Andrey Boreyko Conducts Stravinsky, Mozart and Zemlinsky

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Thursday, February 13, 2014

Conductor Andrey Boreyko. (Kim Nowacki/WQXR)

Guest conductor Andrey Boreyko leads the New York Philharmonic in a performance of Stravinsky’s The Song of the Nightingale; Mozart’s Bassoon Concerto, with the orchestra's Principal Bassoon Judith LeClair as soloist; and Zemlinsky’s The Mermaid, Fantasy for Orchestra.

Program details:

Stravinsky: The Song of the Nightingale

Mozart: Bassoon Concerto

Zemlinsky: The Mermaid, Fantasy for Orchestra

Comments [2]

Les from Miami, Florida

Correction: Stravinsky's "The Song of the Nightingale" ends with a major sixth chord, not a major seventh.

Feb. 17 2014 02:53 AM
Les from Miami, Florida

Maestro Andrey Boreyko has fashioned a provocative program that should be remembered long as a highlight of the year. The performances of the three works were exemplary in all respects not on by Principal Bassoonist Judith LeClaire, but by all those called upon in the Orchestra to play solos. Stravinsky's "The Song of the Nightingale" offers a textbook of orchestrational wonders in its oft-times polymetric rythmic plan: one flute playing tremolo followed by the other playing a trill; solo violin playing in a high register on its lowest string; de rigeur perfect fifths in the celesta with harp accompaniment; the nightingale's song on a solo flute, to name but a few. As the works ends in A flat with a major seventh for poignancy, one feels one's been on a journey to remember. The Mozart Bassoon Concerto with pairs of oboes, horns and strings, offers constant demonstration of the art of song sung by an instrument. Cadenzes were imaginative and deftly played. The Andante ma Adagio movement sounded like an operatic aria; the Rondo: tempo di minuetto a charming dance. Ms. LeClaire said there are four other concerti for bassoon that are lost. If, in the foreseeable future, some miracle takes place and one or all are recovered, I know who I'd like to hear play them! A rare discovery and relevlation in its own right is Zemlinsky's "The Mermaid", composed it is thought, as a signpost to the unrequited love Zemlinsky had for Alma Mahler. In its late romantic sweep, arching melody and fascinating orchestration --- the opening draws upon low woodwinds followed by strings and a falling fourth motive that re-occurs --- one hopes to hear the work often on other conductors' programs and also that this performance is a harbinger of other things to come from this minor master who is more often talked and written about than performed.

Feb. 16 2014 05:44 PM

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