You might have wanted a power plant like Carnegie Hall to come back. He talks a lot about the still dangerous moments for classical music, both from a financial and public health perspective. The hall keeps its own pace and keeps the fall season relatively bright. At the opening night on October 6, Yannick Nezesegan, who heads the Metropolitan Opera and the Philadelphia Orchestra, will offer a program aimed at both celebrations and a statement of purpose.
Featuring Philadelphia, the program begins with Valerie Coleman’s new “Seven O’Clock Shout,” written during a pandemic, with Shostakovich’s Piano Concerto No. 2 soloist on the dazzling Yuja Wang. I will welcome you as. The following is an overture to Bernstein’s “Candide,” which is the gala standard. “Jeder Baum Spricht” (2019) by Iranian Canadian composer Iman Habibi, commissioned by the orchestra to commemorate the 250th anniversary of Beethoven’s birth last year, is a combination of Beethoven’s 5th and 6th symphonies. Written in dialogue. Here we lead to Beethoven’s No. 5 description and begin a complete Beethoven symphony cycle with the Nezesegin and the Philadelphia Orchestra. This was originally planned last year.
These classic symphonies are dotted with contemporary works. This is not a novel idea, but a good idea. It’s too familiar for a complete cycle of Beethoven’s symphonies to dominate the Carnegie season.
But will that really happen? For some time, even beautifully performed standard pieces will feel restorative and almost miraculous.
However, given the crisis we have endured and the urgent challenges that remain, we hope that the institutions will strive to be more connected and involved in developing a living composer and a new generation of artists. I am. Many classic ensembles, especially major orchestras, take too long to think about how they play and are not enough about what they play and why they play it. I have believed for a long time. We all love the standard repertoire. However, ensembles do more when presenting new works, defending neglected old works, and taking risks with unconventional programming, growing classical music as a living art form. increase.
These things have always been crucial in my opinion — now and more than ever. If this, in a sense, could be considered a curvilinear valuation by reaching out and giving additional credit to the risking artist. The current situation is no longer sufficient.