Above: Lisa Batiashvili & François Leleux
Thursday April 9th, 2015 - The New York Philharmonic's Artist-in-Residence Lisa Batiashvili and her husband, the oboist François Leleux, performing Bach’s Concerto for Violin and Oboe, and a new work by Thierry Escaich inspired by it; Alan Gilbert was on the podium for an evening that concluded with a fantastic performance of Shostakovich’s Tenth Symphony.
Johann Sebastian Bach's Concerto for Violin and Oboe, BWV 1060 (composed ca. 1736) was vividly played by the husband & wife team of Lisa Batiashvili and François Leleux. Both artists displayed a keen sense of dynamics, with some lovely subtle passages, especially in the first movement. The adagio, rather sinuous and languid, was finely shaped and the oboist's breath-control was indeed impressive. Throughout, the duo's articulation had great clarity. Mssr. Leleux displayed some charming body-english and in fact there were times when the two players and Maestro Alan Gilbert seemed to be dancing a pas de trois.
Composer Thierry Escaich (above) has been the organist at Saint-Étienne-de-Mont in Paris since 1997; he has written over a hundred compositions in all genres, including the score for Benjamin Millepied's 2010 ballet for NYC Ballet, Why Am I Not Where You Are. Tonight his Concerto for Violin, Oboe and Orchestra proved one of the most satisfying pieces of new music to come along in recent seasons.
At the start, the violins tap on their strings to a rather ominous orchestral under-glow. The oboe is jaunty at first, the solo violin melodious: over pulsing rhythms, they seem to be having a conversation. Celestial music marks the second movement, with choral trumpets and clockwork tones of the vibraphone. The oboe lingers in the highest range, descending to a slow beat as the violin turns soulful; this evolves into a haunting oboe solo. The orchestra hunkers down, the violin plays a low-lying theme before the music rises up again to an ethereal fade-out.
Following an increase in tension, a whiplash sends the high oboe ever higher. After darkish pronouncements and a deep rumble, the oboe gets playful. Bells clang and trumpets echo before the tapping of strings returns. The music turns expansive - an interjection of French horn is heard - and then on to a swift finish.
Ms. Batiashvili and Mssr. Leleux brought the same peak level of musicality to the Escaich that had marked their playing of the Bach, underlining the links between the two vastly different-sounding works. The audience seemed to take to the new piece warmly, with vigorous applause for the soloists and the composer.
The New York Philharmonic performed Shostakovich's 10th symphony just last season, under the baton of Pablo Heras-Casado; I loved it then and was very keen to experience it live again.
Shostakovich spent many of his most productive years under the oppressive regime of Soviet dictator Joseph Stalin. Following Stalin’s death in 1953, Shostakovich unveiled a new symphony, his first in eight years. He completed Symphony No. 10 on October 25th and Yevgeny Mravinsky conducted the premiere in Leningrad on December 17th, 1953. At the time, the composer denied that the symphony was programmatic, but in a memoir published in 1979, he said: "It’s about Stalin and the Stalin years. The second part, the scherzo, is a musical portrait of him, roughly speaking. Of course, there are other things in it, but that’s the basis.”
Tonight's performance was so alive and thrilling; the long first movement in particular revealed one marvelous passage after another, beginning with a mysterious opening that to me recalls Stravinsky's Firebird. Of special appeal was the playing of master-clarinetist Anthony McGill whose alluring tone and dynamic control were spell-binding. Horns, bassoon, oboe, flute, and piccolos were all superb - throughout the symphony, really, and especially in the 4th movement where they trade off solo passages.
In the militant rush of the allegro and into the darkish dance of the allegretto, the Philharmonic musicians were on peak form; In the concluding andante-allegro, the solo wind voices excelled, the horn calls were rich, and Sheryl Staples made a lovely effect in a violin moment. The music goes witty for a while; militant drums are heard. The epic work reaches its end with an upswing of optimistic energy.
Tonight's Shostakovich was one of the most exhilarating musical experiences of the current season; a pity the couple behind us nearly ruined it with their whispering, giggling, and shuffling about.
Earlier in the day, there was some good news from The Philharmonic: Frank Huang has been named the orchestra's new concertmaster. Mr. Huang has appeared unannounced in a couple of trial-run concerts that we attended; it will be good to welcome him officially next season.