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26.05.2014
In his tenure to date with the New York Philharmonic, Alan Gilbert has consistently sought to make contemporary music a major part of his concert programming.
Azul, was composed for Yo-Yo Ma, who gave it a stirring, invested Philharmonic premiere Wednesday night.
Golijov’s voice is compelling, and in this piece he displays a varied palette, exploring different effects and modes.
Ma let his fingers get away from him at one point during an extended unaccompanied bariolage in “Transit” but, consummate professional that he is, he was unfazed and the music was scarcely diminished. In the codas “Pulsar” and “Shooting Star,” we hear the entire orchestra lurching together towards the conclusion, a powerful effect that is diminished somewhat by a strange and contrived-sounding slowdown that uses recorded “power down” sound effects to underscore the point that this is the end. Ma stayed on for three selections from Astor Piazzolla’s La serie del Angel, in an Octavio Brunetti transcription specially commissioned for this performance. Bookending the program was lighter Ravel fare—opening night, 20th-century fluff, but fluff nonetheless. In Alborada del gracioso, the pizziciati in the first bars were overly forceful, but Gilbert led an interpretation that was witty and exuberant. To close, Gilbert and the Philharmonic conjured up some bombast in the ever-popular Bolero. The music is not terribly difficult for anyone involved (save the poor percussionist on snare duty), but it manages somehow to be more than the sum of its parts, a repetitive and predictable piece that nevertheless thrills as it builds towards its crashing finish. The lights that shone on the bunting behind the stage changed colors throughout the performance, and the build to blood-red (probably intended to be “Philharmonic Red”) at the climax followed by a total blackout seemed tacky. Mais que serait visiter New-York sans passer par ses quartiers ethniques tel que Little Italy, ou encore Chinatown. Couverture du “Carnet de New York” Voila donc le premier essai pour la couverture de mon “Carnet de NewYork”. A l’occasion de la sortie du film Sex And The City, Sephora lance un jeu qui vous permettra d’aller a New York. There are debuts and debuts:  the blood bank of human endeavor is forever bringing new musical talent to the fore. The Schubert Sonata was played with the first movement repeat, forward momentum and necessary flexibility. The Debussy D Minor Sonata that followed also had the requisite impetuosity and unpredictability.
Isang Yun’s short unaccompanied piece, “Glissees pour violoncello seul”, especially written for a competition in 1970, makes, as intended, fiendishly difficult demands on the player, but Kim mastered these hurdles as if they were child’s play.
There was an encore, too: Rostropovich’s Humoreske, which resembled David Popper’s “Elfentanz”, albeit with an unfamiliar, sinister spice.
For the Vienna Philharmonic’s last two concerts, the young Venezuelan conductor Gustavo Dudamel took over from the veteran Nikolaus Harnoncourt, and a greater contrast can hardly be imagined. If the Brahms, with its avoidance of exaggeration, had brought out the best in Dudamel, the Dvorak did the opposite.
Though it is true that Dvorak’s “American” works were influenced by native American idioms, his own native Czech idiom is never far away; in fact, his music seemed to get increasingly Czech as he became more homesick.


