Alan Gilbert Conducts Dvořák and a Corigliano World Premiere

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Thursday, September 13, 2012

This week’s New York Philharmonic broadcast features the September 2011, premiere of John Corigliano’s 9/11 piece, One Sweet Morning, under the direction of conductor Alan Gilbert.

The composer didn’t want the piece to become a tone poem – a piece of abstract orchestral music that attempted to depict the event, he told WQXR's Naomi Lewin last year.

For One Sweet Morning, a four-movement piece, Corigliano used other images, “both to refute and complement the all-too-vivid ones we’d bring with us into the concert hall," he wrote in a program note.

Program details:

John Corigliano: One Sweet Morning, for Mezzo-Soprano and Orchestra

Dvořák: Symphony No. 7

Comments [1]

Les from Miami, Florida

I feel compelled to commend one and all who participated in and conceived this program. I think it's one of the hallmark programs in Mr. Gilbert's tenure to date. An unjustly neglected 20th century American work, Barber's Essay No. 1, followed by a world premiere gripping in it's intensity and inspired by four appropriate poems, and a touchstone performance of Dvorak's greatest symphony. It appears Mr. Gilbert has special affinities Dvorak (and Nielsen). Perhaps there will be a complete recorded traversal of his symphonies, along with those of Nielsen. The phrasing of the main first movement motive with a slight hesitation (as was evidenced in the main motive of the third movement) gave the impression that this would be a monumental performance. The second movement solos were meltingly beautiful. The articulation in the third movement, specifically the 14 bars of divided 'cellos at "poco meno mosso" was such that I heard the two lines clearly for the first time. The antiphonal violin seating plan, my favorite, really allowed their motives to make their impression easily. Though not written in the score, the last movement could, judging by what I heard, have been titled "allegro con fuoco". And at "molto maestoso", 10 bars from the end, the horns doubling the oboes, clarinets, bassoons and second violins added the capstone to the edifice. My score doesn't have such, but Pierre Monteux's recording with the London Symphony also played from that edition. In short, a very memorable as well as monumental program.

Sep. 16 2012 05:42 PM

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