David Geffen Hall at Lincoln Center. Tier 2 (Seat CC03, $85).
Program
Concerto for Viola and Orchestra (1996, rev. 1998) by Sofia Gubaidulina (b. 1931).
Requiem, K. 626 (1791, completed by F.X. Sussmayr) by Mozart (1756-91).
Ave Verum Corpus, K.618 (1791) by Mozart.
Tamestit at the end of the viola concerto, with van Zweden looking on. One can see in the front NY Phil's principal bass as part of the quartet.
A digital organ was evidently used in the concert. One would think an organization such as NY Phil would have a "real" organ installed (even if most people can't tell the difference). It's is the only major auditorium I've been to without a pipe organ.
Artists
Amanda Forsythe, soprano; Cecelia Hall, mezzo-soprano; Nicholas Phan, tenor; Michael Sumuel, Bass-Baritone
Musica Sacra, chorus; Kent Trittle, director.
The New York Philharmonic's last concerts of the season constitute to a farewell to van Zweden, who will leave after the conclusion of this season. We have tickets to the last three concerts for the "occasion."
Gubaidulina is a Russian composer who now lives near Hamburg, Germany. Shostakovich was quoted as encouraging her to "... continue along your mistaken path," something she has carried "close to her heart." Of course many would argue that Shostakovich chose his own mistaken path also.
This viola concerto has many interesting aspects to it. Very noticeable is the large orchestra, and the myriad of instruments used, including the Wagner tuba, finger cymbals, piano, celesta, and an amplified harpsichord. There is also a quartet comprising the principal players of the violin, viola, cello, and bass sections with instruments tuned a quarter-tone lower. The piece itself is quite long (ca. 32 minutes per the Program Notes), without any distinct movements. The violists get to play most of the time - there are only two extended passages the violist gets a break.
This must be one of the more interesting viola concertos around, and satisfying for the violists who can pull it off. There are so many passages played in the high registers that even I could hear the notes clearly. It is somewhat unfortunate that Tamestit had a bit of intonation problems at the top end of the fingerboard. The harmonics, however, were well executed. There were a couple of themes - a la Shostakovich - that were easy enough to pick out, and they provided some continuity for me. The differently-tuned quartet was quite visible, but I simply couldn't tell how its playing affected the music. Perhaps things would sound "sunnier" if their instruments were tuned "properly?" If A were set at 440 Hz, then G# would be 415.3 Hz, so would the "lower" A be tuned to 427.65 Hz? And would that drive someone with perfect pitch crazy? During my best days as a violinist I could tell if the pitch was slightly off (never measured it, but much less than a quarter-tone, I am sure).
With modern compositions I often complain they are too long, usually after 10 minutes as I feel the composers had by that time exhausted all their ideas. Not this one, I stayed with it for most of the 32 minutes. Sitting in Tier 1, I could see the percussionist hitting the fourth drum of the timpani set, which was usually in the domain of the timpanist. At one point, when I felt the the composer had run out of things to say, she kept it interesting by added an extended del segno passage for the orchestra. (Well, sometimes I feel Schubert's Great Symphony is too long.)
Before Tamestit played an encore, he mentioned he met with Gubaidulina and the experience was like talking to one's grandmother (she will turn 93 later this year). He probably explained how that led to the encore piece (he?) constructed out of Ukrainian melodies with some Bach thrown in. It was an enjoyable piece.
Ken Trittle has been NY Phil's organist for a long time. Today he figured prominently in the program, mostly through the ensemble Musica Sacra, and his role at the organ for the Ave Verum Corpus.
It is well-known that Mozart's Requiem was a commission by an anonymous wealthy patron, widely believed to be Count Walsegg. It was to be used at the anniversary of the Count's wife, who died at age 20. Mozart finished a few sections, sketched out a few, and didn't do much work on the rest. Many people (even today) have attempted to complete the work, although the most widely performed version is that by his student Sussmyer.
I jot down from the Program Notes what Mozart did before he passed away: Introit, Kyrie, and Sequence (through the beginning of Lacrimosa). Sussmyr composed the Sanctus, Benedictus, and Agnus Dei (partially drawing on ideas Mozart had shared with him). For the Communion, Mozart's Introit and Kyrie were reused.
Ave Verum Corpus was composed in June, 1791, and describes Christ's death on the cross.
This was the first time I sat in the Second Tier of the renovated auditorium (it's been a few years), and I must say the acoustics were quite excellent. The chorus's singing was great, and the soloists came through with their lines.
The Ave Verum Corpus was performed right after the Requiem. Standing next to van Zweden are Sumuel, Phan, Hall, Forsythe, and Trittle.
Anne couldn't make this event due to her recent surgery, so I dropped her off at Ellie's place before taking public transportation to Lincoln Center.
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