Rachmaninoff’s Symphonic Dances was the highlight of a program that also included the New York debut of Bryce Dessner’s evocative Concerto for Two Pianos.
On Thursday, the New York Philharmonic gave the New York premiere of a double piano concerto by a pop artist with classical and indie rock credentials. With the composer in attendance, the piece, lovingly crafted to show off the evening’s soloists, Katia and Marielle Labèque, had a strong claim as the evening’s centerpiece.
Instead, Rachmaninoff’s Symphonic Dances, a repertory staple that the Philharmonic recently performed in 2022, walked off with the night.
The fault hardly lies with the piece written by Bryce Dessner, a founding member of the rock band the National, who has a master’s from the Yale School of Music and is a Grammy winner in rock and classical categories. The Labèque sisters’ recording of his Concerto for Two Pianos reveals an evocative, neatly conceived work that uses contrast to build momentum across three movements.
Dessner, who closely studied the Labèques’ repertoire, throws all manner of writing at the pianists, who play cascading figures in canon, stuttering syncopations, gently articulated polyrhythms, jabbing chords and twinkling starbursts of notes. The orchestra, mesmerized, follows their lead. The winds copy the arching shape of the piano’s dreamy chord progressions, and the low strings and brasses double the piano’s bass stabs. What the concerto lacks in mystery it makes up for in showmanship and communal impact.
On Thursday, the Labèque sisters played with typical precision, carving out figures from the orchestral fabric with a scalpel. They found flair in clarity; long-breathed lines flowed evenly, and the interplay between the piano parts — whether layered atop or responding to one another — had athletic grace. In the second movement, Katia played notes on high like a smooth, confiding whisper, and Marielle lashed out percussively. They make collaboration sound like an instinctive mind meld.
The evening’s conductor, Semyon Bychkov, opted for a reduced version of the orchestration that sounded skeletal in live performance. A sequence of whole notes across the orchestral parts in the third movement desperately needed heft. The hairpin dynamics for the brasses, which are meant to flash by like a car’s headlights on a pitch-black night, were barely indicated. Without shape, vignettes blurred together: Prettily fragile passages sounded awfully similar to dissonant ones.
The concerto, which never really reached out to grab its audience, deserved a fairer outing, especially as it was sandwiched between two works, Strauss’s “Don Juan” and the Symphonic Dances, that received the high Romantic treatment.
The orchestra came out swinging in the Strauss, overshooting the brashness and bravado of the opening phrase and stiffly dispatching moments of mischief. But there was genuine sweep in the romantic climaxes as the orchestra summoned the intoxicating magic of Strauss’s dense score. The Don’s demise at the end was unsentimental and, in its own way, honorable.
After intermission the orchestra, sounding reborn, struck a perfect balance between its overheated excitement in the Strauss and its detachment in the Dessner. From the first notes of Rachmaninoff’s Symphonic Dances, the players, attuned to matters of balance and color, showed a striking confidence and natural expansiveness. The first movement’s extended woodwind chorale, anchored by the rose-gold color of Lino Gomez’s alto saxophone, was luxurious to behold. The strings, piano and harp answered with melancholic optimism.
The second movement dispelled any lingering question about the Philharmonic’s dexterity with contrasts. It opened with the wheezing of stopped horns and muted trumpets, which quickly gave way to the liquefaction of legato winds and the oom-pah-pah of plush strings. A waltz of peculiar color, it seemed to waft off the stage and into the hall. It didn’t overwhelm the audience members or recede from them; instead, it invited them into the dance.
New York Philharmonic
This program repeats through Saturday at David Geffen Hall, Manhattan; nyphil.org.
Source: Music - nytimes.com
