Review: Two Electric Debuts at the New York Philharmonic

At a time when many orchestras are relying on entrenched repertoire and beloved artists to shore up their dwindling audiences, the New York Philharmonic on Thursday night offered three thrilling new perspectives — two from younger, female performers making their Philharmonic debuts, the third a world premiere.

One of the debuting artists was the dynamic conductor Elim Chan. Born in Hong Kong, trained in the United States and already a sensation in Europe, Chan walked to the podium with confidence. Her physical ease was justified: She showed up to her first gig with the Philharmonic fully ready to harness its forces.

She opened the program with the string orchestra version of “Pisachi,” commissioned by the Philharmonic from the Chickasaw composer Jerod Impichchaachaaha’ Tate. Originally written for the string quartet Ethel, “Pisachi” (pronounced “pih-SAH-chee”) pays homage to the desert landscape of the Southwest and the music of the Hopi and Pueblo peoples.

“Pisachi” alternates between hushed, singing harmonics and piquant rhythms painted in impassioned tremolos and spiky pizzicatos. Tate’s gifts for texture and color are intensely rendered in Ethel’s feisty 2015 recording; the Philharmonic’s version was plusher. Still, Chan drew out all of Tate’s biting phrases; conducting with just her hands, her fingers fluttered in the air.

Chan was then joined by the Argentine cellist Sol Gabetta, also making her Philharmonic debut, in Bohuslav Martinu’s First Cello Concerto — enough of a rarity that it might as well be another piece of new music. (The Philharmonic last performed it in 1976.)