In a lively return from their tour of China, the Philadelphia Orchestra took to the stage of Marian Anderson Hall to perform Holmès’ La Nuit et l’amour (Interlude), Connesson’s Cello Concerto, and Berlioz’s Symphonie Fantastique. This celebration of contemporary and Romantic French composition was conducted by renowned French conductor Stéphane Denève and featured acclaimed French cellist Gautier Capuçon.
The matinee concert on Friday, Nov. 22, opened with a delicate yet passionate performance of La Nuit et l’amour (Interlude) from Ludus pro patria by the French female composer, Augusta Holmès. This marked the orchestra’s first performance of Holmès’ work, shining a light on the often overlooked contributions of female composers in classical music. Holmès, deeply inspired by the dramatic style of Wagner, infused La Nuit et l’amour with a rich emotional depth and thematic development. The piece began with a softly orchestrated introduction, leading into a yearning cello melody. This theme was elaborated throughout the music, which reappeared in the upper strings and grew into a passionate climax. The orchestra’s harpists created an enchanting and mystical atmosphere while the horns brought a sense of grandeur and power, elevating the music with their bold, resonant presence. The intensity gradually diminished, revisiting the opening theme for a thoughtful and bittersweet conclusion. Though brief, this serene and dreamlike interlude was entirely necessary, creating a moment of tranquility that balanced the intensity of the rest of the program.
Such tranquility did not last long, however, as Capuçon took to the spotlight to perform Guillaume Connesson’s Cello Concerto in its United States premiere. The musically innovative concerto began abruptly with “Granatic,” a movement that transports listeners into what Connesson describes as a “lunar and ascetic landscape.” Immediately, it became clear that this work was unlike any other, using exciting percussive effects like stones and whips to drive the melody. A purposely dissonant flute line eerily accompanied delicate plucking from the violins and there were constant fluctuations between brightness and terror in the music.
Capuçon embodied this throughout, exploding with passion and aggression, and ended the movement with a sharp kick of the air, visibly exhilarated. “Granatic” was followed by “Lively,” a contrasting movement that displayed less urgency and more mystery. Scattered plucking of the cellos was echoed by the marimba, accompanying Capuçon’s slow and resonant cello solo. A long pause preceded the third movement, “Heavenly,” and marked the beginning of the concerto’s second section. “Heavenly” opened with a cello solo from Capuçon, slowly joined by flutes and xylophone, that mimicked the presence of birds and insects. This serene scene was interrupted by a dialogue between the glass harmonica and rapid, unusual cello glissandos that carried an alien-like quality. An improvisatory solo cello glissando, intertwined with various motifs from the score, marked the brief fourth movement, “Cadence.” This movement intensified into a rapid, uninterrupted flow of cello against percussion, leading into the concerto’s final movement, “Orgiastic.” Influence of techno on Connesson was unmistakable as the movement featured rapid and squeaky trills, bursts of back-and-forth interruptions between Capuçon and the orchestra, and deafening strikes of the bass drum and gong. While urgent and dissonant, “Orgiastic” was also celebratory in nature, concluding with an electrifying explosion of power from the orchestra. The audience’s standing ovation lasted for nearly five minutes, a fitting tribute to Capuçon’s masterful performance.
Rather than moving immediately into intermission, Capuçon surprised the audience by stepping off-program to perform a soulful rendition of Camille Saint-Saëns’s “The Swan.” Accompanied by a single harp, Capuçon’s virtuosic performance of this well-known work gave the audience chills with its resonance and flawless technique. This brief duet offered the perfect ending to the first half of the show and brought back the sense of peace felt at the conclusion of Holmès’ “La Nuit et l’amour.”
Following a short intermission, the concert transitioned into its much-anticipated highlight. Stéphane Denève launched the orchestra into a powerful and dramatic performance of Hector Berlioz’s Symphonie Fantastique, a work that focuses heavily on the theme of the idée fixe (obsession) throughout its five contrasting movements. While officially about an “artist” and his “beloved,” Berlioz’s obsession with Irish actress Harriet Smithson became the inspiration for his symphony after he learned of her supposed promiscuity, which led him to envision a dramatic, demonic composition in which they are both condemned to hell.
The first movement, “Daydreams, Passions,” opened slowly, symbolizing the artist’s inner turmoil regarding love before the idée fixe is introduced in the Allegro. Constant lulls and bursts of energy characterize this movement, beautifully painting a picture of inner chaos. Ending in an abrupt quietness, the first movement shifted into the second, “A Ball,” illustrating the artist spotting his beloved in a crowd. A waltz in 3/8 time, it opened with a mysterious introduction and build into rapid, running strings. Contrastingly, the third, resonant movement, “In the Meadows,” evoked the peace of the countryside. With echoing oboe, flute, and violin solos leading into a rumbling thunder from the timpani, the Adagio ended, signaling the artist’s impending doom. The fourth movement, “March to the Scaffold,” followed the artist’s tragic fate as he is led to the guillotine, opening with ominous timpani. The movement unfolds as a march, marked by blaring horns and fast-paced passages interrupted by loud cannons. Later, we are reminded yet again of the idée fixe through the clarinet’s piercing solo.
The symphony concludes with “Dream of a Witches’ Sabbath,” a movement that begins ominously in Largo through its extensive use of dynamic contrasts and instrumental techniques, particularly in the strings with tremolos, pizzicato, and sforzando. However, it does not hesitate to explode into a grandiose and thundering display of orchestral power, filling the hall with intense energy. Rumbling timpanis lead into clarinet and oboe solos, followed by a back-and-forth between tolling church bells and the orchestra, creating a terrifyingly desperate sense of doom. Brief bursts of light and joyous music devolved into distressed and sporadic sequences, building up to a grand finale marked by the reverberating pounding of the timpanis and menacing church bells. The audience was left in stunned silence before erupting into a thunderous ovation, captivated by the symphony’s intensity.
The Philadelphia Orchestra’s performance perfectly captured the essence of French musical expression, blending rich history with bold innovation. Following an exceptional first performance, the orchestra will be continuing its winter concert series, bringing the gift of live orchestral performance back to the city.
