United States Tower, Britten, Berlioz: Augustin Hadelich (violin), Yale Philharmonia / Peter Oundjian (conductor). Carnegie Hall, New York, 22.1.2025. (DS)
Joan Tower (arr. Peter Oundjian) – Suite from Concerto for Orchestra
Britten – Violin Concerto, Op.15
Berlioz – Symphonie Fantastique
The range of offerings at Carnegie Hall is proof of how vibrant the world of music is, and nothing says that more than hearing a university orchestra with its young and dedicated upcoming professionals. In January, the Yale Philharmonia returned to Carnegie Hall for the first time in fifteen years. Under the direction of Peter Oundjian, the ensemble filled the stage not only in number but with a masterful sound that unfolded with a dedication to signature interpretations and support for the soloists.
The transitory nature of a university orchestra – concertmaster, stand partners and section leaders change from year to year – requires a unique blend of steadfast and flexible leadership, and Oundjian offers exactly that. He inspires, and he draws on the strengths of this inherently short-lived relationship. With a solidarity in the works and an accessible style of interpretation, Oundjian clearly ignites a passionate dialogue with the musicians.
The freshness of the Yale Philharmonia’s energy permeated the evening. Oundjian made a bull’s-eye decision on how to best pair a work with the ensemble by starting with Joan Tower’s Suite from Concerto for Orchestra. Long-time friends, Oundjian received Tower’s blessing to condense the suite to a shorter ten minutes, which not only gave it an opening spot on the concert program but was an act of homage to this twentieth-century canonical work. The shortened version of Tower’s Concerto for Orchestra sustained the work’s breadth and gravitas but still captured the orchestral sequencing and deliberate hustle of unfolding structures in her signature landscape.
Britten’s Violin Concerto graced the evening as another nod towards youthfulness in music: Britten was 25 when he wrote this piece marked by emotion and questions about the meaning of grief. Violinist Augustin Hadelich unpacked the work’s density by making sense of contrasting motifs and themes with brilliance and technical prowess. His approach freed the listener to experience this unconventional concerto’s thematic meaning and curious constructs. Hadelich’s refreshing style suited the intentions of the Yale Philharmonia and ushered in the kind of soloist playing that is much needed in concert halls today.
Hadelich proved to be a most generous soloist, for he returned after thunderous applause to play a pre-intermission encore: the Andante from Bach’s Sonata in A major. Balanced and lyrical with perfect pauses in the phrasing, it was not only a heartfelt gesture but a musical necessity that provided the audience with some balm after unpacking Britten’s earnest, angst-ridden piece.
To close the evening, Oundjian chose a crowd-pleaser that resonated with the theme of youthful creativity – Berlioz’s Symphonie Fantastique, written in the composer’s twenties. This theatrical work showcased the Yale Philharmonia’s exuberance and range. From the elegant to the macabre, string sections both swooned in song and frightened with gutsy verve and, in the third movement, the oboist played a mellifluous line from the Carnegie balcony in response to the English horn on the stage which pulled awed gasps from the audience.
Maestro Oundjian has placed himself in the role of ambassador to youth and leader of cross-generational collaboration, similar to what Pierre Boulez did in the latter half of his career. There is much to admire in directors and leading musicians who foster relationships across generations, and Yale Philharmonia’s performance with Oundjian and Hadelich was testament to that.
Daniele Sahr