Above: cellist Jian Wang
~ Author: Oberon
Thursday May 10th, 2018 - The New York Philharmonic performing Tchaikovsky’s youthful 1st symphony, nicknamed "Winter Dreams", under the baton of Nikolaj Znaider. The evening opened with the Elgar cello concerto performed by Jian Wang, who I was hearing live for the first time.
Edward Elgar’s Cello Concerto reflects on the state of things post-World War I. It opens with a 4-bar solo passage for the cello, Mr. Wang's soulful sound immediately making an impression. A slow-rising scale heralds a blooming of passion, the cellist bringing lovely nuances into the melodic flow. Rather stark pizzicati leap out at us.
An agitato feeling sets up the scherzo-like second movement, an Allegro molto taken swiftly by Maestro Znaider; Mr. Wang shows off some wonderfully nimble fiorature.
At the center of the concerto is the heartfelt Adagio, wherein the cello sings in a warm melodic arc; Mr. Wang's savouring of this song, in which he engaged us with subtle poetic touches, was deeply moving. The Adagio comes to a hushed conclusion.
The concerto's finale, marked Allegro, ma non troppo, brings another deep cello theme, played over a rather trudging accompaniment. Following a deft cadenza from Mr. Wang, the music becomes march-like. Reined in, a slow interlude recalls the earlier Adagio. Big drama builds, then calm is restored. The cello harks back to the concerto's start - Mr. Wang sounding marvelous here - and then suddenly digs in, igniting a driving momentum that carries us to the finish.
Mr. Wang was fervently applauded, with all the Philharmonic players enthusiastically joining in. Summoned back for a second bow, his evident humility and grace - along with his flawless musicality - marked him as an artist of the highest quality. I very much look forward to hearing him again.
Above: Nikolaj Znaider, photo by Lars Gundersen
As the house lights dimmed following the interval, I greatly enjoyed the sight of the musicians of the Philharmonic filling the Geffen Hall stage. Maestro Znaider, making his NY Philharmonic conducting debut tonight, had arrayed all the violins to his left and the big cello and bass sections to his right. The violas were center-stage, and behind them the woodwinds are now on seated on risers, making it easier to see who's playing the solo bits. How beautiful they all looked, as concertmaster Frank Huang took his seat next to Sheryl Staples.
Tchaikovsky's first symphony, composed in 1866 and revised in 1874, was subtitled "Winter Dreams" by the composer himself. It's melodic richness and rhythmic range make it a wonderfully cordial listening experience, especially when played with such tonal fullness and vibrant clarity as tonight. My companion Dmitry, who knows the Tchaikovsky symphonies inside out, felt that the performance was on the whole a bit too fast; to me, it sounded perfect.
What I most enjoyed about this evening's performance was the playing of the many featured passages by such Philharmonic artists as Robert Langevin (flute), Liang Wang (oboe), Pascual Martínez-Forteza (clarinet), and Kim Laskowski (bassoon). Liang Wang's solo in the second movement, which becomes entwined with the Langevin flute, was but one delight of the evening. Section by section, too, the orchestra simply sounded great: the viola and cello themes in the Adagio really glowed, and - after a Laskowski bassoon solo - the violins, tutti woodwinds, and rich-sounding horns all had their shining moments. In the final movement, the cellos and basses were profound.
If, as Dmitry felt, Maestro Znaider was on the brisk side, to me it seemed exhilarating; the audience was applauding fervently as we headed up the aisle at the end.
Having the Philharmonic's lovely Associate Principal and Principal violists directly in our line of vision tonight gives me an opportunity to post this capture of Rebecca Young and Cynthia Phelps that I've been saving for just such a occasion.
~ Oberon