The Philadelphia Orchestra, under the direction of Yannick Nézet-Séguin, stuns New York audience in a rich music program highlighting Rachmaninoff.
The Philadelphia Orchestra’s annual New York performance did not disappoint the anticipation that preceded it. In the prestigious Carnegie Hall, the Philadelphia Orchestra’s performance of Higdon and Rachmaninoff’s works moved every seat in the house. The gold-trimmed and grand hall of the Isaac Stern Auditorium / Ronald O. Perelman Stage took breaths away – photos were snapped, and elegance was an unspoken uniform as concertgoers slowly trickled into their red velvet seats.
The Philadelphia Orchestra at Carnegie Hall (Photo by Chris Lee)
The Philadelphia Orchestra was founded over 120 years ago in 1900, and has since become one of the most noted orchestras within the country and across the world. Known for their full-bodied tone, the Orchestra has spearheaded notable classical pieces to audiences across the globe and established an innovative approach to sharing music to audiences through digital outreach and social impact programs. Among its many accolades, the Philadelphia Orchestra won its first Grammy Award for “Best Orchestral Performance” in 2022 for their recording of Florence Price’s “First and Third Symphonies” with Yannick Nézet-Séguin as the conductor.
Yannick Nézet-Séguin has been the musical and artistic director and conductor of the Philadelphia Orchestra since 2012. Having a longstanding relationship with the Orchestra, Nézet-Séguin is hailed for his musical expertise, enthusiastic leadership, and ultra-physical conducting. His work has led him to be notably appointed a Companion of the Order of Canada in 2012, one of the country’s highest civilian honors. Among his considerably sized list of honors, Nézet-Séguin has also received honorary doctorates from the University of Quebec in Montreal; the Curtis Institute of Music in Philadelphia; Westminster Choir College of Rider University in Princeton, New Jersey; McGill University in Montreal; the University of Montreal; the University of Pennsylvania; Laval University in Quebec; and Drexel University.
The Philadelphia Orchestra at Carnegie Hall (Photo by Chris Lee)
The opening song of the night, “Fanfare Ritmico”, written in 1999 by Jennifer Higdon, served as an amuse-bouche for what the orchestra had in store for the audience the rest of the night. Over the past 20 years, the Philadelphia Orchestra has performed Higdon’s music more often than that of any other living composer. The precision, synchronization, and passion demonstrated by the entire orchestra left skilled ears in awe. The score contains rhythms that are challenging to balance, yet the harmonization masterfully creates a sense of urgency and escalating tension. The one-movement piece is noted for its strong continuous percussion presence that drives the piece through ebbs and flows of energy. In Higdon’s words, the six minute fanfare, “celebrates the rhythm and speed (tempo) or life”. Higdon has noted that her inspiration was “how all things have quickened as time has progressed. Our lives now move at speeds much greater than what I believe anyone would have ever imagined in years past. Everyone follows the beat of their own drummer, and those drummers are beating faster and faster on many different levels. As we move along day to day, rhythm plays an integral part of our lives, from the individual heartbeat to the lightning speed of our computers. This fanfare celebrates that rhythmic motion, of man and machine, and the energy which permeates every movement of our being in the new century.”
The Philadelphia Orchestra at Carnegie Hall (Photo by Chris Lee)
Following the opening piece, the meat of the program was reserved for two of Rachmaninoff’s symphonies. Under Nézet-Séguin’s lively direction, the orchestra delivered a moving program nearly 2 hours in length. The Orchestra first played the “Symphonic Dances”, which was Rachmaninoff’s final composition, followed by a brief intermission, and concluded with “Symphony No. 2 in E Minor”, also known as the Second Symphony.
The “Symphonic Dances” was written by Rachmaninoff specifically for the Philadelphia Orchestra who premiered the piece in 1941. The piece is a notable reflection of the composer’s later style, featuring experimental and shifting harmonies, as well as focusing on individual instrument tones such as the alto saxophone (which was considered unusual at the time). The piece serves as a sentimental homage to Rachmaninoff’s home country of Russia. Despite being his only work written entirely in the US, the symphony alludes to his earlier works and the music and life he left behind. The first dance ends with a musical quote from the opening of his first symphony, which despite being a known catastrophic failure when it premiered, has now become a welcomed piece in many orchestras’ repertoires.
Rachmaninoff’s Second Symphony is the fruit of writing, editing, rewriting, and emotional labor over the course of a year. Rachmaninoff wanted this symphony to be redemption after his failed first symphony, and it has now become one of the most beloved pieces from his repertoire. The first of four movements eases audiences into the piece with a slow and pensive theme created by the cellos and basses. Rachmaninoff skillfully creates a warm yet haunting texture to the music by balancing the timbre of upper woodwind and upper strings. The ending of the first movement leaves listeners on an edge – a perfect feeling before transitioning into the second movement.
The second movement is much brighter and faster than the first, with a small lyrical section that eventually transitions into a fugal section. The Dies Irae motif is also referenced throughout this movement after first being introduced by horns early on. The dramatic shifts between fast-paced rhythms and melodic phrases makes this movement all the more thrilling and leaves a lasting impression on audience members with its unpredictable contrast.
The third movement, Adagio, is perhaps one of the most adored pieces from Rachmaninoff. It is one of the most powerful and moving movements of all time and evokes strong emotions of nostalgia, heartache, and love. The stars of this movement are the violins and clarinets, which between a gentle back and forth, build to a slow climax. The swell of the music transcends time and place, taking listeners to wherever their hearts and minds may reside. The central theme makes its appearance over the course of many variations and only further adds to the sense of home and nostalgia this piece so powerfully provides. Finally, the Second Symphony concludes with a victorious fanfare that brings together melodic variations through fast and lyrical sections. As the evening came to an end, concertgoers left the Hall with a new or reignited appreciation for modern orchestral music.
Throughout its history, Carnegie Hall has welcomed an endless amount of talent through its doors. Acting as a home for the most visionary composers and artists to share their music with the world, Carnegie Hall’s reach in the world of art and music is unparalleled. In addition to the performances, the Hall is home to many social impact programs that aim to engage the widest possible audience to nurture musical talent and harness the power of music to make a meaningful difference in people’s lives. More information and tickets can be found on their website.
