N.Y. Philharmonic Adds 2 Premieres to a Diet of Classics

When Jaap van Zweden, the music director of the New York Philharmonic, led the orchestra at the beginning of the year, the program featured repertory hits: a Wagner prelude, a Beethoven piano concerto and a Brahms symphony. Last week he returned with more of the same: a Mendelssohn overture, a Mozart piano concerto and a Beethoven symphony.

This felt a little like “let Jaap be Jaap,” with van Zweden — whose short Philharmonic tenure ends in a few months — finally freed of the burden of presenting new works and past rarities, and able to focus wholly on the standards that have been at the center of his conducting career.

But on Thursday at David Geffen Hall, he — or at least the administrators who have encouraged more adventure in his choices — offered a reminder that his time in New York had not been entirely without variety. In fact, the concert offered something unusual in the orchestral field: In a mixed program that will be repeated on Saturday and Sunday, the two (two!) premieres on the first half together lasted longer than the Mendelssohn symphony (yes, more Mendelssohn) after intermission.

It was too bad that neither of those new pieces made a positive impression and that performing them together worked against both.

First came Joel Thompson’s “To See the Sky,” obscurely subtitled “an exegesis for orchestra.” Two years ago, the Philharmonic premiered Thompson’s sumptuously moody song cycle “The Places We Leave.” Now 35, he has largely specialized in vocal music, and the 20-minute “To See the Sky,” heard for the first time on Thursday, is his longest instrumental work; you got the sense of a young composer trying to figure out how to fill such a substantial span.

The titles of the piece’s three sections together form a quotation from the musician Cécile McLorin Salvant: “Sometimes/you have to gaze into a well/to see the sky.” From its beginning, with a series of soft rumbles that explode into violent bursts, much of the work alternates sections of loud and bumptious rhythms, like a parody of hip-hop beats, with periods of subdued lyricism. But these repetitive assertive-then-reticent cycles don’t accumulate interest or tension — though there are nice touches, like the sound of a trumpet flecked with harp.