Music » Cellist Jean-Guihen Queyras is impressive in the world premiere.

By Catherine Reese Newton

| The Salt Lake Tribune

When was the last time you heard something for the first time? The Utah Symphony presents that chance this weekend with the world premiere of "Emergences," Swiss composer Michael Jarrell’s cello concerto co-commissioned by music director Thierry Fischer.

"Emergences" is a sonically adventurous, highly virtuosic work, and French cellist Jean-Guihen Queyras was more than equal to the task. The soloist handled everything Jarrell tossed at him — extensive harmonics, two-handed pizzicato and other unusual techniques — with consummate command. Fischer and the orchestra, likewise, immersed themselves in the music, which more than once required soloist and ensemble to emerge out of silence. The slow movement, which seemed to hang in otherworldly quiet, made a striking contrast to the riot of color in the concerto’s outer movements.

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At a glance

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Utah Symphony

Music of Faure, Beethoven and Michael Jarrell.

With » Conductor Thierry Fischer, cellist Jean-Guihen Queyras and the Utah Symphony Chorus.

Where » Abravanel Hall, 123 W. South Temple, Salt Lake City.

When » Reviewed Friday, Feb. 3; repeats Saturday, Feb. 4, at 8 p.m.

Running time » 2 hours, including intermission.

Tickets » $30 and up.

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"Emergences" showed the full house at Abravanel Hall the things they didn’t realize a cello could do, so it was fitting that Queyras quickly reappeared to play Faure’s "Elegie" with the orchestra. The performance was a showcase of the richness and soul for which the cello is known.

A brief appearance by the Utah Symphony Chorus was a delightful bonus. The chorus, about half its usual size, joined Fischer and the orchestra in delectably transparent readings of Faure’s "Cantique de Jean Racine" and "Pavane."

Fischer cannily boosted the odds of the brand-new concerto being heard by a wide audience by pairing it with one of the greatest symphonic hits of all time: Beethoven’s Symphony No. 5. The midpoint in the conductor’s seasonlong Beethoven cycle, it had all the hallmarks of Fischer’s earlier installments in the series: brisk tempos, clean and disciplined intonation, and startling emotional power.