September 2012 listings for the New York Philharmonic

September 2012 listings for the New York Philharmonic

Sundays at 3:00 p.m.

Leonidas Kavakos



Violinist Leonidas Kavakos performs Korngold on September 30th.

9/2       Lunsqui: Fibres, Yarn, and Fabric Gruber: Frankenstein!! Carter: Two Controversies & Conversation Jarrell: Nachlese Vb: Liederzyklus Boulez: explosante-fixe… (H.K. Gruber, chansonnier; Robert Langevin, f; Mindy Kaufman, f; Alan Gilbert and David Robertson, cond)

9/9       Falla:  Selections from Atlantida Orff: Carmina Burana (Erin Morley, s; Nicholas Phan, t; Jacques Imbrallo, bar; Orfeon Pomplona, Igor Ijurra Fernandez, dir; Brooklyn Youth Chorus, Dianne Berkun, dir; Rafael Fruhbeck de Burgos, cond)

9/16    Corigliano: One Sweet Morning Dvorak: Symphony No. 7 (Stephanie Blythe, ms; Alan Gilbert, cond)

9/23    J.S. Bach: Violin Concerto Mozart: Violin Concerto No. 5, Turkish Stravinsky: Concerto for String Orchestra Mozart: Symphony No. 39 (Pinchas Zuckerman, cond)

9/30    Beethoven: Coriolan Overture Nielsen: Symphony No. 1 Korngold: Violin Concerto Beethoven: Leonore Overture No. 3 (Leonidas Kavakos, v; Alan Gilbert, cond)


Beethoven, Korngold and Nielsen

A wonderfully balanced program, this, with two unjustly neglected 20th Century works paired with a perennial. Mr. Kavakos and the Orchestra gave committed performance to the lyricism and romanticism inherent in Korngold's writing. The Nielsen Third Symphony is a delightful harbinger of Maestro Gilbert's decision to perform and record all six of them. The offbeats and grace notes characterizing the First Movement, hemiola and all --- it seems to me the "Eroica" Symphony of Beethoven was the model for this movement, at least --- were given their full measure. Curiously, there's a solo viola and 'cello briefly called for in this movement. The pastorale Second Movement --- a sound of nature if ever there was one --- shown with the perfect fifths of the bassoons doubled by the horns as the strings intoned their modal melody. The soprano and baritone vocalise blended well, the score indicating them to be offstage. As the principal theme was reprised, the contrabasses are instructed to employ scordatura and tuned their low E-string to E-flat. The Third Movement allowed the woodwinds to predominate; and the three oboes did so mellifluously in their solo. The Fourth Movement began sonorously --- the first and second violins playing the melody on the G-string as indicated in the score --- so much so that if Elgar were the composer, he surely would have written his unique "nobilmente", for that was how the theme sounded. (Nielsen never used the term "nobilmente".) The only surprise, though, was a change of tempo 19 bars from the end of the movement not written in the score --- at rehearsal number 13 --- that afforded a faster conclusion.

N.Y. Philharmonic program for 30 September

The New York Philharmonic website lists Nielsen's Third Symphony, Op. 27, "Sinfonia Espansiva" rather than Symphony No. 1. The Coriolan Overture by Beethoven and the Violin Concerto by Korngold are correct.

N.Y. Philharmonic program changes

Dear Howard,

This season the NYPO has had to make many program changes after they sent program listings to stations. There have been so many changes, that it has been difficult for stations to keep up with what's the latest. My guess is that the NYPO site is correct - as the stations are often the last to be notified.

Thanks for pointing this out, and I hope you enjoy the program - whether it's Nielsen, Beethoven, or whomever.

Happy listening!

Ruth Phinney, Program Director

the Barber, Corigliano and Dvorak concert

I feel compelled to write that this concert was as much a high-water mark so far in Mr. Gilbert's tenure. An unjustly neglected American work, the Barber Essay No. 1, followed by a world premiere of shattering intensity set to four poems of equal inspiration, concluding with a searing performance of Dvorak's greatest symphony. Regarding the symphony, one got the impression from the slight hesitation of the first movement's main motive (as well as that of the third movement), that this would be a memorable performance. It turned out to be my favorite performance of the work. The solos in the second movement were meltingly beautiful; and the articulation in the 12 bars of the divided 'cellos at "poco meno mosso" was such that I heard the separate lines for the first time. The final movement, though not written in the score, could have been "allegro con fuoco", because that was how it was played. The antiphonal violin seating plan, long my favorite one, allowed the principal motives to register dramatically in the last movement; and the horns doubling the oboes, clarinets, bassoons and second violins in the last 10 bars added the capstone to a magnificent edifice. My score doesn't have the horn doubling, but in the Monteux/ London Symphony recording and Szell/Cleveland Orchestra recording, that edition is also, happily, used. It seems Mr. Gilbert has a special affinity for Dvorak (as well as Nielsen) and here's hoping for complete recordings of the Dvorak symphonies as well as those planned for the Nielsen symphonies.