By Nia
On October 10, 2024, conductor and composer Matthias Pintscher, along with violin soloist Gil Shaham, set off a spectacular performance with the New York Philharmonic in David Geffen Hall. Gorgeous venue that enriches the sound of every instrument, captivating the audience’s ears to fully engage into the music being played. Pintscher and Shaham were in perfect synchronicity, creating a magnificent tribute to the late composers Mendelssohn and Schoenberg. Both performers are well known names with various certifications for their extraordinary skills, that travel the world performing to massive audiences. As a first-time listener of a live classical music concert, I am confident in saying it was truly an opportunity to be in the same room with an audience of classical music enthusiasts, who are passionate in the craft of music.
The concert started with ‘Neharot’, a beautifully orchestrated music piece by Matthias Pinscher. He composed ‘Neharot’ during the summer of 2020, right in the middle of a global pandemic that caused many heart wrenching losses. Matthias composed this piece in honor of the lives lost during the Covid 19 pandemic. This piece engulfed the audience in a sentimental feeling, yearning for something that will forever be gone. “Neharot” is a heartfelt music piece that left me reflecting on past memories. After hearing an introduction to Pinscher’s work, Mendelssohn’s “Concerto in E minor for violin and orchestra, op.64” was next on the list. A sudden change in the hall was felt. A dramatic sound began resonating all over the hall. The violins and other string instruments harmonized seamlessly. Gil Shaham’s skills and talent as a soloist shone impeccably. Pincher’s conducting and Shaham’s playing, gave the impression of being in seamless harmony with each other, as in being able to read each other’s emotions. Concerto in E minor for violin and orchestra, op.64, is a piece that showcases a violinist’s intricate and technical skills, and it’s considered a challenging piece to play. The intermission was as if I had been brought back to reality, after those last two spectacular performances. The last piece played in honor of Schoenberg’s 150th birthday anniversary was “Pelleas und Melisande: Symphonic Poem for Orchestra, op.5.”. I fell in love with this music piece, as it was deeply enchanting to me. I absolutely enjoyed the way it made me feel.
Arnold Schoenberg’s odyssey as a composer exhibits unyielding pursuit for freedom and thirst for innovation revolutionized music and strove to move away from traditional classical music structures. His story is unique in that despite many harsh criticisms by the public and other composers, he never let it stop him from fulfilling his passion for atonality. In February of 1903, Schoenberg had finished his symphonic poem, based on the story of Maeterlinck’s play, which delves into themes of jealousy, forbidden love and death. The symphonic poem “Pelleas und Melisande” was my first introduction to Schoenberg, and I can say it will leave a lasting impression. His creativity in composing music sets him apart from other famous classical music composers. The part that captivated me the most was the section “love scene and farewell”. The beginning is flooded with the sound of amorous gentle strings that make you feel a romantic sense of softness. Leading into a suspenseful feeling that reached its climax, the hall was overflowing with dramatic horns and strings that drastically changed the atmosphere. It showcased the emotion of love slowly being consumed by rage and destruction.
After the concert was over the audience stood to applause and give respect to Matthias Pintscher and the New York Philharmonic and to Gil Shaham who was brought out at the end, once last time by Matthias Pintscher. The orchestra was astounding, and for that reason they received massive support and recognition from the audiences. A flawless execution that captured the essence of the original pieces. There is a sense of craving, to have the opportunity to listen to them perform once again.
Witnessing in person the conductor leading musicians and the way the conductor moved his body in coordination with the orchestra was intriguing. It kept me in my seat the whole time. It was genuinely a wholesome experience coming together in a place where many people shared the same love and passion for music. Last but not least I had the opportunity to sit next to people who were musicians themselves, and I was able to see how they paid attention to every small detail in the music. I would be open to go to more classical music concerts, as long as it is affordable.
Works Cited
“Arnold Schoenberg.” Encyclopædia Britannica, Encyclopædia Britannica, inc., 14 Nov.
2024, www.britannica.com/biography/Arnold-Schoenberg.
“Mendelssohn, Schoenberg & Matthias Pintscher.” Oct 10 & 13 – NY Phil,
www.nyphil.org/concerts-tickets/2425/pintscher-shaham/. Accessed 26 Nov. 2024.
“Pelléas et Mélisande.” Encyclopædia Britannica, Encyclopædia Britannica, inc.,
www.britannica.com/topic/Pelleas-et-Melisande-play-by-Maeterlinck. Accessed 26 Nov. 2024.
“Unveiling the Musical Revolution: Exploring Schoenberg’s Atonality and the Innovation of the Twelve-Tone System.” Giuseppe @ Bonaccorso, 17 May 2024, www.bonaccorso.eu/unveiling-the-musical-revolution-schoenbergs-atonality-and-the-innovation-of-dodecaphony/.
