Leah Hollingsworth hears the performance of Mozart, Shostakovich and Brahms in David Geffen Hall at New York’s Lincoln Center on 1 June 2024
After a lacklustre opening to Mozart’s Sinfonia concertante by the New York Philharmonic, principal associate concertmaster Sheryl Staples’s sweet sound emerged from the orchestra, beautifully singing as she soared above the accompaniment. Principal violist Cynthia Phelps’s mellow sound was lovely, but didn’t project quite as well. However, the duo played with elegant phrasing, sophistication and poise, and the first-movement cadenza was sensitively rendered. Phelps also shone in the Andante, and the final movement boasted nice dynamic contrasts and apt sunniness.
Shostakovich’s First Piano Concerto followed and master pianist Igor Levit was joined by the orchestra’s own Christopher Martin in a performance that captured its shifting moods, from introversion and darkness to playful optimism.
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The programme concluded with Brahms’s ‘Double’ Concerto, performed by concertmaster Frank Huang and principal cellist Carter Brey. An outstanding opening cadenza showcased powerful playing from both Huang and Brey, highlighting their power. The pair proved a fine match in the second movement, imbuing it with a lush, Romantic style and depth of sound that at times felt slightly overpowering: I appreciated more the light-hearted character of the final Vivace, which boasted triumphant playing from the soloists, impressive runs and double-stops, and masterful technical skills overall.
LEAH HOLLINGSWORTH
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