Alan Gilbert & The New York Philharmonic, June 12, 2010

Reviewed by Bill Breakstone, Somers, New York, June 12, 2010

For the past three seasons, The New York Philharmonic has been presenting Saturday matinee programs that combine chamber music works featuring Philharmonic instrumentalists with orchestral masterpieces performed by the full Orchestra. This afternoon’s concert was an all-Brahms affair, offering the String Sextet in G Major, Op. 36 and the Second Symphony in D Major, Op. 73. The Philharmonic’s Music Director, Alan Gilbert, participated in the Sextet as second violist, and was on the podium for the Symphony.

The Sextet is as enjoyable a piece of chamber music as Brahms ever composed, and the D Major Symphony perhaps stands as the touchstone of his symphonic output. Both compositions received glowing performances by these Philharmonic musicians.

Gilbert was joined in the Sextet by assistant concertmaster Sheryl Staples, violinist Lisa Kim, violists Cynthia Phelps and Gilbert, principal cellist Carter Brey and cellist Maria Kitsopoulos, standing in at the last moment for assistant principal Eileen Moon. These six artists gave the Sextet as fine a performance as one will ever hear, one marked by relaxed tempi in the first three movements that emphasized the melodic lines and rhythmic invention that Brahms so often utilized in his works, and a thorough agreement among the musicians as to their individual parts as they relate to the whole. This was chamber music at its best.

After intermission, the start of the second half of the program was delayed for about 20 minutes as an orchestral member was late for the performance. Think of the 80-odd instrumentalists that participate in this symphony and try to imagine which musician was so indispensable that the performance had to be delayed. All parts except one were at least “doubled.” Can you guess the part? In any case, the delay [I had never witnessed anything like this] was more than compensated for by a performance that was truly exceptional.

The relaxed tempi in the opening movements of the Sextet were carried on in the performance of the Symphony. The music was allowed to speak for itself, yet the dramatic tutti’s carried the full power that they merit in this wonderful score. If one would include the D Major Serenade No. 1 as a symphonic partner, which the nature of that work deserves, Brahms can be credited with five, not four, works in that genre. Of these five, the Second Symphony stands as the most monumental of these works. The moderate pace that Gilbert applied in the first three movements allowed the music to speak for itself and the melodies to soar on their own. The allegro con spirito final movement was given a robust performance that brought out all the energy that such a great work deserves as its capstone.

Special mention should be made of the flawless execution of the horn solo in the adagio by principal Philip Meyers. This fiendishly difficult part, with its prolonged sosenuto line, can be the match for any horn player. In this instance, the playing was all one could ask for. Also outstanding was the performance of the rest of the large brass section, whose prominent role in the finale was perfectly balanced with the string sections.

This was the first Philharmonic performance that I had heard in person led by Alan Gilbert. One thing is for sure. There is a chemistry existing between this conductor and his instrumentalists that should produce music making of the highest order. The Philharmonic is in wonderful hands, and with Gilbert’s relative youth, New York audiences are in for a long period of orchestral and musical excellence.