Expectations were sky high when Yannick Nézet-Séguin brought the acclaimed Philadelphia Orchestra to a sold-out concert hall in Montreal. A few weeks ago, the Orchestre Métropolitain, whose Music Director is also Nézet-Séguin, had played on the stage of Philadelphia's Kimmel Center, so now it was the OM's turn to host.
The Philadelphia Orchestra has led the way in bringing to light the compositions of Florence Price, whose works had been largely forgotten. Price's Symphony no. 4 in D minor (which was only posthumously premiered in 2018) incorporates African music in conjunction with American jazz and ragtime stylings. The opening section makes extensive use of the spiritual Wade in the Water, while the third movement Juba (an African dance) is reminiscent of a Scott Joplin cakewalk. This symphony's Andante cantabile resembles the slow movement of Dvořák's New World Symphony. Throughout, Nézet-Séguin succeeded in ratcheting up the players' energy levels, yet this powerhouse ensemble was never strident. At the risk of nitpicking, occasionally the first trombone's playing was effusive. High praise for the flawless French horn solos, the magnificently controlled low brass chorale, the soothing string playing and the tastefully shared timbral contributions of the large percussion section.
From a composition by Florence Price, we moved on to a symphony by a world-renowned composer whose close and protracted working relationship with the Philadelphia Orchestra elevated the latter's prestige. Rachmaninov's Second Symphony exploits the capabilities of the more lavish symphony orchestras that emerged in the early 20th century. The work is densely orchestrated and rhythmically intricate. Judicious deployment of rubato in conjunction with long phrasing arcs are integral to actualizing its inherent beauty; Nézet-Séguin was undeniably up to the challenge.
The transparency in the Philadelphian's rendition was stellar; the multitude of layers were not only discernible but peeled back in a way that maximised expressiveness. Mellifluous strands were masterfully woven into a sumptuous aural mosaic. Nézet-Séguin wrung every last drop of musicality from Rachmaninov's luxuriant phrases. Kudos to the horn section who handled the extensive ‘stopped’ material with aplomb, the first violin section for their laudable rhythmic cohesion displayed in the opening movement, and for the gorgeous clarinet solo in the Adagio.
Although there is profusion of grey hairs amongst its members, the Philadelphia Orchestra played with youthful exuberance. They and Nézet-Séguin earned an ovation commensurate with the response one would expect for a football team that has just won the World Cup.
