Park Avenue Chamber Symphony in Review

Park Avenue Chamber Symphony
David Bernard, Conductor
Terry Eder, Piano
All Saints Church, New York
October 28, 2012

David Bernard conducting the Park Avenue Chamber Symphony

Where do musically inclined Manhattanites go to exorcise their day-job demons when they would prefer following a conductor to watching one through binoculars? The City offers a handful of choices compared with the array of amateur and semi-professional groups one can find in, say, London, where a hidden world class talent might be launched on the collective buoyancy of an auspicious gathering. Here, our community social life facilitates contact and much-needed creative entertainment for the worn out; a conductor’s role is one part music educator, one part maître d’, one part recruiter/fundraiser, and one part Toscanini-tempered-with-David-Letterman. Concerts, presented after about six weeks of growing hubbub, can be the highlight of a participant’s week or month, as many instrumentalists do what they can at home and save their all for the show. The decision to enroll in one ensemble or another can hinge on the location or ambience of rehearsal space as much as the season’s repertoire or the conductor’s acceptance of an unburnished riff.

The first-rate Park Avenue Chamber Symphony holds its rightful place at the forefront of New York’s handful. Chamber seems a misnomer when one surveys seventy musicians, counting a hefty corps of low brass, packed into the apse of All Saints Church, the orchestra’s home for the past four or so of its thirteen years. On the eve of devastating Hurricane Sandy, with nary a hint of low pressure rattling its large wooden doors, the church saw a loyal and jubilant tide of admirers within as conductor David Bernard directed a program of German standards. The Sunday concert was the second of a weekend pair titled “Wit and Radiance.”

Maestro Bernard cuts a benevolent figure on the podium, more Cheshire cat than tyrant, but his musical instincts (and memory) are superb and his subjects are with him at every lift of a finger. Schubert’s mysterious but ubiquitous “Unfinished” Symphony was surprisingly fresh and limpid, with gracefully shaped song floating atop a securely anchored cushion of bass. Indeed, texture can be a tricky issue when balancing such an abundance of reedy and dark-hued instruments, as was evident in Strauss’s enormous Till Eulenspiegels lustige Streiche. An ambitious undertaking for any orchestra, this virtuosic, cackling tone poem calls for quick reflexes to capture the dash of vinegar in Strauss’s mock-Tristan chords, the sudden reliance on sumptuous strings, or the treacherously ironic French horn and E-flat clarinet solos. All effects were met with resources of confidence and precision.

The conundrum arrived after intermission in the form of Beethoven’s “Emperor” Concerto, with accomplished artist Terry Eder unwittingly cast as miracle worker for the afternoon. This frustration she shouldered with an angelic smile and a healthy dose of rubato. Attempts to coax glistening scales and shimmering trills from a piano less than imperial were moderately successful and unforced. The solidity of orchestral bass was a salvation here: apart from some ragged close calls in the first movement development, Maestro Bernard expertly filled in missing low fundamental frequencies and pulse, providing a generous gift to the soloist’s left hand. A muted and evocative slow movement erupted into a romping, slightly girlish rondo whose Viennese syncopations took on a rather dance-hall quality.  Ms. Eder was clearly playing with abandon,  and the final runs of the concerto shone with taut facility in the pianist’s seamless inflections.

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The Park Avenue Chamber Symphony in Review

The Park Avenue Chamber Symphony in Review
“Majestic Finale”
David Bernard, Music Director
All Saints Church, New York, NY
May 6, 2012
 
David Bernard and the Park Avenue Chamber Symphony

David Bernard and the Park Avenue Chamber Symphony

 

A large and very enthusiastic audience was on hand for this, the final concert of the Park Avenue Chamber Symphony’s 2011/12 season. They were treated to an exemplary performance of Beethoven’s Symphony No.4 in B flat major, Opus 60, and were thrilled by the visceral climaxes of Mahler’s Symphony No 1 in D major (“Titan”.) One might ask what a Mahler symphony is doing on a program by a performing organization which has “chamber symphony” in its name. My answer is that one of the glories of Mahler’s use of the orchestra is that no matter how large a performing group he writes for, the scoring is often that of a chamber orchestra, with long quiet passages for solo instruments interspersed between passages for very, very full orchestra. In addition, this Beethoven/Mahler combination was an inspired pairing; as both works have similarly mysterious pianissimo openings.

