From the dramatic opening of Beethoven’s Piano Concerto No. 5 in E-flat major, “Emperor” (1809), it was apparent that the audience at the New York Philharmonic’s dazzling new David Geffen Hall at Lincoln Center in the Wu Tsai Theater was in for something special.
The distinguished Norwegian pianist Leif Ove Andsnes was the featured soloist in the second installment of the Celebrate Japp! Series honoring conductor Japp van Zweden’s final season as Music Director of the New York Philharmonic.
Andsnes is among the world’s most sought after concert performers. With over 50 titles to his credit and more than 11 Grammy nominations, his discography is best selling. From the sold out audience at Geffen Hall, it was obvious that he has a lot of fans of all ages.
Besides his many concert appearances around the world, including his current solo recital tours of Europe and Asia. Andsnes is a former artist-in-residence of the New York Philharmonic.
With Music Director Jaap van Zweden at the podium, the program included the World Premiere of New York-born composer Steve Reich’s Jacob’s Ladder, with the composer present to take bows.
A New York Philharmonic Co-Commission, the work featured the Grammy-winning vocal ensemble Synergy Vocals and a chamber grouping of NY Phil musicians.
Concluding the concert was a stirring rendition of Schubert’s Symphony in B minor, Unfinished, perhaps the best I have heard in this, or any other concert hall.
Andsnes has premiered works by Steve Reich before, so their pairing in the NY Phil’s 16,935th concert was a comfortable fit.
The Emperor piano concerto is Beethoven’s last. Legend has it that he originally wrote it as a tribute to Napoleon, whom he idolized as a humanitarian and liberator. Beethoven would later change his mind after being horrified by Napoleon’s invasion of Austria. The composer instead dedicated the work to a benefactor.
History would have its way nonetheless, because the original name stuck. Legend has it that during its Vienna premiere, a French officer shouted from the audience, “C’est l’Empereur!” (It is the Emperor). So, to this day, the original title remains.
If reflected heroism was Beethoven’s intent, Andsnes mined it for all of its impact. His thundering arpeggios in the opening passages of the Allegro were thrilling.
He further demonstrated his towering technique in the subsequent Adagio in which he drew the listener into center of the quieter passages. His singular artistry illuminated each measure, lending it great emotional import. This is the mark of a true artist.
More great piano artistry is in store for NY Phil audiences with home town favorite Yefim Bronfman performing a new concerto written for him by composer Elena Firsova in its New York Premiere Oct. 19, 20 and 21 followed by Jeannette Sorrell conducting Handel’s Israel in Egypt featuring the Chorus of Apollo’s Fire Oct 25-26. For more information visit nyphil.org.