The New York Philharmonic, under Long Yu, played works by Rimsky-Korsakov, Qigang Chen and Rachmaninoff at the Rose Theater.
The New York Philharmonic played Russian music on Thursday, for the third week in a row. It was yet another argument against President Vladimir V. Putin’s claims that his country’s culture is being canceled in the West.
That wasn’t the only political resonance of the orchestra’s concert on Thursday at the Rose Theater at Jazz at Lincoln Center. It is still all too uncommon for Chinese composers and artists — especially conductors — to be featured by American orchestras outside of Lunar New Year celebrations. But this program was led by Long Yu, experienced with the Philharmonic over the past decade, and included a substantial work by Qigang Chen.
They are two of China’s most eminent classical artists. Yu leads no fewer than three major ensembles there: the China Philharmonic Orchestra, and the Shanghai and Guangzhou symphonies. And Chen served as music director for the opening ceremony of the 2008 Beijing Olympics.
But though the New York Philharmonic has played three of his pieces in the past, they have all been on Lunar New Year programs; this was his subscription series debut. And his pristine cello concerto “Reflet d’un Temps Disparu” (“Reflection on Time Past”), written in the mid-1990s, was the highlight on Thursday.
The aim of the half-hour, single-movement work is by now a familiar one: to bring together traditional Chinese sounds with the forces of a Western orchestra. But Chen, who studied in France with Olivier Messiaen in the 1980s, makes the interaction both surprising and natural.
The melodic germ is “Meihua san nong,” an ancient tune whose title is often translated as “Three Variations on the Plum Blossom.” The cello soloist — here the eloquent, calmly commanding Gautier Capuçon — begins alone, notes subtly bending to evoke the twang of a qin. (It’s in a version for that Chinese zither that “Meihua san nong” is best known.)
A woozy veil of winds casts a cloud of Messiaen-style European modernism, quickly settling into more openhearted warmth. But darkness keeps threatening, from groans in the low winds and brasses, and the cello’s line shifts from quietly clicking taps to pizzicato plucks of gonglike resonance — echoed in a large battery of percussion, including temple blocks.
Trills and brushy arpeggiated motifs conjure the Bach suites at the center of the cello’s repertory, as the solo line goes back and forth from anxiously repetitive riffs to serene, expansive lyricism. The cello doesn’t quite lead the orchestra, but its music keeps being echoed within the ensemble; the soloist is something like a diamond in a ring, supported by and glinting onto its setting.
Before the piece ends in wisps, it climaxes in a huge, lushly Romantic, quite saccharine explosion, like something out of John Williams.
Or out of Rimsky-Korsakov, whose “Tsar’s Bride” Overture opened the concert. Or Rachmaninoff, whose “Symphonic Dances” followed intermission. These dances, like Chen’s concerto, are Proustian music, evocations of the Russian past presented in a modern, occasionally even jazzy, light. (The work’s alto saxophone solo is one of its most distinctive elements.)
With its ingenious recastings of Russian Orthodox chants and the Catholic “Dies Irae,” this can be a grand, mesmerizingly intense score, a danse macabre written as World War II was underway. But while Thursday’s performance under Yu had robustness and dash, it was ever so slightly square — loud and quick, when warranted, but overall mellow in its impact.
New York Philharmonic
This program continues through Saturday at the Rose Theater at Jazz at Lincoln Center, Manhattan; nyphil.org.
Source: Music - nytimes.com
