Alexander Shelley brought the National Arts Center Orchestra to Carnegie Hall in New York on Tuesday for the American premiere of the 13and Symphony by Philip Glass dedicated to the memory of legendary Canadian ABC anchor Peter Jennings. Mission accomplished for an orchestra that had not played here since the 1990s: the coherence of the project and the quality of the performance aroused the enthusiasm of a copiously full room.
Through the dedication to Peter Jennings, the theme of the concert was the truth of information. The concept is difficult to translate musically, even if a composer can embody a “truth” at a historical moment through his view of the world. It is no coincidence that two of the works on the program dated from the end of the Second World War: Korngold freeing his speech by reuniting with the symphony orchestra in his violin concerto, after so much music for the cinema, and Shostakovich refusing to compose the grandiose parade symphony that Stalin wanted.
gripping reminder
What a lesson in the timelessness of masterpieces to hear the bassoon’s desperate call resound after a crushing chorale of trombones in the 9and Symphony by Shostakovich! The images that these internalized cries can call up are those of the bruised artery of Boutcha, this same bassoon deviating with a breath towards a half-ironic, half-sardonic music which taunts us, as if an evil spirit wanted to make us believe that it was all deception…
So, when in recall of their Violin Concerto by Korngold, James Ehnes and Alexander Shelley play МиЄ (“ We are “) a paraphrase for violin and strings of the Ukrainian anthem composed by Yurii Shevchenko, it is an audience almost paralyzed and on the verge of tears who rises to cheer them. Composer of music for television, stage (especially for children) and cinema, the Ukrainian Shevchenko died on March 23 of pneumonia linked to COVID contracted in a basement in kyiv.
In Korngold, Ehnes and Shelley did not allow themselves to be trapped by the emotion distilled by the themes of the 1er shutter. The soloist has preserved a very rhapsodic tone by propelling the speech with a game of purity (the sounds spun in the 2and movement) and an admirable accuracy. For Shostakovich, Shelley clearly favored cynicism over levity. All joy is short-lived, recklessness being overtaken by militarism and misfortune. The snare attacks could have been even more harrowing, and the trumpets of the Final lacked brilliance and relief (are there conductors who make trumpeters rise?), but the whole had a superb stature and a lot of poise.
Coasting Glass
Introduced by a brief polyrhythmic work for winds by Nicole Lizée, very much in the “Glassian” spirit, the concert ended with the 13and Symphony by the iconic American composer.
With the postponement of this concert from 2020 to 2022, the world premiere of the 13and Symphony (March 30, Toronto) comes after the recording of the 14and, published three months ago. Philip Glass confirmed to Homework that its 15and Symphony, which was to be premiered in Washington in March, has not been completed. It is now scheduled for October.
What does this tell us 13and From our era ? Compared to infinitely intricate earlier works, like the finest tapestries and playing, over the long term, on minute variations, the 13and appears skillful (the craft is undeniable), but almost trivial. A simple melodic material, almost “pop”, is treated doubly in opposition of undulation (strings) and punctuation (winds). When the punctuation becomes heavier, the undulation slows down (3and shutter).
Globally, Glass seems to induce here the idea of disturbance of a flow (2and segment), which perhaps sticks with his point (the forces contrary to the truth, or disturbing a message) and which he will totally abandon in the 14and Symphony, more linearly melodic. The abrupt end of movements I and III nevertheless seems like an enigma, as if the composer had finished his stock of music paper before its time. Perhaps, on the air, it was time for advertisements!