Conducting without a score, Maestro Bernard led his players in an assured, beautifully shaped and well-paced performance of the Beethoven. The tempi he chose allowed the music to unfold naturally. We heard none of the very, very fast or very, very slow tempi which so many conductors now choose perhaps to show us an “original” interpretation of a well-known work. Readers of the New York Concert Review might remember that I am very insistent that performers obey the composer’s instructions and observe all of the indicated repeats.  I am happy to report that this afternoon all of Beethoven’s repeats were performed. And so were those in the Mahler!

The very live acoustics of All Saints Church caused a problem which persisted throughout the concert; the solo winds, when playing passages marked piano, all sounded too loud. I’m sure that the players were following Beethoven’s dynamic marking, but the contrast between loud and soft didn’t come across. As this was not the case with the strings, the tutti crescendi, so crucial in a work by Beethoven, were handled beautifully.

After intermission came the Mahler. Again conducting without a score, Maestro Bernard led the huge orchestra with discrete, clear and concise gestures. The orchestral playing was of the same high quality we heard on the program’s first half. The strings were especially impressive – the wild opening of the last movement was played with confident abandon. The horns, all seven of them, had a very high batting average. It was a very impressive performance. But for this listener, during the lyrical passages there was something missing, and it is hard to put it into words without sounding too negative, something I do not wish to do as it would seem to contradict the statement which precedes this sentence. So with that disclaimer, I’ll try. I found the lyrical section somewhat stiff and careful, with little of the warmth and disciplined freedom I look for in a Mahler symphony. A bit more use of portamento in the strings would have also been welcome. But when the orchestra was going at full tilt, all was well. And when it was over, the audience rose to their feet and thanked the performers with heartfelt applause and cheers.

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The Park Avenue Chamber Symphony in Review

The Park Avenue Chamber Symphony in Review
“Sublime Journeys”: Britten, Richard Strauss and Beethoven
David Bernard, conductor
David Chan, violin
Tamra Paselk, soprano
All Saints Church, New York, NY
October 23, 2011
"David Bernard conducting the Park Avenue Chamber Symphony"  Photo: Jennifer Taylor

"David Bernard conducting the Park Avenue Chamber Symphony" Photo: Jennifer Taylor

 

In a program entitled “Sublime Journeys,” David Bernard and The Park Avenue Chamber Symphony presented varied, challenging repertory with excellent soloists on display, and they succeeded with flying colors. Strauss’s “Death and Transfiguration,” a meaningful choice for this beautiful space, was a real triumph. This masterpiece demands virtuosity and creates challenges for top-tier ensembles, and the orchestra rose to the occasion with superb playing all around. Bernard, who conducted from memory, brought raw, dramatic intensity to the urgent sections, while conducting the noble transfiguration theme with utmost tenderness and lovely, sustained pacing. Balances were unusually clear, considering the church’s resonant acoustics; Bernard found ways to bring out woodwind details, and the brass shined with solid, blended playing. Concertmaster David Edelson’s solo-playing was rendered with conviction here, the violas were excellent, and the solo oboe playing was scintillatingly beautiful. The only disappointing moments were the bassoon’s and clarinets’ subpar intonation in the introduction and a rhythmically rough transition to the development section; yet, the notoriously treacherous triplet passage in the violins was executed very well indeed.

The program opened with soprano Tamra Paselk singing a consistently evocative, engrossing account of Britten’s “Les Illuminations”, Op. 18. In every single movement, she revealed nuances of character and color with her dramatic acting and gorgeous voice. The orchestra got off to a good start, with very solid, precise violas. The high, exposed writing in the first violins and solo violin part sounded approximate at times, but the balance between soprano and orchestra was perfect, as Paselk could be heard at every turn.

David Chan played with poised brilliance and profound integrity in Beethoven’s Violin Concerto, which concluded the program. And the orchestra was supportive and precise throughout. Although one could call Chan’s performance amazing for its virtuosity, the most memorable aspect of his performance was his heartfelt rendering of the slow movement and all the movements’ lyrical phrases at the top of the register. Chan always put the meaning of the notes first and their accuracy a close second; his priorities are in order, like a great artist’s should be, and we ended up witnessing an interpretation that was both technically polished and sublime.

