My first visit to the New York Philharmonic in the new year reminded me why I love New York music. I guess I’m spoiled! On the program was a contemporary work by Thomas Ades - Polaris: Voyage for Orchestra and Mahler’s Symphony #9. The Ades was very approachable considering some contemporary works can be challenging to understand on the first hearing. Dominated by walls of brass and winds and supported by strings and percussion, the piece closely mimicked its title. As the music painted what seemed a journey through the stratosphere, it called for visual representation of some sort. In fact, the program states, “Polaris was conceived for performance with a projected visual work by the film- and video-maker Tal Rosner. The work has been given with projections arranged in different ways, but it is also written so that it can be presented as a purely musical piece.”
I love Mahler symphonies, but I must say that the Symphony #9 has not been one of my favorites. This is the first time I’ve heard the Ninth live, and now I know why it hasn’t been high on my favorite Mahler. Particularly in the final movement - Mahler’s final movement of his final symphony before he passed on - has some incredibly soft passages. These do not come off as well on a recording as they do in a live concert hall. The orchestra’s sensitive playing, particularly in the final movement resulted in a rather awkward Bravo! from an enthusiastic audience member at the conclusion. I agree, the performance was quite special. And I have a much deeper appreciation for Mahler’s final symphony.
I’ve seen the orchestra several times this year, most often under conductors other than Musical Director Alan Gilbert. New York audiences do love their orchestra and its music director, Mr. Gilbert. This appreciation is evidenced by rousing applause, particularly when Mr. Gilbert takes the stage. In his third year (and my third year as a subscriber), Mr. Gilbert has certainly done some nice work with the orchestra. I’m looking forward to my next visit!