth and final movement of The Sayings of Péter Bornemisza (1963–68), a watershed in Kurtág's creative development that Rachel Beckles Willson has described as “unquestionably at the root of much that was to come.” A “concerto” for soprano and piano, it was based on texts of a 16th-century Lutheran minister and modeled, structurally, on Schütz's Kleine geistliche Konzerte(1636/39) and Schoenberg's Pierrot lunaire (1912). The first three movements of The Sayings — Confession, Sin, and Death — focus on humanity's helplessness and tendency toward sin. Az hit… (Spring), by contrast, shifts toward spiritual nourishment and, ultimately, the redemption of humanity.
The program closed beautifully with a sterling account of Robert Schumann’s marvelous Symphony No. 1 in B-flat major, Op. 38, the “Spring,” from 1841. James M. Keller—“a former New York Philharmonic Program Annotator and the author of Chamber Music: A Listener's Guide—usefully explains:
As we see from [Schumann’s] diary notations, he already called this a “Spring” symphony when it was still taking form. An entry by Clara [Schumann] states that it was inspired by a poem by Adolf Böttger, and a year later Robert sent a signed portrait of himself to Böttger inscribed with the opening notes and the words “Beginning of a symphony, occasioned by a poem by Adolf Böttger.” The work's opening motto is indeed a wordless setting of the poem's lines, “O wende, wende deinen Lauf, — Im Talle blüht der Frühling auf!” (“Oh turn, oh turn and change your course, — Now in the valley blooms the spring!”).
The first, Allegro molto vivace movement has an introduction marked Andante un poco maestoso. After a noble fanfare, the music becomes suspenseful but before long acquires a joyous, even celebratory ethos with some seemingly “pastoral” as well as Mendelssohnian elements, even as it also evokes Ludwig van Beethoven’s Sixth Symphony; it finishes exultantly. The exquisite, melodious Larghetto that follows is more serious in sensibility—it becomes livelier in rhythm briefly before concluding softly. The succeeding Scherzo is dance-like and alternately bold and lilting; the first, contrasting Trio section is even more forceful, while the second is ultimately ebullient. The Allegro animato e grazioso finale is exciting and even somewhat playful on the whole but with more restrained, if charming, interludes; it builds to a dynamic climax and then ends triumphantly.
The artists deservedly received a standing ovation.
New York Philharmonic Presents "Elektra" at Lincoln Center
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- Parent Category: Film and the Arts
- Category: Reviews
- Published on Thursday, 26 March 2026 16:48
- Written by Jack Angstreich
Photo by Chris Lee
At Lincoln Center’s wonderful David Geffen Hall, on the afternoon of Sunday, February 1st, I had the privilege to attend a superb concert featuring the New York Philharmonic, under the exceptional direction of the eminent Manfred Honeck.
The extraordinary first half of the event consisted of a magnificent account of Ludwig van Beethoven’s masterly Violin Concerto in D major, Op. 61, from 1806, here brilliantly played by the remarkable virtuoso María Dueñas—she wore a fabulous, pale blue gown—whose debut with this ensemble was with these performances. The initial, Allegro ma non troppo movement begins modestly but not without an undertone of suspense that rapidly intensifies; the music becomes more forceful but also lyrical before the soloist is heard. In its complex development, the movement builds to a kind of climax more than once before the violinist’s own cadenza and then concludes emphatically. The ensuing Larghettois song-like too—indeed even more so—as well as meditative in character—a hushed quality pervades the movement. The Rondo finale, marked Allegro, is much more playful and dance-like, charming yet dynamic with a celebratory ethos and some pastoral elements, although there are quieter passages; it closes abruptly but triumphantly. Enthusiastic applause elicited a delightful encore from Dueñas, Applemania by Aleksey Igudesman.
The second half of the program was maybe even more memorable: the first presentation by this ensemble—here gloriously rendered—of the enthralling Elektra Symphonic Rhapsody completed in 2014, which was refashioned by Honeck—and orchestrated by Tomáš Ille—from the score for the eponymous and celebrated 1908 opera by Richard Strauss. In March 1906, the composer wrote as follows to his incomparable librettist, Hugo von Hofmannsthal, about beginning work on the subject:
I am as keen as ever on Elektra and have already cut it down a good deal for my own private use. The only question I have not finally decided in my mind … is whether, immediately after Salome, I shall have the strength to handle a subject so similar to it in many respects with an entirely fresh mind, or whether I wouldn't do better to wait a few years before approaching Elektra, until I myself have moved much farther away from the Salome style.
The librettist replied thus:
The blend of colors in the two subjects strikes me as quite different in all essentials; in Salome,much is, so to speak, purple and violet, the atmosphere is torrid; in Elektra, on the other hand, it is mixture of night and light, or black and bright. What is more, the rapid rising sequence of events relating to Orest and his deed which leads up to victory and purification — a sequence which I can imagine much more powerful in music than in the written word — is not matched by anything of a corresponding, or even faintly similar kind in Salome.
The artists deservedly received a standing ovation.
March '26 Digital Week IV
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- Parent Category: Film and the Arts
- Category: Reviews
- Published on Thursday, 26 March 2026 03:14
- Written by Kevin Filipski
New York Philharmonic Perform Tchaikovsky & Shostakovich at Lincoln Center
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- Parent Category: Film and the Arts
- Category: Reviews
- Published on Wednesday, 25 March 2026 13:27
- Written by Jack Angstreich
Photo by Chris Lee
At Lincoln Center’s wonderful David Geffen Hall, on the night of Thursday, January 8th, I had the privilege to attend a superb concert presented by the New York Philharmonic under the sterling direction of Gianandrea Noseda.
The event started splendidly with an exhilarating account of Peter Ilyich Tchaikovsky’s dazzling Piano Concerto No. 1 in B-flat minor, Op. 23—which reached its ultimate revision in 1889 and was dedicated to the German pianist and conductor, Hans von Bülow—here brilliantly performed by the eminent soloist, Behzod Abduraimov. The first movement begins with a celebrated fanfare and then a statement of passionate Romanticism; a moody, solo passage for the piano is followed by a recapitulation of the opening theme. The next section starts with a lilting, balletic theme and the music becomes more playful; the development is complex and elaborate with numerous, highly virtuosic passages and the movement concludes forcefully. The ensuing slow movement is lyrical and—like the concerto as a whole—melodious; it soon acquires a waltz-like quality and an accelerated tempo—it closes softly. The Allegro con fuoco finale is propulsive and dance-like in rhythm, ultimately culminating in an expression of intense emotionalism, ending triumphantly. Enthusiastic applause elicited a marvelous, dazzling encore from Abduraimov: Franz Liszt’s famous Étude No. 3, “La Campanella,” from the collection Grandes études de Paganini.
The second half of the evening was maybe at least equally impressive: a magisterial realization of Dmitri Shostakovich’s extraordinary, seldom performed, very ambitious Symphony No. 4 in C minor, Op. 43, which was finished in 1936. The initial, Allegro poco moderato movement opens urgently with a suspenseful march but it also has ludic elements that sometimes come to the fore as well as more subdued passages; towards its finish, a quieter march unfolds and it ends abruptly. The sequence of the next (and last) two movements is restrained at the outset but becomes more powerful—again there are seemingly jocular moments even as an ethos of great seriousness pervades although the music is also often quite lively. Later, the music becomes exuberant and affirmative followed by an extended, more gentle episode, closing pianissimo.
The artists deservedly received a standing ovation.