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The Park Avenue Chamber Symphony in Review

The Park Avenue Chamber Symphony in Review
David Bernard, Music Director and Conductor
Ted Rosenthal, Piano
Bernstein, Beethoven, Rosenthal (World Premiere), and Gershwin
All Saints Church; New York, NY
May 15, 2011
David Bernard conducting the Park Avenue Chamber Symphony.  Photo: Jennifer Taylor

David Bernard conducting the Park Avenue Chamber Symphony. Photo: Jennifer Taylor

 

The Park Avenue Chamber Symphony’s performance of Beethoven’s Eighth Symphony was captivating throughout; the clarity of rhythm and the musical conviction of the players were superb in what was a sparkling account. Music Director and Conductor David Bernard made the most of Beethoven’s melodic material by emphasizing the shape of the musical line, and Beethoven’s trademark sforzandos (heavy accents) were punctuated with tremendous vigor. All dynamics were presented with great contrast, but Bernard also brought out the nuanced, Haydnesque elements in the music: the humor, the grace, the lightness of touch in the orchestration, and he emphasized the Viennese dance music that permeates the score.

Bernstein’s “Candide Overture” was given a vibrant account, as this tricky piece–with all its contrapuntal elements–was appropriately feisty and comical. In Ted Rosenthal’s “Jazz Fantasy” for Piano and Orchestra (world premiere), the soloist, Rosenthal himself–who is better known as a jazz pianist–played the improvised sections with panache and enthusiasm. When he was playing the written-out parts, he seemed a bit stifled–which is odd because he composed the piece himself.  Then again, Rachmaninoff was not always at home when he played his own music. In the “Jazz Fantasy,” Bernard was–despite all the difficulties of a new piece–relaxed and precise. The cello section had some difficulties with intonation and ensemble, but the violins and woodwinds were accurate and had a nicely blended sound–although not always audible. When they were heard, the solo flute and clarinet were wonderful. The brass section was sometimes excessively loud or unreliable; the trumpet soloist, for example, made a noticeable fumble at the very opening of the piece. On a side note, there was a cute moment when the jazz drum set player glanced over in the direction of the classical percussionists, with a thinly veiled look of disapproval as they played a rather bland, orchestrated version of a Latin clavé rhythm. A few moments later, the clavé motif shifted to the drum set player, who played it with a natural affinity, and had a slightly smug look on his face as he did.

The “Jazz Fantasy” certainly had overtones of “Rhapsody in Blue,” although it pales in comparison to Gershwin’s masterpiece. (What wouldn’t?) It seemed to be a big crowd pleaser anyway; both Mr. Rosenthal’s piece and “Rhapsody in Blue” received standing ovations. In the Gershwin, the conductor and soloist communicated exceptionally well, the clarinetist played an excellent opening solo, and the strings seemed more secure and enthusiastic in this piece, without question due to the work’s familiarity. In the Gershwin, Rosenthal took many refreshing liberties in fantastic solo playing, adding some rather long improvised sections to the piano cadenzas. In a delicate scherzando passage near the end, Rosenthal and the orchestra were at odds rhythmically, but this appeared to be the fault of the first violinists, as their eyes were glued to their music here. Overall, “Rhapsody in Blue” was very moving, and in summation, this was an immensely enjoyable concert. 

Holly Nelson for New York Concert Review; New York, NY

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Park Avenue Chamber Symphony in Review: Tchaikovsky and Rachmaninoff

Park Avenue Chamber Symphony in Review: Tchaikovsky and Rachmaninoff
David Bernard, conductor
Karine Poghosyan, piano
Tchaikovsky Piano Concerto No. 1
Rachmaninoff Symphony No 2
February 13, 2011

David Bernard conducting the Park Avenue Chamber Symphony; photo credit Stefan Cohen

The generosity of spirit and affection that infuses the work of two of the most beloved Russian composers, Tchaikovsky and Rachmaninoff, must be genuine and heartfelt in a good performance.  By this standard, the Park Avenue Chamber Symphony scored a triumph in their rendering of two of these composers’ most iconic works, in a recent concert at All Saints Church.  The Armenian pianist Karine Poghosyan joined the orchestra for the Tchaikovsky First Piano Concerto in what proved to be a warm and sympathetic collaboration. 

