Above: cellist Alisa Weilerstein
Thursday December 4th, 2014 - The planned two-week Christoph von Dohnanyi/Dvorak celebration at The New York Philharmonic this month took an unexpected turn when Maestro von Dohnanyi canceled the first week's concerts due to illness. (He is reportedly feeling better and is set to appear during the second week). And so tonight we had the youthful Krzysztof Urbański on the podium for his New York Philharmonic debut, and the ever-poetic cellist Alisa Weilerstein appeared as scheduled to play the Dvorak cello concerto.
Ms. Weilerstein's knockout ruby-red frock pleased the eye, and when she began to play both the ear and the soul were thoroughly engaged, Her musicianship is deeply emotive, and the tenderness and passion of the Dvorak score suit her perfectly. Soloist and conductor established a firm rapport, seeming to inspire one another as the work moved forward.
Dvorák composed this concerto during his three-year stay in America, yet the themes evoke the composer’s eternal ties to his Bohemian homeland. His masterful way of imbuing melody with allusions to a rich nationalistic folk tradition give the music a great immediacy of appeal: it's music you simply love listening to.
Providing a rich tapestry of sound to wrap around Ms. Weilerstein's soulful playing, the artists of the Philharmonic were on particularly spell-binding form tonight. The horns were having a spectacular time of it, their many featured passages (both here and in the symphony that followed) had the burnised glow that makes the instrument so appealing. The solo woodwinds also pipe up to ear-tingling effect. In the closing movement, a silken violin theme was evocatively intoned by Sheryl Staples.
The packed house seemed to hang on Ms. Weilerstein's every phrase as she summoned up one poignant phrase after another, spinning the melodies into the hall with impressive dynamic control. Her performance evoked a very warm reception; she was re-called for an additional solo bow, and she gave a solo encore.
Above: Krzysztof Urbański
Following the interval, Dvorak's 7th Symphony received a splendid rendering from the orchestra. The boyish Maestro Urbański - who conducted both works tonight without using a score - here became the focal point: his lithe, elegant physical presence had the air of a danseur noble, his lyrical port de bras conjuring up the multi-hued voices of these marvelous players, imparting an overall sense of spaciousness to this glorious score.
A feeling of sadness runs thru this symphony, though it's never overwhelmingly mournful; the poco adagio second movement in particular lingers in an autumnal shadow (it's considered one of Dvorak's most memorable compositions) yet there's also a feeling of hope. The horns - in all four movements, and especially most marvelously in the third - sounded particularly luxuriant, and the solo flute, clarinet, oboe and bassoon each made their melodic mark.
The ebb and flow of the concluding allegro - including a soaring theme for the cellos - provided yet another opportunity for the clarinet sorcery of Anthony McGill. Rising above melancholy thoughts, Dvořák raises a banner of triumph in the symphony's stirring conclusion.
A remarkable cellist...a freshly energetic maestro...a peerless orchestra: a memorably melodious evening.