Concert Review: Some Famous Last Words

Long Yu conducts the New York Philharmonic.

by Paul J. Pelkonen

Yo-Yo Ma. Photo © 2019 Sony Classical.

The last compositions by any composer, especially those with shortened lives like Modest Mussorgsky and Piotr Ilyich Tchaikovsky, command a certain respect from listeners. This week at the New York Philharmonic, the orchestra played works by each man, flanking the New York premiere of a new concerto for pipa and cello by the second-generation Chinese composer Zhao Lin. The orchestra was conducted by Long Yu, who has developed a tremendous reputation in his own country (he has been referred to as the "Chinese Valery Gergiev") but has yet to break into podium stardom here.

Concert Review: They Might Not Be Giants

Yo-Yo Ma tilts windmills with the Boston Symphony Orchestra.
by Paul J. Pelkonen

Stop that you'll only encourage him: Yo-Yo Ma (with cello) and Andris Nelsons (on podium) and
the Boston Symphony Orchestra. Photo by Stu Rosner for the Boston Symphony Orchestra.

The Boston Symphony Orchestra played its third and final Carnegie Hall concert on Friday night. This venerable orchestra has found its passion and spark again under the baton of music director Andris Nelsons. As an ensemble, it is moving forward in a bold and forthright manner. And yet, some of its past tendencies appeared in this concert, resulting in a curios evening of variable quality.

Concert Review: A Composer's Fancy

Alan Gilbert and Yo-Yo Ma premiere the Salonen Cello Concerto.
by Paul J. Pelkonen

Yo-Yo Ma onstage with the New York Philharmonic.
Photo by Chris Lee © 2017 The New York Philharmonic.

The New York premiere of a new concerto by a major composer is always an event. On Wednesday night at David Geffen Hall, that composer was the new music rock star Esa-Pekka Salonen, currently composer-in-residence at the New York Philharmonic. The work: his new Concerto for Cello and Orchestra. The soloist: Yo-Yo Ma, the most famous cellist in the world. Mr. Ma and Mr. Salonen played this work together on March 9, giving its world premiere in Chicago. Here, the conductor was Alan Gilbert.

Concert Review: A Globe Girdled in Silk

The Silk Road Project celebrates 15 years at Carnegie Hall.
by Paul J. Pelkonen

Members of the Silk Road Project in concert. (l.-r. Sandeep Das, Yo-Yo Ma,  Johnny Gandelsman,
Mike Block. Center-foreground: Wu Tong.) Photo by Todd Rosenberg © 2012 The Silk Road Project.

The hallowed stage of Carnegie Hall resounded on Wednesday night with the bold sonic explorations of the Silk Road Project, founded and led by cellist Yo-Yo Ma. The group, a melting pot of musicians and musical styles from around the globe, marked 15 years of musical journeys with this program of six works, featuring three New York premieres. This was opening night of the Project's current North American tour.

Concert Review: On Holiday in Eden

Yo-Yo Ma joins the New York Philharmonic for opening night.

by Paul J. Pelkonen

Alan Gilbert. Photo by Chris Lee © 2013 The New York Philharmonic.

The opening of the New York Philharmonic is usually an occasion for audience favorites--a strict adherence to the overture-concerto-symphony format that has been a winner over this venerable ensemble's 172-year history.

At Wednesday night's season premiere gala concert (which was filmed for broadcast later this year on PBS' Live From Lincoln Center music director Alan Gilbert broke that formula. This concert offered not one but two Philharmonic premieres, both featuring guest cellist Yo-Yo Ma. These were framed by popular works by Maurice Ravel, putting both works in context with the Swiss composer's Spanish-flavored works.

Obituary: Henri Dutilleux (1916-2013)

A small catalogue, and a huge impact.
by Paul J. Pelkonen

Composer Henri Dutilleux died May 22, 2013 in Paris, France.

The great French composer Henri Dutilleux has died in Paris. He was 97.

Dutilleux helped guide the path of concert music in the 20th century away from the serial techniques first practiced by Schoenberg and Webern. His two Symphonies and Cello Concerto are among his most important works, complex pieces that challenged the ear while fearlessly breaking ground in the use of modes and atonality. A fierce self-critic, Dutilleux published a small catalogue of pieces over a long compositional career.

Concert Review: Tribute to an Enigma

The Philharmonic pays homage to Henri Dutilleux.
by Paul Pelkonen

Yo-Yo Ma. Photo by Chris Lee © 2012 New York Philharmonic

On Tuesday night, the New York Philharmonic presented a special one-off concert celebrating the music of Henri Dutilleux, the 96-year old French composer who is the first ever recipient of the Marie-Josée Prize for New Music. As an added attraction, the concert featured an appearance by international cello star Yo-Yo Ma.

Concert Review: The Hero and the Prince

Bartók and Dvořák at Symphony Hall.

Hero with a cello: the astonishing Yo-Yo Ma.
Photo not taken in Symphony Hall. © 2011 Sony Classics.

The orchestra roster printed in this year's Boston Symphony Orchestra concert programs still has a blank space by the words "Music Director." But Tuesday night's concert (the fourth of this program with guest cellist Yo-Yo Ma) proved that the BSO is moving on from the departure of James Levine.

Mr. Ma was at Symphony Hall to play Antonín Dvořák's Cello Concerto in b minor, an inspired product of the Czech composer's three years spent teaching music in America. Mr. Ma once described this concerto as "a hero's journey." He lived up to his description, playing the vivid solo part with fire, emotion, and total involvement with the music.

Dvořák wrote passages of great lyric beauty for both orchestra and soloist, with treacherous cadenzas for the latter. The formidable double-stops and trills up on the neck of the instrument can push any cellist's capabilities. Mr. Ma's responded with playing that seemed to get better with each movement. Playing with head thrown back and fingers flying, his cello wept in the slow section of the finale, before bringing the work to a triumphant close.

Juanjo Mena, who first conducted the BSO at Tanglewood in 2010, made his Symphony Hall debut with these concerts. Mr. Mena proved a skilled accompanist, helped by strong playing from the BSO. The horns deserve praise for the noble reading of the second subject of the Allegro, and the mystic, almost Wagnerian chorale heard in the finale. The subscription audience were enthusiastic, and adoring of Mr. Ma.

They were less happy about the second half of the program. The Wooden Prince is an early work by Hungarian composer Béla Bartók, and a work that was new to the orchestra. Mr. Mena displayed an unerring grasp of Bartók's tricky time changes. The Spanish conductor navigated the oversized orchestra (extra percussionists, celesta and saxophones) through the score's hairpin curves. 

Instead of sonic overkill, Bartók produces a wide palette of tonal colors, from the lurching percussive rhythm of the Prince himself to a long lyric pas de deux for the lead dancers. The work includesme lodies inspired by Hungarian folk-tunes, as well as the wry humor evident in his later, more popular ballet score The Miraculous Mandarin.

Mr. Mena's own podium performance was fascinating to watch, combining traditional time-beating with the herky-jerky movements of the ballet's title character. But at 50 minutes, and in 12 sections with no pauses, The Wooden Prince is a heavy meal for the first-time listener to digest. It was greeted with polite applause. Work, composer, and orchestra deserved better.