The venue for the concert worked both for and against the artists.  As churches go, All Saints is small and intimate, where a good deal of the audience practically sits right on top of the orchestra.  While this allows for a more visceral experience of the music, the acoustic can be simply overwhelming and indistinct in the loudest and most densely textured orchestration.  And what else could explain the choice of a baby grand piano for the concerto but a simple lack of available floor space?  In spite of these liabilities, there was still much to admire in the performance. 

Ms. Poghosyan is a relaxed and natural musician, very obviously at home in the Tchaikovsky.  Her technique is big and secure, with blazing octaves, clean articulation, and a beautifully weighted touch.  More importantly, her virtuosity was not a shallow display of party tricks, but a tool for musical expression. Although it was a disservice to hear her on such an inferior instrument, her strengths were not diminished.  

David Bernard, the Chamber Symphony’s Music Director, led both pieces from memory, with clarity and a sense of spontaneity, even in such well worn repertoire.  Despite occasional struggles with ensemble and intonation, the orchestra played with a strong sense of style and commitment.  Several soloists offered impressive playing, notably the principal cellist and oboist in the Tchaikovsky, and the clarinet and English horn in the Rachmaninoff.  Special mention must be made of the string ensemble in general, who, under the guidance of Mr. Bernard and their concertmaster, David Edelson, play with the depth and fervor of the old school European orchestras. 

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The Park Avenue Chamber Symphony in Review

The Park Avenue Chamber Symphony in Review
“Baroque Celebration”: Vivaldi’s “Four Seasons” and Gloria
David Bernard, Music Director and Conductor
David Chan, Violin
Florilegium Chamber Choir; Nicholas DeMaison, Director
All Saints Church, New York, NY
December 12, 2010
 

David Bernard leading the Park Avenue Chamber Symphony from the harpsichord continuo in Vivaldi’s Four Seasons with soloist David Chan, Concertmaster of the Metropolitan Opera Orchestra. Photo Credit: Claire Stefani

In an all-Vivaldi concert, the Park Avenue Chamber Symphony got in the holiday spirit with the composer’s Gloria in D, RV 589 and his eternally famous “Four Seasons”. The orchestra’s violin soloist was Metropolitan Opera Concertmaster David Chan, who inspired a riveting and stellar performance on all fronts. Music Director David Bernard, who led the performance while playing the harpsichord, did an excellent job of maintaining solid ensemble-playing and consistently driven tempos in what was a crisply articulate, high-energy account.  To top it off, there was a brief poetry reading prior to each season, read with poise and clarity by All Saints Church Music Director Cynthia Weinrich; this was a great idea. Chan played at the highest level possible—with both sweet-toned polish and gutsy intensity—bringing a romantic air of expression to the piece, as one should when there is such detailed, innovative tone-painting (musical descriptions) in the music.

Because “The Seasons” was given such a memorable performance, it could easily have been on the second half of the program. And all four seasons (four concertos with several movements each) are in fact longer and more epic in stature than this Gloria. Naturally, one can understand why Bernard chose the Gloria to conclude the concert; choral works with numerous performers—a visual as well as an aural delight—usually do provide for an emotionally or spiritually satisfying conclusion. But since the superior Vivaldi opus and performance was “The Seasons”—I would have preferred the save-the-best-for-last approach and conclude with that work instead.

Bernard conducted the Gloria from memory and with an astute ear for phrasing and color. My peeves were the sometimes less-than-polished solo singing—although soprano Nina Riley sang beautifully—some out of tune trumpet playing, and the fact that The Florilegium Chamber Choir was sometimes tentative and difficult to hear (especially in lower registers). When I could hear them, however, diction was clear and the phrasing was elegant. Principal cellist John Yakubik’s solo playing was also appealing.

Another reason I can see why the Gloria was indeed placed on the second half was because it led nicely to a Holiday Sing Along, in which Bernard placed the chorus antiphonally on both sides of the church. Here, the voices came through loud and clear—although it didn’t hurt that the large audience at hand lent their voices to what was a robust reading of several Christmas Carols. It is a credit to David Bernard that he has such enthusiastic followers in his audience. Usually you can hear it in applause, but this time it was through the music itself.

