David Geffen Hall-Lincoln Center/ Thursday April 10th, 2025: Jessie Montgomery (b. 1981) “Chemiluminescence” (2025), Igor Stravinsky (1882-1971) “Violin concerto in D” (1931), Johannes Brahms (1833-1897) “Symphony No.1 in C minor, Op. 68” (1862-1876).
Welcome back friends!
Yay!
Welcome this week, once again, to the rich, vibrant, and inspiring, emotional world of classical music, performed by the New York Philharmonic.
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And 2 Thursdays ago, this terrific concert, was conducted by the wonderfully alive Czech conductor, and current chief conductor of the Bamburg Symphony, and Music Director Designate of the Royal Opera, Covent Gardens, Jacub Hrůša.
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1)”Chemiluminescence” (2025) by Jessie Montgomery (b. 1981).
First, let’s start off with Montgomery.
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This short (9 minutes) world premiere by Montgomery of “Chemiluminescence” (a scientific term to describe any chemical reaction that produces light from a non light source, whether the source is natural or man made), was as enchanting, as admiring for example, a glowing jellyfish in the sea, or fireflies lighting up like rhythmically in nature (these natural glows are also called bioluminescence).
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As a composer, Montgomery finds that interpreting all sorts of light sources, their reflections, their hues, allows for huge inspiration, and makes it possible for her, to enter an endless field of potential sound explorations.
Wow.
And it is not surprising that Montgomery’s classical music style therefore, sounds so free, alive, and limitless, to me, and as such, is as versatile, and unusual in its colors and rhythms, as it is, paying homage, as well, not only to science (light, agitation, reaction), but to the link between the natural world and music, influenced by various musical genres: from jazz, spirituals, in its rhythms, but also, to a few classical and theater and cinema, American composers: some found from what is referred to as “the Great American Songbook”, which basically alludes (not to a book) but to the most important and influential American popular songs and jazz standards from the early 20th century (from 1920-to 1960’s), that have stood the test of time in their life and legacy.
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Let me give you some examples of a few terrific composers of these iconic musical standards. You will of course, recognize these illustrious names: Irving Berlin (1888-1989), Duke Ellington (1899-1974), Rodgers (1902-1979) and Hammerstein (1895-1960), Jerome Kern (1885-1945), George Gershwin (1898-1937), who were all great influential composers.
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And I detected as well, influences from the American 20th and 21st century classical world, from Aaron Copland (1900-1990), from Samuel Barber (1910-1981), from Leonard Bernstein (1918-1990), and from the cinema world, from the great Bernard Herrmann (1911-1975), from Castelnuovo-Tedesco (1895-1968), who also happened to, be believe it or not, be the teacher of the great Henri Mancini (1924-1994), and the awesome John Williams (b. 1932).
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2)”Violin concerto in D” (1931) by Igor Stravinsky (1882-1971)
Second, let’s continue with Stravinsky.
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And, in this 22 minutes (1931) violin concerto, what interested me, was the ebullient sense of rhythmic pulse that was found, as in life often, which is so lively, that one could imagine, that it could be adapted for dance.
Wow.
And I wonder come to think of it, if Prokofiev’s earlier (1921) “Chout” ballet, about a jester, provided some inspiration for Stravinsky’s violin concerto.
Why?
Because Stravinsky loved Prokofiev’s “Chout” ballet, and two, the Moldovan violinist, iconic performer, Patricia Kopatchinskaja, 2 Thursdays ago, was wearing a copy, of the very jester dress (designed by Mikhail Laroniov) from Prokofiev’s (1921) “Chout” ballet.
Wow and yay!
So fun!
And what a performance Kopatchinskaja gave: what great talent, energy, pizzazz, and joy, believe it or not, she also performed bare feet, to probably feel as free as possible in her performance, and pay tribute as well, to the folk roots of this piece.
Wow.
And how entertaining a performance.
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And believe it or not, but, actually 10 years later, the great Georgian-American choreographer, and great friend of Stravinsky’, the iconic George Balanchine, did decide to adapt Stravinsky’s (1931) “Violin concerto” in a (1941) ballet “Balustrade”, which Balanchine, actually revised again entirely, 30 years later, in 1972.
Wow.
3)”Symphony No.1 in C minor, Op. 68″ (1862-1876) by Johannes Brahms (1833-1897) .
Third, and last but not least, let’s conclude with Brahms.
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This symphony, his first, took Brahms 14 years to finish.
Wow.
But what incredible result!
Wow.
Apparently, writing this Symphony No.1 was tough for Brahms, because he, (Brahms) could not imagine it would be as beautiful as any of the past symphonies from his mentor, the iconic, Ludvig van Beethoven (1770-1827).
Oh boy.
Yet, there is an energy in the first and 4th movement of Brahms Symphony No.1, as in life, that is incredibly compelling.
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And the second movement, ladies and gentlemen, with its contrasting and lush warmth, often found in life, at times as well, fortunately also, is absolutely incredible, and in one word, is simply, gorgeous.
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So, to sum up my feelings, about the “Montgomery, Stravinsky, Brahms” concert, admired 2 Thursdays ago, in great company: what eclectic and disruptive music to evoke life, in its varying states of movement and expressions, from three hugely talented classical composers. And all wonderfully conducted, with unique talent, energy, and charisma, by the terrific Hrůša.
Bravo!
Just awesome.
Until next time friends.
Soft…
Fluttering…
Sunny…
Joyful…
Happy…
Loving…
Eternal butterflies…