“Is there anything like that first strike of the bow?” Kate Soper asks at the start of her new piece for the New York Philharmonic. “A hundred players moving as one! All that splendor, all that might!”
She is describing the wonders of an orchestra, and you don’t have to take her word for it. In Soper’s sweet, clever “Orpheus Orchestra Opus Onus,” which had its premiere at David Geffen Hall on Thursday under Gustavo Dudamel’s baton, the ensemble illustrates her words as she says them, “Peter and the Wolf” style.
“The highs got higher, the lows got lower,” she says, explaining the development of instruments, and we hear ethereal pitches, then loud rumbles. “Wood was lacquered,” she goes on, to delight in the oboe and clarinet. “Metal bent” elicits a horn fanfare and trombone slide.
Soper soon proclaims, with disarming plainness, “That’s right everyone: I’m Orpheus!” In this half-hour monodrama for a mostly speaking, sometimes singing soprano, she offers a tender retelling of the legend of the great musician of Greek mythology. Her story blends into a poetic reflection on music’s meaning, what it can do (offer glimpses of the sublime) and what it can’t (most anything else).
Soper does all this in quirkily postmodern style. Her eclectic, quick-shifting sounds, including touches of memorably ancient-feeling bass flute, are woven into a quilt of quotations from famous settings of the Orpheus myth by Monteverdi and Gluck, as well as lesser-heard ones by Sartorio, Landi, Campra and others. There are also flashes of Bach, Vivaldi, Beethoven, Mozart and Grieg in the mix, and the text, mostly original, interpolates passages from Rilke’s “Sonnets to Orpheus.”
Modern music lovers may be reminded of Luciano Berio’s more chaotic collage “Sinfonia.” For fans of Soper, especially in her composer-performer mode, “Orpheus Orchestra Opus Onus” will recall brainy, winsome works like “Ipsa Dixit” (2016), which she began by posing the spoken question, “What is art?” and attempted to answer through snippets of writers like Aristotle, Lydia Davis and Freud.
Creating her first big orchestral piece, Soper has clearly understood she’s writing for a broader audience; “Orpheus Orchestra Opus Onus” is more immediately accessible than the fascinating but abstruse “Ipsa Dixit.” Philharmonic programs don’t tend to feature a lot of humor — certainly not of Soper’s winking mash-up variety — and her voice is a whimsical change of pace as the season draws to an end.
Dudamel, who becomes the Philharmonic’s music director designate later this year before fully taking the reins in fall 2026, preceded the orchestra’s latest commission with its first: Stravinsky’s Symphony in Three Movements, conducted by its composer at its 1946 premiere.
It’s better known at Lincoln Center these days as the score for one of George Balanchine’s classic leotard works, regularly danced by New York City Ballet. Played by the Philharmonic on Thursday with confident panache, it, like the Soper piece, offered a love letter to the orchestra’s range, from burly power to graceful delicacy: “All that splendor, all that might!”
Too bad those qualities were missing from the program’s closer, Philip Glass’s dreary 11th Symphony (2017). Glass’s listlessly chugging symphonies are nowhere near his greatest achievements, but the 40-minute 11th is finding its way to major orchestras; Riccardo Muti and the Chicago Symphony did it a few years ago.
A grumbling beginning yields to characteristically swirling Glassian figurations in the strings — well played by the Philharmonic, the arpeggios precise yet warm. After mild lyricism in the second movement, the third unleashes a battery of percussion.
In Glass’s 1984 opera “Akhnaten,” that kind of raucous drumming is an arresting evocation of antiquity. Here, it’s busy bombast, without real thrill or power.
New York Philharmonic
This program continues through Tuesday at David Geffen Hall, Manhattan; nyphil.org.
Zachary Woolfe is the classical music critic of The Times.
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