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Taking nothing for granted
Alan Gilbert conducts the Philadelphia Orchestra
Tom Purdom
Alan Gilbert's guest appearance with the Philadelphia Orchestra combined two Philadelphia premieres with one of the all-time champions of the orchestral repertoire. The result was a program that set the new and the old side by side and left both elements looking good.
Magnus Lindberg composed Expo last year to open the New York Philharmonic's first season under Gilbert's leadership. It opens with a whip crack, whirring strings, and a big drum and brass fanfare that seems to be constantly driving toward a climactic destination. The arrival, after a quieter interlude, presents several minutes of large-scale passages that showcase the range and power of a modern orchestra, with a final moment that demanded precise execution by both Gilbert and the musicians.
Christopher Rouse's Oboe Concerto of 2004 is a beautiful piece, despite some squawky orchestral effects in the first movement that clashed with the fine line Richard Woodhams drew with his oboe. It opens with a dreamlike moment for harp and celesta, and includes display passages for the oboe; an elegiac central section; a finale that pulses with a forward drive led by the soloist; and a quiet, contemplative ending that returns to the harp and celesta accompaniment.
Beethoven's "Pastoral" symphony could have seemed like an over-familiar warhorse after two contemporary works of that quality. Instead, under Gilbert's baton it felt, from the first bar, like a visit from an old friend, or a return to one of your favorite locales. I noted some places in which entrances could have been better executed, but that was a minor matter compared to the symphony's overall feel.
Gilbert and the Philadelphia Orchestra's new conductor, Yannick Nézet-Séguin, belong to a group of youngish musicians who seem to understand that classical music organizations must fight for their audiences. You can't conduct familiar pieces like Beethoven's symphonies as if you were merely offering your listeners a respectful visit to a cultural monument. A performance of the "Pastoral" symphony should sound like what it is— an encounter with a work by a great artist who combined deep feelings with an awesome ability to create original and fascinating music.
Conductors have always tried to create exciting performances, of course. But contemporary conductors confront an immediate life-or-death challenge. Give a modern audience the kind of experience the composer intended, and they'll come back for more. Slack off for an evening and they'll turn to all the other attractions competing for their attention.
Conductors like Gilbert, Yannick and their contemporaries are a promising sign that our musical institutions may be rising to the occasion.
Magnus Lindberg composed Expo last year to open the New York Philharmonic's first season under Gilbert's leadership. It opens with a whip crack, whirring strings, and a big drum and brass fanfare that seems to be constantly driving toward a climactic destination. The arrival, after a quieter interlude, presents several minutes of large-scale passages that showcase the range and power of a modern orchestra, with a final moment that demanded precise execution by both Gilbert and the musicians.
Christopher Rouse's Oboe Concerto of 2004 is a beautiful piece, despite some squawky orchestral effects in the first movement that clashed with the fine line Richard Woodhams drew with his oboe. It opens with a dreamlike moment for harp and celesta, and includes display passages for the oboe; an elegiac central section; a finale that pulses with a forward drive led by the soloist; and a quiet, contemplative ending that returns to the harp and celesta accompaniment.
Beethoven's "Pastoral" symphony could have seemed like an over-familiar warhorse after two contemporary works of that quality. Instead, under Gilbert's baton it felt, from the first bar, like a visit from an old friend, or a return to one of your favorite locales. I noted some places in which entrances could have been better executed, but that was a minor matter compared to the symphony's overall feel.
Gilbert and the Philadelphia Orchestra's new conductor, Yannick Nézet-Séguin, belong to a group of youngish musicians who seem to understand that classical music organizations must fight for their audiences. You can't conduct familiar pieces like Beethoven's symphonies as if you were merely offering your listeners a respectful visit to a cultural monument. A performance of the "Pastoral" symphony should sound like what it is— an encounter with a work by a great artist who combined deep feelings with an awesome ability to create original and fascinating music.
Conductors have always tried to create exciting performances, of course. But contemporary conductors confront an immediate life-or-death challenge. Give a modern audience the kind of experience the composer intended, and they'll come back for more. Slack off for an evening and they'll turn to all the other attractions competing for their attention.
Conductors like Gilbert, Yannick and their contemporaries are a promising sign that our musical institutions may be rising to the occasion.
What, When, Where
Philadelphia Orchestra: Lindberg, Expo; Rouse, Oboe Concerto (Richard Woodhams, oboe); Beethoven, Symphony No. 6 in F Major (“Pastoralâ€). Alan Gilbert, conductor. January 22, 2011 at Verizon Hall, Kimmel Center, Broad and Spruce Sts. (215) 893-1900 or www.philorch.org.
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