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The Park Avenue Chamber Symphony in Review

The Park Avenue Chamber Symphony in Review
David Bernard, conductor
Pedro Diaz, oboe
Beethoven Symphony No. 6 (“Pastorale”)
Cimarosa/Benjamin Oboe Concerto
Copland “Appalachian Spring” Suite
All Saints Church; New York, NY
October 17, 2010

The Park Avenue Chamber Symphony led by David Bernard

David Bernard has a very impressive memory, as he conducted the entire program—including the concerto and a fairly difficult Copland work—without a score. Beethoven’s sixth symphony was a fitting choice since they did the fifth last year. Is the seventh on the horizon for next season? Most of the movements’ tempos were a bit too slow for my taste and the winds sometimes got out of sync.—the horn also cracked several times—but the exciting storm movement sounded terrific; even the second violin section’s famously treacherous eighth-note passage (simulated rain drops) was polished to excellence.

Copland’s notoriously difficult “Appalachian Spring” Suite needs and seemed to have gotten plenty of rehearsal time, and it paid off; the orchestra played it very well. My only peeves were brass playing that was behind the strings in the first big orchestral passage (do they have enough rehearsal time in the church to get used to the distant surroundings and the time lag, etc.?), and a famously tricky 2/4 and 5/8 section involving piano, double basses and syncopated trombones that became unhinged. But most difficult moments went very smoothly.  This time–opposed to the Beethoven—the tempos were atypically fast, but they correlated with each other well. The opening A’s were unusually and nicely poised, the closing chorale section was phrased beautifully, and the last three glockenspiel and harp notes were perfect.

Pedro Diaz, the solo English horn player at the MET, performed elegantly and exquisitely on the oboe in Cimarosa’s Oboe Concerto. Purity and sweetness of tone plus precise articulation were in evidence. Bernard and the orchestra performed sensitively and were with Diaz all the way.

The Park Avenue Chamber Symphony titled their varied and immensely enjoyable program “Springtime Serenade”, and that brings up a subject for debate: the necessity of program titles. Many Orchestras try to find a gimmick such as headliners or catch-phrases to make the concert more inviting, but is a contrived title the right gimmick?  In this case, we are well into autumn and the orchestra’s delightfully contrasting program consisting of Beethoven’s “Pastorale Symphony”, Cimarosa’s Oboe Concerto, and Copland’s “Appalachian Spring” has one third of its program entrenched in spring, but is not worthy of a program title devoted to it.  I see Vivaldi’s “Seasons” coming up on a December PACS program (I look forward to that); if the Spring Concerto had been previewed here, you have a bigger reason to hint at spring in a title—maybe. Beethoven’s “Pastorale” could be about fall as much as spring or summer; in his description, Beethoven talks about feelings upon arriving in the country, etc., but is non-specific with regards to a season. Concert program titles tend to be limiting, especially when the programming is as varied and innovative as Mr. Bernard’s. The title: ‘Beethoven’s Pastorale, Copland’s Appalachian Spring and MET soloist Pedro Diaz’ would sell lots of tickets without any added gloss.

On a program page listing future concerts, ‘Jazzy Classics’ is the title of a terrific program that features Shostakovich’s 6th Symphony, Gershwin’s “Rhapsody in Blue” and a recent Jazz composition by Ted Rosenthal, but one of their website pages avoids the label ‘Jazzy Classics’, which is good. After all, the excellent and immensely enjoyable Shostakovich 6th symphony is not jazzy nor widely considered a classic, and Ted Rosenthal’s world premiere piece entitled “Jazz Fantasy” is not a classic—yet. But it is great that the orchestra is performing those works and I hope many people attend. I certainly look forward to it.

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The Park Avenue Chamber Symphony

The Park Avenue Chamber Symphony
All Saints Church, New York, NY
May 2, 2010 

The Park Avenue Chamber Symphony

The program was perfect: it had a central idea, which was music from or inspired by France. But even though the works were nicely tied together, they were also satisfyingly well-contrasted from one another. Bizet’s Symphony in C was composed by a Frenchman, who at 17 years of age was hardly a man or hardly French; his music, after all, was greatly inspired by the classical structures of Beethoven’s fourth, Schumann’s second and Mendelssohn’s third symphonies. Yet expansive French melody and chromaticism shine through, and this work is worthy of frequent performances. The Park Avenue Chamber Symphony played it marvelously well; David Bernard’s tempo choices were safe and fittingly musical at the same time—the last movement Allegro vivace, for example, wasn’t hurried or flashed for effect, but played so details could be heard. Only occasionally were trumpet and timpani eighth notes late or behind after a tied note. And only a few oboe and flute unison E’s were slightly off in the Adagio. In general, this was indeed a polished performance. 

