Rising from the ashes: Fazıl Say’s Phoenix and Brahms’ German Requiem at Tanglewood

Sunday afternoon’s program at Tanglewood opened with the American premiere of Fazıl Say’s 2020 concerto for piano four-hands and orchestra, Anka kuşu (Phoenix), featuring Lucas and Arthur Jussen, who had also performed the world premiere in Munich this past January. Unlike many contemporary composers, Say employs a small orchestra and little in the way of exotic percussion. His concerto is atmospheric, beginning subdued and dark with an hypnotic, chant-like passage. A percussive volley from the piano triggers a turbulent, syncopated episode. As the piece progresses, the brother playing the left hand part rises from the bench to pluck the piano’s strings or to cross his hands over to the other end of the keyboard. At times the pianists contend, at others their parts interweave or coalesce. The strings punctuate the syncopation playing col legno. After a rhapsodic interlude, a more jazzy syncopated passage begins and drives the concerto to a brilliant conclusion. In typical Tanglewood fashion, a clutch of local songbirds had added an unexpected touch of Charles Ives to Say’s composition.

The Jussens played as one, blazing along the keyboard with precision and breathtaking dynamism. Their energy and commitment carried over to the orchestra and drove the concerto to a cathartic conclusion, with the audience in the Shed rising to its feet with a roar, continually recalling them and Nelsons to the stage.

The songbirds enjoyed intermission along with everyone else, but returned briefly for the first two parts of a different sort of rising from the ashes: Brahms’ Ein deutsches Requiem. The real songbird of the afternoon, though, was Ying Fang who was consolation personified in her rapturous solo “Ye now know sorrow”. Her voice rose seamless and clear, its warmth and velvety sheen like a comforting embrace, a remarkable accomplishment considering she has to sit for nearly an hour before she sings a single note. Shenyang was equally impressive, hinting he was holding much in reserve to create an intimate rapport.

The Tanglewood Festival Chorus was at the top of its game singing with wall-of-sound power and limpid clarity as required. Nelsons once again demonstrated his skill at building tension then releasing it. “For all flesh is as grass” and the sixth movement were outstanding in this respect. The balm of the final chorus, “Blessed are the dead,” let the listener down gently, dispelling all sorrow and instilling a feeling of hope for the living. A powerful and moving performance.