Thursday October 22nd, 2015 – A Brahms-centric program at The New York Philharmonic this evening, with two of the Master’s most beloved works and an impressive contemporary work inspired by his music.
Detlev Glanert’s Brahms-Fantasie is one of the most appealing pieces of ‘new’ music I have experienced in the current century. So much ‘classical’ music being written today is expertly crafted and impressive in a cerebral way, but little of it reaches the heart or soul. In this 12-minute, overtly Brahmsian homage, Mr. Detlev eschews the current trend for over-reliance on percussion for achieving effects, and he is unafraid of melody.
After a dynamic opening statement, the music simmers down to a misterioso passage followed by a delicate section of single notes, quietly played. A dolorous theme develops, with a slow buildup to an episode of rhythmic grandeur. Following some rather gnarly phrases, a minor-key dance eventually gives way to a big turmoil of voices before settling back into simmering mystery. Near the end, a brass chorale takes on a gloomy aspect. Glanert shows his skill at creating varying moods, and the Philharmonic players made the most of the melodic opportunities afforded them, with Maestro Bychkov in sure and steady command.
Next up was the Brahms “Double” concerto. “I have had the amusing idea of writing a concerto for violin and cello …If it is at all successful, it might give us some fun,” wrote Johannes Brahms to Clara Schumann in the summer of 1887.
The two soloists – particular favorites of mine: violinist Lisa Batiashvili and cellist Gautier Capuçon – were warmly welcomed when they appeared onstage. As these two artists are as attractive to the eye as to the ear, we were in for a thoroughly absorbing experience. Mr. Capuçon’s soulful playing blends ideally with the silken style of Ms. Batiashvili, and as theme after theme was summoned up by these remarkable players – their voices echoing or entwining – the audience was drawn deeply into the music.
The central andante was especially congenial this evening, with its beautiful opening melody which is played by the soloists and the strings, enhanced by the orchestra’s solo flute, bassoon, and clarinet. In the concluding movement, Batiashvili and Capuçon were at their most alluring as they introduced the familiar mellifluous second theme. The concerto then sailed on to its inspired finale; the audience erupted in hearty applause the moment the final note had sounded, and an enthusiastic ovation called the soloists and Maestro back twice.
Following the interval, we had the Brahms 1st symphony. The composer declared that this symphony, from sketches to finishing touches, took 21 years – from 1855 to 1876 – to complete.
Here we could bask in Maestro Bychkov’s ideal pacing and his obvious affection for the music; he is a conductor who favors depth over theatricality. And so for 40 minutes we were immersed in this symphony with its wealth of themes and its somewhat Beethovian air. The inner movements were particularly impressive today: the wistful Andante sostenuto with its lovely duet for solo violin and horn, and the charming Allegretto. In the finale (and all evening, actually), Philip Myers and the Philharmonic horns produced wonderfully plush, resonant sound. And it is here that Brahms makes his most obvious salute to Beethoven with a majestic theme, first heard in the strings, that evokes the “Ode to Joy” from Beethoven’s 9th.
Tonight’s Program:
DETLEV GLANERT: Brahms-Fantasie
BRAHMS: Concerto for Violin and Cello A minor op. 102 (Double Concerto)
BRAHMS: Symphony No. 1 in C minor, Op.68
Oberon's Glade 