A Jazz Master Transforms Rhapsody in Blue

[Ricordanza]

Like many of you, I’ve heard plenty of performances of George Gershwin’s Rhapsody in Blue, in concerts and recordings. Some were better than others, a few were truly memorable. But the performance I heard at Thursday night’s Philadelphia Orchestra concert was different than any I’ve heard before, and it was different than anyone will hear on any night even with the same performers. That’s because the soloists for this performance were the Marcus Roberts Trio.

Marcus Roberts is an acclaimed (and blind) jazz pianist who has performed Rhapsody in Blue for decades, but never the same way twice. He was accompanied by two supremely gifted musicians, drummer Jason Marsalis (yes, he’s part of that family) and bassist Martin Jaffe. In the passages where the orchestra and piano played together, Roberts generally followed the written score with some subtle but noticeable embellishments. But when it was time for solos, in three extended riffs, Roberts and his ensemble let loose in highly imaginative and fascinating explorations of the themes from this piece. I was awed by Roberts’ musical creativity as well as his technical command, all the more impressive in view of his blindness.

When Rhapsody in Blue is played straight, it’s an enjoyable work. This performance, however, was transformative and nothing less than thrilling. I’ve heard some enthusiastic ovations in many years as a concertgoer, but nothing to match the fervor of this audience as they demonstrated their appreciation for the soloists and the orchestra at the conclusion of this work.

On any other night, the highlight of the program would have been the opening work, Igor Stravinsky’s music for the ballet Petrushka. Music Director Yannick Nézet-Séguin led a brilliant performance of this work, which I consider to be one of the greatest orchestral works of the Twentieth Century. It is a veritable concerto for orchestra, with opportunities for solos by the trumpet, flute, bassoon and other instruments, and a prominent piano part. With its propulsive and shifting rhythms, oddball but catchy melodies, and wonderful orchestration, Petrushka is 35 minutes of pure musical delight.

The second work on the program, Kurt Weill’s Symphony No. 2, has largely been neglected in the orchestral repertoire. Yannick has championed this 1934 composition, as he explained in some brief comments delivered after intermission. Indeed, the only previous Philadelphia Orchestra performance of this symphony was in 2016 under his direction. I am hesitant to say this, especially after hearing the piece for the first time, but perhaps there is a reason for its neglect. Especially after hearing Stravinsky’s incredibly imaginative creation, Weill’s work seems uninspired in comparison. The third movement has some life to it, but in the first two movements, nothing stands out, neither the melodic content, the musical ideas, nor the orchestration.

In those same post-intermission comments, Yannick announced that the Marcus Roberts Trio would perform a “postlude” from the stage of Verizon Hall following the concert, for those who wished to stay. After hearing this trio perform with the orchestra, most of the audience was very willing to stay, and we were treated to more jazz magic from these remarkable musicians.

[Belle]

Your visceral and knowledgeable accounts of concertgoing always engage. I surely wish I had been there to hear that jazz 'riff' on Gershwin's war horse. Can there be yet another talented member of the Marsalis family?!!

"Petrushka" is indeed a masterpiece - in both orchestral and piano versions. What a fecund imagination that composer had!! And his influence on successive generations has been incalculable.

It seems that Yannick has an ear for varied programming which sounds very positive. Kurt Weill's "Die Dreigroschenoper" was inspired as were many of his songs, eg. "Surabaya Johnny". I can't say I've heard anything in symphonic form from him but I'm trusting your judgement as to its merits, or otherwise!!

[Ricordanza]

Kurt Weill's "Die Dreigroschenoper" was inspired as were many of his songs, eg. "Surabaya Johnny". I can't say I've heard anything in symphonic form from him but I'm trusting your judgement as to its merits, or otherwise!!

It was certainly not my intent to discourage you or anyone else from listening to Weill's Symphony No. 2. It's worth a half-hour of your time to listen for yourself and form your own conclusions, or decide to listen for a second time.

[Rach3]

A chance to hear live in NYC tonight and I think will be archived for awhile to listen again later:

https://www.wqxr.org/story/philadelphia-orchestra/

[Rach3]

A chance to hear live in NYC tonight and I think will be archived for awhile to listen again later:

https://www.wqxr.org/story/philadelphia-orchestra/

And after you hear Weill’s Sym. No.2 on the PO programme, here is his No.1, at age 21, one-movement , 25 mins.:

https://www.bbc.co.uk/sounds/play/m001vczf

Berlin Konzerthaus Orchestra
Joana Mallwitz, conductor

[Belle]

Thank you; I will most certainly listen and report back. Meantime, I enjoyed Die Moritat von Mackie Messer from Bryn Terfel. I wondered about the suitability of his voice for this work because it's more of a cabaret/chamber work and the singer of this piece is usually more guttural, rolled of tongue and 'sprechstimme'! Here is a small sample of Die Dreigroschenoper from the Pabst film of 1931. Absolutely thrilling. So evocative of that decadent Wiemar period, and a film connoisseur's feast.

https://www.youtube.com/watch?v=WVSO1YP9kOk

It's heartbreaking to realize just how many on that production team had to leave Germany shortly after the film was made: these are just the people I know about (and not all of them because they were Jewish).

Kurt Weill
Carola Neher (she died in a Soviet prison camp during a 'great purge' after WW2)
Reinhold Schünzel
GW Pabst
Vladimir Sokolov
Andrej Andrejew (he worked for Stanislavski's Moscow Art Theatre!)
Seymour Nebenzahl
Ernst Busch (he was a communist)

[diegobueno]

The construction of Rhapsody in Blue, with long stretches of orchestral tutti followed by long stretches of piano solo, with only a few passages utilizing both at the same time, makes a jazz interpretation such as this one a possibility. I have no idea what the Marcus Roberts Trio did with it. Presumably they brought it closer to the realm of actual jazz than Gershwin could have imagined it. Obviously it worked.

[Rach3]

A chance to hear live in NYC tonight and I think will be archived for awhile to listen again later:

https://www.wqxr.org/story/philadelphia-orchestra/

Now available to hear free on demand :

https://www.wqxr.org/story/philadelphia ... ab=summary