Review: Philadelphia Orchestra + Marcus Roberts Trio
Stravinsky’s Petrushka, Weill’s Symphony No. 2, Gershwin’s Rhapsody in Blue
Yannick Nézet-Séguin, conductor
Marcus Roberts Trio: Marcus Roberts, piano / Martin Jaffe, bass / Jason Marsalis, drums
Stravinsky: Petrushka (1947 version)
The Shrovetide Fair (First Tableau): The Magic Trick–Russian Dance
Petrushka’s Room (Second Tableau)
The Moor’s Room (Third Tableau): Dance of the Ballerina–Waltz
The Shrovetide Fair, Toward Evening (Fourth Tableau): Dance of the Nursemaids–Dance of the Coachmen and the Stable Boys–The Mummers
Don’t let the long names of the movements fool you– this work could be renamed “Puppets in a Love Triangle”. Stravinsky first met Petrushka, a Loki-like folk figure, in St. Petersburg, at booths in fairs during Shrovetide. With punchy motifs and humorous moments, it’s truly a piece for the children of the modern TikTok attention span.
If you are familiar with Stravinsky’s Firebird, you will undoubtedly hear parallels to the Sacrificial Dance in the intense rhythms of the low brass and strings, as well as the exposed woodwinds. The standout moment was this: the orchestra exercised its trademark intensity without going overboard and forgetting the fact that it’s puppet music.
Click on the video below for a taste of one of the iconic themes.
Intermission
After intermission, Yannick gave some remarks. He acknowledged the interesting shape of the program given that the second half is longer than the first. He commented on his goal of re-introducing Weill into the repertoire. Yannick closed his speech by priming us for the Rhapsody in Blue. Without spoiling it, he simply said something to the effect of “we’re getting back to the improvisational roots tonight”. Not a direct quote. He also slipped in the fact that the jazz trio planned a small set at the conclusion of the concert, to encourage us to stay where we are should we like to hear more.
Weill Symphony No. 2
Sostenuto–Allegro molto
Largo
Allegro Vivace–Alla marcia–Presto
The Weill, in all honesty, was not for me. It had moments of beauty, and maybe it would grow on me, but I’m not going to be in its Top 5 listeners on Spotify this year. And that’s okay! I like being exposed to new things.
There were wonderful duet moments between trumpets and clarinets, and beautiful solo moments, especially in the oboe which did jerk a tear from my left eye.
The second movement funeral march made me contemplate my own death and also imagine myself in a spy movie meeting my great demise. It ended calmly, but not peacefully, and that was poignant.
Loose threads of exposed woodwinds made it feel sonically connected to the Petrushka, and in ways the program notes will outline for you, all three selections are connected in some way by time, place, or person.
Gershwin/orch. Grafé: Rhapsody in Blue
This is the crown jewel that has me up before work on a Friday pumping out my review to my six readers– to plead that if you’re in Philadelphia you will make the decision to attend this concert.
If you’re expecting a traditional concerto-like performance of Rhapsody in Blue you will be pleasantly surprised to find a jazz trio improvising and accompanying the piano during the solo moments instead. If you’re familiar with the piece you will love it even more, because you’ll be able to connect the themes written in the original score to the sheer genius that is radiating from Marcus Roberts’ fingers.
You’ll be amazed at the dexterity of Martin Jaffe (bass), and your jaw will be on the floor as your head involuntarily nods to the rhythms of Jason Marsalis (drums). Stage presence is this trio’s super power.
The most compelling part happens during “the unraveling” towards the end of the selection where the orchestra and trio are at their loudest points trying to stay together during a very dramatic rallentando. Those unfamiliar with the term: picture 15 cars on a busy highway suddenly braking hoping to narrowly avoid the car in front of them- the slow down of the century. Only there are 15 different types of cars all with varying weight and size (good luck!). Orchestrally it’s a near impossible feat but it was perfection last night.
Closing remarks from the CEO
As if the night wasn’t magical enough, the president and CEO, Matías Tarnopolsky came out with Yannick after the bows to comment on the announcement of the 2024-2025 season. So I know what I’ll be doing on my lunch break today.
Encore / jazz set
The trio came back out, and we got to hear Marcus himself, talk about how as we celebrate the centennial of Rhapsody in Blue, we should focus instead on how it was recomposed for us tonight. Brilliantly stated. He then extended gratitude towards his fellow trio members and stated the two songs on their set: “Where or When”, and “The Way You Look Tonight”. Both classics also reimagined in real time, featuring small injections of Rhapsody in Blue themes.
