Violin concerto commissioned by Joshua Bell was joined by Copland’s Third Symphony
The New York Philharmonic’s 2023-24 season opened at David Geffen Hall with outgoing music director Jaap van Zweden leading the first subscription concert. Except for a brief announcement to begin, there was little fuss over that, but there was a sense of occasion beyond it being opening night. The feature was the US premiere of The Elements, a collaborative violin concerto commissioned and performed by Joshua Bell. The other work on the programme was Aaron Copland’s Symphony No 3, and on this crowd-pleasing night, there was the subtle and powerful feeling that the real event was the orchestra putting its own history on display.
The Elements (which had its world premiere on September 1 with the NDR Elbphilharmonie Orchestra in Hamburg) comes from Bell wanting a new work in multiple parts, each of which can stand on its own. He commissioned Kevin Puts, Edgar Meyer, Jake Heggie, Jennifer Higdon and Jessie Montgomery to write, respectively, “Earth”, “Water”, “Fire”, “Air” and “Space”.
Even for composers known for their way with a lyrical line and satisfying harmonies, the fit between the movements was remarkable. Each was imaginative and distinctive while also flowing naturally from one to the other. The consistent approach was impressionistic: Puts used a rising do-re-mi-sol figure as his foundation; Meyer’s music cycled over and around itself; Heggie’s flames were in the dancing energy; for Higdon, air was a tender, slightly melancholy Sibelius-like landscape; the feeling of space for Montgomery came through in a questing quality, as if Bell was setting off on an enormous endeavour.
The violin was the lead voice, with one modest cadenza in “Air”, Bell playing with his typical singing tone, with long, elegant phrases even in the fastest music. Without the usual pile of virtuosic challenges for the violinist, this was still a showcase for him. One of the more sheerly beautiful players, the straightforward and warm communication of the music fitted his manner perfectly. Though new, it seemed well-worn and comfortable for Bell and the musicians, with classic pleasures for the listener.
Copland’s Third Symphony is a familiar, well-worn work for the Philharmonic. They first played it in 1947, and this concert was the 69th performance. Beyond that, this is a defining work of mid-20th-century American music, for which the Philharmonic was an essential ensemble.
With van Zweden crisp and clean with the baton, the orchestra played with an easy energy and power, creating that extra bit of musical feeling that comes when the notes are so familiar. There were a few casual moments in the brass, but the impression was that the players were enjoying listening to what was going on around them.
As it went along, the performance grew thrilling. Some of that was volume — this is the loudest the orchestra has been in the refurbished hall — while most was the feeling in the music, not just Copland’s simple expression but the complex and deep emotions of the slow movement. That was so lovely, it almost overshadowed the famous fanfare in the finale. In the end, that made the hall shake with the sounds of music and then roaring applause.
Source: Financial Times