He reiterated that mission on Wednesday, structuring the Philharmonic’s opening night gala concert around a 2006 work by Argentine composer Osvaldo Golijov.
It is an impressive and expressive work, cycling through a broad range of emotions, textures, and colors with sincerity and sentiment. Formless without meandering, his writing is unapologetically tonal, at times employing melodic lines that sound downright Romantic. All codas are tacked on to some extent, but this ending felt like an unnecessary comment on a piece that could speak for itself. New York audiences have a reputation for stodginess, but Gilbert has demonstrated repeatedly that compelling performances of admirable new music can be invigorating for both performers and listeners.
It practically conducts itself, though Gilbert certainly deserves credit for drawing disciplined playing and vibrant tone out of his orchestra. I was sadly disappointed that my time was wasted listening to a brilliant performer make noise. But I daresay, the recital of a 19-year-old cellist at Weill Hall on February 3rd was more than merely excellent, it was an historical coming of a fully honed master virtuoso; one is compelled to formulate new standards for the golden instrument! Never mind my hyperbole; the absolute perfection of his playing, technically, musically and communicatively, had me recalling Casals, Fournier, Rostropovich and Tortelier (of a very different school) but likewise, Feuermann, Yo-Yo-Ma, Miklos Perenyi, Heifetz (of a closely analogous virtuoso persuasion), and of course Kim’s mentors, Starker and Parisot.
Kim’s assisting pianist, Larry Weng, a pupil of Boris Berman at Yale, supplied spot-on ensemble and concentration. Altogether, a volatile, wonderfully shaded and exquisitely timed rendition from both protagonists.
Even the seating of the string sections was different: Harnoncourt had the violins on opposite sides of the stage, Dudamel had them side by side.
And indeed his performance of the Brahms was full of promise: noble, somber and austere, it struck a fine balance between passion and restraint, intensity and release. Of all the great cello concertos, this is perhaps the least soloistic; it feels less like a showpiece than a conversation between soloist and orchestra.
Its instrumentation is certainly inventive, featuring a “hyper-accordion” (a modified accordion, played here by its creator Michael Ward-Bergeman) and percussion unusual to classical symphonic writing, including various drums, tambourines, and rattles from Africa, South America, and the Middle East.
One particular transition, coming out of the pastoral “Silencio” and interrupting with stomps in the lower strings and seeming chaos in the violins, is especially effective. The young artist was born in Seoul, Korea in 1993 and began his studies with Susan Moses, with whom he worked for five years at the University of Indiana in Bloomington. Never before, have I encountered such winged ease, such airborne joy, such silken smooth bowing and tone production. He also won a “Brownie Point” by using the Barenreiter Edition, with its corrected harmonies in the central Adagio. 1 in B-Flat) took off in a shower of gravel, a galloping interpretation (with pianist Weng as an ideal co-jockey).
Only a few years ago, Dudamel created a sensation with his extraordinary talent; his amazing youthful accomplishments in his own country and abroad and his meteoric rise to fame culminated in his appointment as the Los Angeles Philharmonic’s Music Director last season.


There were no extremes of tempo or dynamics, none of the whispering and crashing of the Vienna Philharmonic’s earlier Beethoven program.
Emphasizing its intimacy, inwardness, and the poetic, almost spoken quality of its phrasing and melodic rise and fall, Ma interacted closely with the concertmaster and with the principal cellist in their slow movement duet. There was no whispering, but plenty of crashing; this must have been the loudest “New World” within memory.
The main body of the piece, consisting of four movements (“Paz Sulfurica,” “Silencio,” “Transit,” and “Yrushalem”), hangs together well. During this time he also received tutelage from Janos Starker, and later from Laurence Lesser at the New England Conservatory.
All of these facets were present at the service of stylistic knowledge, bracing rhythmic thrust and most importantly, an inviting warmth and modest honesty.
He has impressed New York audiences conducting not only his Venezuelan Youth Orchestra (which he has been leading for eleven years and is now replicating in Los Angeles), but also great orchestras like the New York Philharmonic, and his appearances are always eagerly anticipated. Unfortunately, his best intentions were defeated by the size of Carnegie Hall; his playing had all its customary beauty, variety and expressiveness, but his tone was often lost in the large space.
The sound was so thick that many important melodic and harmonic details were lost; the build-ups were so precipitous that climaxes were often reached long before their time. He also enrolled at the Walnut Hill School for the Arts, and is currently studying at Yale with Aldo Parisot. Nevertheless, he received a standing ovation, and, after embracing the conductor and as many members of the orchestra as he could reach, notably the principal cellist, he returned to play the first movement of Bach’s G-major solo Suite. The temptation to draw maximal sound from a great orchestra must be irresistible to a conductor, especially a young firebrand; Dudamel seemed to be unleashing the elemental forces of nature. It goes without saying that during his apprenticeship to some of the most illustrious and revered pedagogues of his instrument, Mr. His conducting style is marked by an almost unremitting tension; he seems like a taut wire, physically and emotionally. Conducting from memory, his gestures were angular and stabbing, producing lots of aggressive accents, or large and sweeping, producing great masses of sound.
The result was a “New World” Symphony long on drama, intensity and drive, short on lyricism and repose. The audience responded with the sort of screaming associated with rock stars rather than classical conductors; the encore, the Waltz from Bernstein’s Divertimento, was blessedly quiet.



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