Returning to the helm of the New York Philharmonic, Manfred Honeck proposed a program that began with a transparent, matter-of-fact evocation of a summer night in rural Connecticut, prefacing two major Romanticism-infused Russian blockbusters. Katherine Balch's musica pyralis (Music of the Firefly) marks the orchestra’s first performance of any work by this prolific young composer. In her own words, the 10-minute score attempts to capture a glimpse of a “saturated soundscape where each noisemaker can hear and be heard as they occupy distinct registral and timbral niches”. For that purpose, Balch employs a traditional orchestral setup where regular instruments are also played using unconventional techniques. This approach is further enhanced by the inclusion of a few non-standard choices, such as harmonicas, a harp tuned a quarter-tone lower than the orchestra, and several exotic percussion instruments, including “a coarse ceramic tile”. Similar to tableaux from Janáček’s The Cunning Little Vixen, where a comparable world is explored, there are few extended melodic lines. However, peculiar harmonies constantly grab the listener's attention.
Now that the Rachmaninov's 150th anniversary year is behind us, opportunities to attend performances featuring more than just his well-known compositions have dwindled. Nonetheless, while audiences may have to settle for the beloved Rach 2 and not his, say, the Fourth Piano Concerto, there remains hope for insightful approaches. Recalling Beatrice Rana's innovative interpretations of Bach’s Goldberg Variations or her Tchaikovsky, one could foresee her bringing a similarly fresh perspective to Rachmaninov’s Second Piano Concerto.
Expectations were met, albeit with initial setbacks. During Saturday night’s performance, the opening felt slightly muddled as the soloist was overshadowed by the orchestra. At different junctures, the alignment between the piano and the ensemble was not always perfect. However, as the concerto progressed, Rana’s remarkable sensitivity, her avoidance of over-sentimentality, and her flawless technique became increasingly evident. The overall coolness of her approach didn’t preclude moments of great tenderness, such as the enunciation of the first movement’s second theme, marked by hints of rubato. In the Adagio sostenuto, Rana beautifully emphasized, with great delicacy, the way harmony enhances Rachmaninov’s melodies. Successive dialogues with woodwinds were exquisite, while Rana and Honeck skilfully built the movement’s arch in a manner that felt neither rushed nor lacking in tension. Despite its technical difficulties, the Allegro scherzando was marked in Rana’s playing by a wonderful lightness. The final minutes, reminiscent of Tchaikovsky’s First Piano Concerto, were clearly conceived to stir public enthusiasm, and indeed they did.
Performing Tchaikovsky’s Fifth Symphony alongside the Rachmaninov vividly illustrated the younger composer’s indebtedness to the elderly master, both in emotional depth and in the use of diverse stylistic elements. Rachmaninov’s concerto, characterized by its romantic spirit, lyrical intensity, passionate themes and lush orchestration, clearly shares a kinship with the music of Tchaikovsky’s symphony. This link was even more apparent in Honeck’s rendition, which imbued the New York Phil's sound with unexpected warmth. From the clarinet’s smooth introduction to the foreboding double basses in the closing bars, the first movement was managed tightly yet flexibly, both in terms of dynamics and tempo. The recurrence of the Fate theme was never over-emphasized. The expressive musical lines in the Andante were spun with great nobility. As expected from an Austrian-born conductor, the Valse radiated Viennese charm, while the Finale was driven forward with real urgency. Not a novel approach to a well-known work, yet still a remarkable performance.
