The New York Philharmonic offers a series of  "Rush Hour" concerts for those with a long commute who wish to arrive home at a comfortable hour. The abbreviated concerts normally start at 6:45 in the evening and generally last about an hour and a half. In addition to weekday commuters, the concerts are perfect for those who may not be familiar with classical music but might wish to explore and dip their ears into a shortened program. 

Last Wednesday, April 7, the Philharmonic offered a Rush Hour concert featuring Mozart's "Paris Symphony" and Brahms' Fourth Symphony. The pairing of the bright, frothy piece by Mozart worked well with the romantic, generally moody symphony by Brahms. 

Written in 1778 when Mozart was 22, the "Paris" Symphony was composed for the Concert Spirituel which was a prominent instrumental group in the City of Light in the 18th Century.  Reflecting Parisian tastes,  the symphony is written in three movements instead of the usual four (a traditional Minuet is omitted). Interestingly, although the symphony is easily considered a staple of today's concert repertoire, it did not receive its first performance by the Philharmonic until 1936, almost 100 years into the Phil's storied history.  

Brahms' Fourth was composed over two summers in 1884 and 1885 when the composer was in his early fifties.  Except for the bright third movement,  the main emotional texture of the symphony is introspective and tragic.  Perhaps because the symphony was composed in the Alps,  images of nature often come to mind when hearing the work.  Listening to the dark, tense first movement can create the impression of attempting to find a way out of a shadowy, mysterious forest. 

The Fourth was the last symphony Brahms composed. Unlike the final movement of Beethoven's last symphony which ends on a triumphant, joyous note,  the final moments of Brahm's Fourth are unapologetically pessimistic.  A listener can be left feeling somewhat troubled that Brahms' last symphonic statement is so dark and puzzled as to what this boded for his world view.   Yet, if played well, one can still be left with a tremendous sense of vitality at the conclusion of the piece as occured at last Wednesday's performance.     

The conductor of the evening was Antonio Pappano  who is the music director of Covent Garden, London's Royal Opera House. To conduct the New York Philharmonic must be like stepping into the driver's seat of an exceptionally fine-tuned car or airplane capable of generating great speed and excitement.  A consistent theme of the concert was the relentless, buoyant energy created by Pappano and the orchestra.  Indeed, in the bright third movement of the Brahm's Fourth, there was so much momentum that one had the feeling of  happily running down an Alpine hill on sunny day.  One might have wished that Maestro Pappano might have experimented with more accentuated pianos (soft sound levels), particularly in the Mozart which might have provided more dynamic contrast.  However, the overall effect of the evening was spirited, vibrant and animated. In uncertain, changing times, great works like the Mozart and Brahms symphonies are spiritual Rocks of Gibraltar and nothing can substitute for hearing these pieces performed live.     

To find the schedule for upcoming Rush Hour concerts, check out the NY Philharmonic's website -  www.nyphil.org. Alec Baldwin fans should note that the actor will participate in the upcoming three week Stravinsky festival by narrating that composer's L'Histoire du Soldat ("The Story of a Soldier" - a musical parable of the tragedy of  World  War One). Baldwin also hosts the orchestra's radio broadcasts which can be heard locally on  WQXR.  The schedule for these broadcasts can also be found on the Phil's website.