New York Philharmonic. Louis Langree, conductor; Isabel Leonard, mezzo-soprano. March 7, 2020.

David Geffen Hall at Lincoln Center.  Orchestra (Seat S113, $82.50).

Program

Prelude a l’apres-midi d’un faune (1892-94) by Debussy (1862-1918).

Nocturnes (1897-99) by Debussy.

Scheherazade, Three Poems of Tristan Klingsor for Voice and Orchestra (1903) by Ravel (1875-1937).

Le Poeme de l’extase, Op. 54 (1905-08) by Scriabin (1875-1937).

One could tell this is an eclectic program just by the fact that all the titles are in Italics.  Nothing simple like Symphony No. 3 or sonata no. 4.  In my case, other than the Debussy Prelude (a short work), all the other pieces would be new.

I was surprised this was Langree’s NY Phil debut.  He has been for a long time the music director during the summer Mostly Mozart Festivals at Lincoln Center, and by all indications the force behind that Festival being very popular.  A couple of years ago Anne and I were in Cincinnati and got to hear him lead the Cincinnati Symphony.

Since I don’t know the music well, I can’t really say how he did as the conductor.  From what I could grasp, however, they put in a good performance.  And there is this feeling about how extraordinary the program is that made this concert a unique experience that stretches the listener’s imagination.

Perhaps true to the spirit of the concert, the Program Notes is not that easy to follow either.  I read it twice, and there are things I am still not certain (will get to those later).

The first remark in the Program Notes that was helpful was that Debussy’s style was different in several ways: architecture, intuitive, momentary excitement, somewhat Symbolist in character.

Nocturnes is a collection of three symphonic movements: Nuages (clouds), Fetes (festivals), and Sirenes (Sirens).  In addition to the rather large orchestra, this 24-minute work has vocals from a women’s ensemble.  For this concert the voices are provided by the Women’s Chorus from the Juilliard School (Pierre Vallet, chorus master), four each in Soprano and Alto 1 and 2.  They add an interesting timbre to the sound of the pieces.

Debussy did write a commentary on the three movements, starting with the music is to designate the various impressions and the special effects that the word “nocturne” suggests.  “Clouds” describes how the clouds fade away; “Festivals’” vibrating and dancing rhythm blends music and luminous dust participating in the cosmic rhythm; and “Sirens” depicts the sea.  I could with some imagination made believe “Clouds” and “Festivals.”  However, it was difficult to make the case that there was much “sea” in “Sirens,” particularly if one references Debussy’s La Mer.

After performing Debussy's Nocturnes.  The "unfamiliar" faces are members of the Chorus.  Standing next to Langree is the Chorus Master Vallet.

Ravel’s Scheherazade is nothing like Rimsky-Korsakov’s, the latter being a much better-known composition based on The Arabian Nights.  The subject matter is somewhat similar, although in Ravel’s case the story (such as it is) is told via a mezzo-soprano’s voice.  The three poems by Klingsor are Asia, The Magic Flute, and The Apathetic Fellow (or The Indifferent One).  Rimsky-Korsakov’s version is more magic and fantasy, Ravel’s focuses more on the sad and macabre aspects of the fairy tale.  Asia is quite long, the other two are a few minutes each.

I had heard Leonard sing at the Met a couple of times before, and came away either unimpressed (as Marnie) or with no impression at all (as Blanche in Carmelites).  In the smaller David Geffen Hall, and with me sitting in Row S, she came across a lot better.  If singing paints a landscape, the landscape always had a spotlight on it, with no wistfulness or shadows one would expect from Ravel.

Isabel Leonard after singing Ravel's Scheherazade.

Scriabin probably will always be known as the one who came in second (after Rachmaninoff).  His music is nothing like that of Rachmaninoff’s, at least not what I have heard.  The Program Notes certainly didn’t set high expectations for the listener in terms of grasping the music.  It quotes Scriabin as saying “When you listen to Ecstasy, look straight into the eye of the sun!” And from Prokofiev: But it was hard to imagine, at first hearing, just what he was trying to do.  One can go blind by looking directly at the sun, and probably go deaf by listening to the loud passages in this work.  Prokofiev did have something good to say about this work, such as how Scriabin balances his various composition techniques; those were lost on me.

One of my blog entries is on this piece being performed by the NJ Symphony.  I contrasted the NJSO “loud” with the NY Phil “loud.”  Perhaps the NJSO loud has improved, but I must acknowledge NY Phil always has things under control.

Many instrumentalists had solo lines: strings, flute, English horn, and others.  The woodwinds did very well, strings sounded weak in comparison.  The NJSO cellist wasn't on stage tonight.

Anne couldn’t go to this concert, so I went by myself.  There were quite a few empty seats.  The concert ended at around 9:55 pm, and I just made it to NY Penn for the 10:07 train (had to run/walk very fast while inside the station).  A Rangers game just finished, so it was a tight squeeze until the train got to Secaucus Station, after which I managed to find a seat.  Anne came by to pick me up.