Concert review: Seth Parker Woods (cello) New York Philharmonic/Thomas Wilkins

This concert, part of the series ‘Afromodernism: Music of the African Diaspora’, found the New York Philharmonic on fine form, with wonderfully tight ensemble in the rhythmically challenging Four Black American Dances by Carlos Simon. Precise string playing, extensive percussion and impressive trumpet solos characterised the work, which was received by the audience with fitting enthusiasm.

Soulful playing from cellist Seth Parker Woods immediately captured the ear in the New York premiere of Nathalie Joachim’s Had To Be, a commission especially written for Woods. While at times I wished the beauty of the cello lines projected more prominently over the orchestra, the first movement was captivating. What began with a jazzy introduction on the brass in the second movement was continued by the rhythmic solo cello line, played with certainty and verve. In this work, the cello’s role tends to be collaborative rather than soloistic, and Woods conveyed this with humility and sensitivity, and his lyrical playing in the short cadenza was a particular highlight. The ethereal final movement, ‘With Grace’, offered just that in Woods’s glorious sound, and the audience again showed its appreciation.

David Baker’s deceptively difficult Kosbro was filled with jazzy gestures and performed with flair, precision and virtuosity. Some of the rhythmic passages seemed a bit mechanical, but melodic lines were given with beauty. The Philharmonic’s serious and sublime interpretation of William Grant Still’s Symphony no.4 ‘Autochthonous’ was a fitting ending to a programme filled with spirit and soul.

LEAH HOLLINGSWORTH