Philadelphia Orchestra shows the particular qualities underneath free-spirited …

December 6, 2014 - accent chair

Yannick Nézet-Séguin led a Philadelphia Orchestra Friday night during Carnegie Hall.

Yannick Nézet-Séguin led a Philadelphia Orchestra Friday night during Carnegie Hall.

When Yannick Nézet-Séguin began his tenure as song executive of a Philadelphia Orchestra dual years ago, he was heralded as a second entrance of Leopold Stokowski (in no tiny partial given it had been a hundred years given that mythological conductor’s possess ascent in Philadelphia). Such comparisons are apparently overblown, yet like his storied predecessor, Nézet-Séguin is a conductor not firm by convention.

One of his favorite Stokowskian practices seems to be a inversion of customary unison order. He’ll mostly place a harmony on a initial half of a program, with a concerto and lighter (or during slightest shorter) selections after intermission.

So he did in a Philadelphia Orchestra’s unison during Carnegie Hall on Friday. There was no distinct thesis to this program, that in an epoch of finish sonorous cycles, single-composer concerts, and a like, is indeed refreshing. Nézet-Séguin’s selections on Friday were tied down to no bulletin other than arrangement off his orchestra’s best resources during a visit.

In an epoch when so many American orchestras sound some-more general than ever, Philly underneath Nézet-Séguin has been rediscovering a temperament as a organisation that puts strings front-and-center. This was immediately apparent in a opening of Brahms’ Third Symphony: After a opening coronet chords, a change was all strings, a abounding and violent reduction that presented waves violation opposite a cliff.

The Andante was beautifully textured, precisely offset so that a many layers contributed to a assimilated sound. Spectacularly gorgeous, crackling cello personification began a third movement. There was a daydreaming, roughly waltzing peculiarity to a orchestra’s digest of a pulsing melody.

Nézet-Séguin paid strident courtesy to accent in a bright, stirring finale, moulding a transformation cleverly so that it came down from a enterprising tallness to tighten with conspicuous poise. As he has finished with Brahms in a past, Nézet-Séguin had his band play all 4 movements scarcely attacca, giving a clarity of a harmony as one continual whole. It worked–the musicians never pennyless their concentration, and conjunction did a audience.

French cellist Jean-Guihen Queyras assimilated for Haydn’s Cello Concerto in C Major. This square is one of a beginning examples of a cello concerto, and Queyras’s personification was stylistically sensitive, yet he did not concede himself to be hamstrung by blind confluence to Historical Performance creed. His personification was giveaway and open, expressive, light in color, and prudent in use of vibrato. Nézet-Séguin, no John Eliot Gardiner himself, authorised extended personification and inexhaustible vibrato from his strings.

This concerto went undiscovered until a 1960s, presenting a extraordinary problem of what to do about a cadenzas, given there are nothing flourishing from contemporaries. The ones that Queyras played for a initial dual movements, yet tasteful, were unabashedly anachronistic in style.

Queyras’s tinge wasn’t consistently transparent in a finale, yet he showed adequate virtuosity that on his third screen call, Nézet-Séguin nudged him behind to his chair for an encore (and afterwards scampered behind to find a chair among a breeze section). He gave a thoughtful, amatory delivery of a Sarabande from Bach’s Suite No. 4 in E-flat.

The shutting piece, a apartment from Der Rosenkavalier, was played with wonderful, superb sweep. Strauss’s abounding essay showed off a Philly strings during their many syrupy, bristling with warmth, and a opposite scenes were vividly evoked by Nézet-Séguin’s painting. The sorcery of a “presentation of a rose” method was spellbinding.

The waltzes, too were quite exquisite. Nézet-Séguin’s precisely crafted and meticulously placed dynamics lent disproportionate tenderness to those from a second act, and there was a nonsensical clarity of joviality about a strut from Act III. Richly charactered pieces like this one are superb vehicles to arrangement Nézet-Séguin’s biggest asset, his enormous personality–he took a theatre on Friday in a velvet cooking coupler with no tie, and his musicians, yet in full dusk attire, responded with likewise free-spirited playing.

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