Welcome to Season 2 of the New York Philharmonic in its renovated David Geffen Corridor. If there’s one story line that has carried over from Season 1, it’s the sound.
The brand new Geffen Corridor’s acoustics are clearer, if chillier than earlier than. As a result of each element within the orchestral taking part in is extra simply audible, so too is each alternative about steadiness — making the corridor a tricky proving floor for conductors. Friends can discover themselves neatly sifted into certainly one of two classes: those that intuitively grasp easy methods to steer the Philharmonic on this house, and those that don’t.
Mirga Gražinytė-Tyla, who made her Philharmonic debut on Wednesday night, will get it.
This Lithuanian conductor led her first program at Geffen with assurance throughout different kinds — a feat that hasn’t been simply matched by a few of her friends within the corridor. Generally, trendy or up to date works can sound admirably chiseled, whereas Nineteenth-century ones stint on heat, and thus attraction.
The night included music from a dwelling composer, Raminta Serksnytė’s “De Profundis”; a repertory struggle horse, Robert Schumann’s Piano Concerto; and a rarity from Sibelius, excerpts from the “Lemminkainen Suite.” However no period or model felt shortchanged on Wednesday. The strings particularly have been hard-edged after they wanted to be (within the Serksnyte), then icy and glinting (within the Sibelius).
Schumann’s concerto was the luxurious spotlight of this system. Within the first motion, low strings and percussion had their forceful say, as anticipated. However subtler delicacies have been plentiful: Winds collaborated on heavenly blends; trumpet notes got here throughout as peppery with out blaring; violins swooned alongside the soloist.
That soloist was Daniil Trifonov, an artist constitutionally incapable of a wan take. He provided a private, thrilling, at instances idiosyncratic strategy to Schumann’s famed binary of contrasting alter egos: Florestan and Eusebius. There was loads of thrusting power in opening chords, representing Florestan and performed with abandon paying homage to Martha Argerich’s model on this concerto. Elsewhere, he delivered successful grace, embodying the moods of Eusebius.
However Trifonov did greater than run between these bases — he introduced them into prolonged, surprising dialogue. In quiet stretches, he virtually halted his momentum, placing confrontational, Twentieth-century ideas of house and negation into the movement of the attractive writing. Likewise, amid fierce tutti passages for piano and orchestra, the effective mechanisms of his taking part in reached a state of meditative delirium usually related to Schumann’s dreamy, Eusebian aspect.
Gražinytė-Tyla was alert to every new mix, and matched the orchestra to Trifonov’s prismatic turns. On the shut of the primary motion, she appeared to make use of the short cutoff of Geffen’s acoustic to underline new rhythmic patterning within the rating, serving to acquainted music really feel glowing and alive.
Serksnyte’s “De Profundis,” an early work from 1998, opened with motivic boldness and a few rapidly roving concepts about rhythmic fragmentation, however spun its wheels a bit earlier than a rousing-then-hissing finale. And the three part’s of Sibelius’s suite had attraction — together with a mellow English horn solo from Ryan Roberts in “The Swan of Tuonela” — although it’s hardly materials from this composer’s prime drawer.
And but the orchestra, heard in its finest kind on Wednesday, discovered pleasure and benefit all through this system. For Gražinytė-Tyla, this was the form of debut that instantly has you serious about her future with the Philharmonic. She’s famously proud of freelancing. And, effectively, New York is a freelancer’s form of city.
New York Philharmonic
This program continues by way of Saturday at David Geffen Corridor, Manhattan; nyphil.org.