There aren’t many great concertos written for the trombone, which has never been known as a mainstay of the brass section. (put in sad trombone sound If anyone wants to change this situation, it’s Joseph Alessi, Principal Trombonist of the New York Philharmonic. He is the idol of many brass players for his rich tone, exemplary phrasing and virtuoso technical precision.
In 1992, Alessi premiered the Pulitzer Prize-winning Christopher Rouse Trombone Concerto. Nearly 30 years later, Alessi commissioned Chick Corea, a much-loved jazz keyboardist and composer, and a lifelong acquaintance with classical music, to compose a trombone concerto. The piece had its U.S. premiere at the Philharmonic on Thursday night, with Alessi conducting, Marin Alsop, another artist who easily switches between jazz and classical idioms.
The premiere was originally scheduled for the orchestra’s 2020-21 season. But with the outbreak of the pandemic, that plan was abandoned. Corea died of cancer in February 2021, making this concerto his last completed work. (Recordings in which Alessi participated as soloist Scheduled to be released It will be released on Parma’s record label in November this year. )
In this four-movement piece, percussion instruments such as gongs, marimbas, xylophones and African cowbells are featured extensively, giving the orchestra a sparkling new color. And it shows off the wonders of Alessi’s technique and musical talent: the bluesy slides of the first movement, the lyrical tenderness of the waltz of the second movement, and the third movement in which Coria wrote: The devilish 16th note run of “Hysteria.” The pandemic lockdown was just beginning. Soloists and orchestra unite in the final tango, after which Alessi triumphantly plunges into trumpet territory with a series of high fasharps.
Corea intended to play prominent piano parts in early performances. Instead, the concerto was orchestrated by John Dixon with the Philharmonic Orchestra. For an encore, Alessi introduced Dixon and they performed a short homage to Coria written by Dixon. It was a heartfelt farewell to their mutual friend and collaborator.
The program opened with Samuel Barber’s Symphony No. Written when Barber was just 25, it’s a grossly underprogrammed yet mature marvel. (The Philharmonic Orchestra last performed the piece during the Clinton administration.) Among its delights are declarative brass, crisp percussion, richly colored strings, and an exquisitely lyrical chorus. Contains 3 movements.
The musicians of the New York Philharmonic finally came to trust the sound of David Geffen Hall. Gone was their urge to push so hard to be heard that was necessary before the renovation. Instead, they now have the opportunity to sculpt sound in space.
Alsop celebrated his abilities in 12 movements from Prokofiev’s Romeo and Juliet suites Nos. 1, 2 and 3, beginning with the fiery opening explosion of “The Montagues and Capulets,” which brought him to tears. It ends with the death of Juliet. Alsop pulled all the sharp accents and quick turns in “Death of Tybalt” and made the most of “Aubad’s” silvery charm.
Her vivid sense of color and rhythmic clarity framed Prokofiev’s ballet music as an evocative complement to Prokofiev’s selections and the Barber Symphony, written in the same year. This kind of creative juxtaposition, where one song sheds light on another, is the essence of a good concert programme.
new york philharmonic
The program repeats through Saturday at David Geffen Hall in Manhattan. Naifir.org.
