United States Tanglewood Pageant 2024 [3] – Numerous: Soloists, Boston Symphony Orchestra / Andris Nelsons (conductor). Koussevitzky Shed, Lenox, Massachusetts, 13 and 14.7.2024. (ES-S)
[1] Simon, Beethoven, Ellington: Yuja Wang (piano), 13.7.2024.
Carlos Simon – ‘Heat from Different Suns’ for string orchestra
Beethoven – Piano Concerto No.4 in G main
Encores: Mendelssohn, Songs With out Phrases Op.67, No.2; Prokofiev, Piano Sonata No.7 in B-flat main, third motion
Ellington – Three Black Kings, Harlem (A Tone Parallel to Harlem)
[2] Kirkland Snider, Prokofiev, Dvořák: Augustin Hadelich (violin), 14.7.2024.
Sarah Kirkland Snider – ‘Ahead into Mild’
Prokofiev – Violin Concerto No.2 in G minor
Encore: ‘Orange Blossom Particular’ (arr. Hadelich)
Dvořák – Symphony No.7 in D minor
Tanglewood performances on Saturday and Sunday, led by Boston Symphony Orchestra’s music director, Andris Nelsons, offered equally structured first halves that includes concertante items with well-known soloists. Previous these have been just lately composed works searching for higher recognition.
The second halves, nonetheless, diverged considerably. A proficient, although not excellent, rendition of Dvořák’s Symphony No.7 sounded very Brahmsian in its structural complexity, growth of thematic materials and darkish orchestration. Nelsons meticulously dealt with particulars, seamlessly integrating soloistic passages into the musical material and assuredly managing intricate rhythmic patterns, such because the overlay of a furiant dance and a waltz within the Scherzo.
On the earlier night time, the second a part of the live performance was solely devoted to the music of Duke Ellington, orchestrated by Luther Henderson. Impressed by a Sunday stroll, Harlem (A Tone Parallel to Harlem) represents a collection of reminiscences in regards to the New York neighborhood, its road scenes and its well-known or just picturesque characters. Three Black Kings additionally seeks to narratively join the current with the previous. A gospel-like homage to Martin Luther King is preceded by two sections that evoke Biblical characters: Balthasar, one of many Three Magi and King Solomon. Within the phase devoted to the previous, a percussive, energetic drive anchored by conga drums is permeated by lush, Hollywoodian-Oriental mixtures of strings and winds. Within the latter, candy strings and trumpets body a cabaret-like scene that includes charming solo winds.
These orchestral transpositions have been notable of their use of classical devices just like the harp to boost the jazzy colours and rhythms. General, nonetheless, using such a big orchestra for this music appeared extreme – a extra intimate band would have higher highlighted its qualities. Nelsons and his ensemble did their greatest to adapt to the jazzy type and its distinct levels of freedom in comparison with classical music. They appeared a tad uncomfortable at occasions, however that was to be anticipated.
Carlos Simon’s ‘Heat from Different Suns’ is an growth for string orchestra of a string quartet initially composed in 2019. The title is impressed by Isabel Wilkerson’s ebook which describes the tribulations of African Individuals throughout the ‘Nice Migration’ – a several-decades-long interval when hundreds of thousands moved from rural and impoverished Southern areas to city areas within the North and West.’
The work is split into three actions – ‘Rays of Mild’, ‘Flight’, ‘Settle’ – linked by a persistent ‘agitation’ theme, famous by the composer in his prefatory remarks. Together with improvisatory components typical of jazz and blues, together with echoes of Copland’s strategy to musical colours, the rating could reveal a richness that exceeds preliminary impressions. Nelsons gave his customary ‘attention-to-detail’ remedy to the violin divisi and chromatic inflections.
Sarah Kirkland Snider’s ‘Ahead into Mild’, titled after a suffrage slogan, was commissioned by the New York Philharmonic as a part of ‘Mission 19’ which invited nineteen girls composers to have a good time the centennial of the ratification of the Nineteenth Modification, granting American girls the suitable to vote. The composer describes the work as ‘a meditation on perseverance, bravery and alliance’. Nonetheless, any programmatic connotations within the superbly orchestrated rating are troublesome to discern with out prior rationalization. The sonorities are clearly fashionable but not dogmatically so, as gently launched waves intersect and overlap in a luminous soundscape. Coloristic nuances are often wealthy, although typically simply delicately recommended. The instrumentalists appear to get pleasure from enjoying music that’s neither tough nor overly sentimental, but deeply significant.
Nelsons as soon as once more demonstrated his reward as an accompanist in these performances, with the presence of two magnificent younger-generation soloists serving to spotlight his expertise even additional. Augustin Hadelich commanded the highlight in Prokofiev’s Violin Concerto No.2, famend for its daunting technical challenges. He effortlessly navigated passages of immense issue, whereas infusing them with each anticipated mischievousness and sudden lyricism. Within the slower segments, his dialogues, not solely with the orchestra but additionally with the Koussevitzky Shed birds, have been marked by heartfelt class. The mysterious solo introduction unfolded just like the opening sentence of a fascinating ghost story, whereas the melody within the Andante assai soared gracefully above the pizzicato strings and woodwinds.
The tilting of Yuja Wang’s repertoire steadiness in the direction of colourful, showy, ‘Rachmaninovian’ exploits typically hides the poetic, dreamlike and considerate facets of her enjoying. At Tanglewood, her rendition of Beethoven’s Piano Concerto No.4 was splendid. Within the famed introductory bars, the piano grabbed consideration with a tentative relatively than assertive assertion. Any fireworks appeared bathed in moonlight. Wang approached the gloomy Andante con moto with modesty, permitting the piano to delicately weave its dialogue with the orchestral ‘furies’. Her micro-control of dynamics was constantly astonishing. The primary theme of the ultimate Rondo emerged shy and playful, by no means reaching bellicose dimensions.
Enthusiastically applauded, Wang provided two encores, every highlighting completely different facets of her complicated musical persona. Mendelssohn’s Op.67 No.2 from the Lieder ohne Worte cycle was stuffed with longing, regardless of its Allegro leggiero marking, whereas the third motion of Prokofiev’s Sonata No.7 sounded as if a long-caged satan was lastly launched.
The proposed program for her forthcoming recital at Tanglewood, linking Shostakovich’s preludes and fugues with Chopin’s ballades by way of Barber’s Sonata, guarantees a efficiency that can as soon as once more show to disbelievers that there’s vital interpretative depth beneath Yuja Wang’s sparkles.
Edward Sava-Segal
