The New York Philharmonic Performs Beethoven and Hindemith

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Thursday, November 17, 2016

The New York Philharmonic and Music Director Alan Gilbert. The New York Philharmonic and Music Director Alan Gilbert. (Chris Lee)

Tune in Thursday at 9 pm as Alan Gilbert leads the New York Philharmonic in Beethoven's Overture to Egmont and Missa solemnis, Op. 123. Soloists include sopranos Christine Brewer and Jane Henschel as well as tenor Anthony Dean Griffey and bass-baritone Eric Owens. The program also consists of Hindemith's Symphonic Metamorphosis of Themes of Carl Maria von Weber.

Program:

Conductor: Alan Gilbert                                                                                                    

Soloists: Christine Brewer, soprano; Jane Henschel, soprano; Anthony Dean Griffey, tenor Eric Owens, bass-baritone; New York Choral Artists, (Joseph Flummerfelt, Director)

BEETHOVEN: Overture to Egmont

HINDEMITH: Symphonic Metamorphosis of Themes of Carl Maria von Weber

BEETHOVEN: Missa solemnis, Op. 123

Comments [3]

Sheila Lu from Bergen, New Jersey

I have listened this time peariod 10:30pm around on Thursday the17th of November. I love that music very much! I have followed your web list as above to collect exactly piece from Apple Store. But it seems I don't get same music which I listened from your radio at that time. Did you played differently as above list? Does someone could help me to find that solo violin with choir piece ?I love violin blend with song! fantastic !someone tell me it please. Thank! Happy Thanksgiving!

Nov. 23 2016 02:41 PM
Les from Miami, Florida

Clarification: Toscanini led the New York Philharmonic premiere of Beethoven's "Missa Solemnis".

Nov. 21 2016 04:25 AM
Les from Miami, Florida

On the New York Philharmonic website, the program was a repeat of Alan Gilbert's last concert of his first season as Music Director of the Orchestra and it comprosed Magnus Lindberg's "Al Largo" and Beethoven's "Missa Solemnis"; the Overture to "Egmont" and Hindemith's "Symphonic Metamorphosis of Themes of Carl Maria von Weber" weren't on that program. Lindberg's piece presented a varied and intriguing array of tone colors and vivid orchestrations, so much so that I couldn't help but think of it being paired with a choreography. I could hear somewhat of a resemblance to Beethoven's uncanny ability to take short motives and vary them. Beethoven's "Missa Solemnis" is such an awe-inspiring and imperishable masterpiece that words of wonder for every page would take volumes and would still fall short. The orchestration is exactly that of his Ninth Symphony (plus the four soloists) with the logical addition of a choir and an organ, the latter not employed in this performance --- it seems redundant with an orchestra. The soloists blended well in ensembles but I had reservations about what I heard as wooly and unfocused tone from the tenor throughout. The choir was superb throughout, whose assignment included some of the longest-held notes "in alt" in the entire literature. The words "Mit andacht", "with reverance", as well as the tempo indication, appear for the "Kyrie" and for the "Sanctus". I thought the beginning was a trifle rushed for said same but had no such reservation for the tempo of the "Sanctus", whose section "Sostenuto ma non troppo" (G major, 3/4 time) with divided 'cell's with contrabasses, flutes, bassoons and solo violas begin a sublime meditation after which a solo violin holds forth (played by Glenn Dicterow, presumably) as the tempo becomes 12-8 while remaining in G major "Andante molto cantabile e non troppo mosso". The "Crucifixus" section of the "Credo" with its double-dotted eighth and thirty-second notes, in my humble opinion, equals the sublimity that J.S. Bach reached in his "Passion According to St. Matthew" and the "B minor Mass". The final "Dona nobis pacem" in D major beginning at "Allegretto vivace" that is interrupted by the military tatto in B flat for trumpets, trombones and timpani depicting the ever-present threat of war, was strikingly played in contrast. The choir sings "Dona nobis pacem" several times afterwords, but it's the orchestra itself that concludes the Mass decisively and with finality. This was a monumental conclusion of a first season for Alan Gilbert. Parenthetically, the premiere of the work conducted by Arturo Toscanini was played on a usual Sunday matine'e in 1935 that was broadcast by CBS and a sub-rosa recording of which I have. The soloists were Elizabeth Rethberg, Marion Telva, Giovanni Martinelli and Ezio Pinza. Toscanini also recorded the work for RCA Victor in 1953 after a radio performance with the NBC Symphony, Lois Marshall, Nan Merriman, Eugene Conley and Jerome Hines.

Nov. 20 2016 03:34 PM

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