Debussy’s Nocturnes are associated with French Impressionism, yet they were an inspirational source for Stravinsky’s rhythmical Sacre du Printemps. The dreamy mood in Nuages (clouds) was captured exquisitely, and the orchestra was in sync with all of Fete’s syncopations and fly-by-night articulations. The stopped horns and trumpets were solidly in tune—though trumpet ensemble was a bit off in the March. The Premiere Rhapsodie for Clarinet and Orchestra was written later and shows a different, even less predictable side to Debussy—one with constantly shifting harmonies and irregular phrases and rhythms. It was given a sweetly seductive, technically masterful performance by the always excellent Jon Manasse. 

Gershwin’s An American in Paris made a great impression all around: ensemble playing was in control—except in one syncopated brass section toward the end—balances were kept in check, intonation was excellent, tone quality beautiful, and the solo trumpet and trombone playing was very solid and evocative. Bernard added some nice touches, like a longer-than-usual bassoon grace note at the beginning of one of the slower parts. The swing section—featuring trumpet solos, trills and numerous syncopations was too slow for my taste, but every other tempo sounded completely natural. Bernard, who conducted the entire program from memory, should be very proud of what he has accomplished with this difficult program; the orchestra was confident and musical, technically impressive and extremely well-prepared.

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The Park Avenue Chamber Symphony

The Park Avenue Chamber Symphony
David Bernard, conductor

 

Sirena Huang, violin

 

All Saints Church, New York, NY

 

February 7, 2010

 

The Park Avenue Chamber Symphony

 

Sirena Huang was the featured soloist, and despite her fifteen years of age, she played Saint-Saens’ Third Violin Concerto like a seasoned pro. Not only did Sirena confidently “nail” the difficult notes in the stratosphere of her instrument and play with a beautifully resonant sound, she winningly captured the essence of this brilliant French score. The Park Avenue Chamber Symphony’s talented Music Director, David Bernard, held things together very well, but he needs more rehearsal time to work on the pitch of the winds, as chords in the second movement were significantly out of tune. This was also true of the chords in the first movement of Beethoven’s Fifth Symphony—before the recapitulation. Still, there were many things to admire in this performance of the Fifth. For one, there was excellent precision of ensemble in the notoriously tricky first movement, with all its off-beat entrances. One also felt and heard the players’ emotional commitment throughout the symphony. I also really liked Bernard’s emphasis of the first movement’s famous four-note motive when it appears in the horns two or four times slower than normal (as augmentation). 

I did find it very unusual that on the third fermata of the first movement opening, in which the first violins sustain a high G, some violinists—on two different occasions—also held the B-natural, which, traditionally, is only a part of the chord’s roll. Tempo-wise, the last movement Allegro was faster than usual—it was refreshing to hear, although the strings sometimes struggled with the pace. The third movement Scherzo, on the other hand, sounded slower than usual; Beethoven’s Allegro indication (not to mention his metronome marking), was ignored in this performance—but many agree that Beethoven hastily added some of his metronome markings in order to accommodate his publisher. Wagner’s Prelude to Act III of “Lohengrin”, which was placed on the second half before the Beethoven, was played with unabashed exuberance—as it should be. Food for thought: as it is so extremely short, I wonder how it would have fit on the first half, immediately prior to the Overture to “Die Fledermaus”, which opened the program. The Strauss—like the Wagner—was performed with an immensely appealing flair. 

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The Park Avenue Chamber Symphony

The Park Avenue Chamber Symphony
David Bernard, conductor
Drew Petersen, piano
All Saints Church, New York, NY
December 6, 2009

The Park Avenue Chamber Symphony

In a program called “Cinematic Genius”, the conductor David Bernard explored concert pieces that were later incorporated into film. Johann Strauss’s “On the Beautiful Blue Danube” seems far-fetched for a film about outer space, but Stanley Kubrick pulled off wonders with it in “2001, A Space Odyssey”  when he used dreamier Strauss moments to represent timelessness in space. Bernard left excerpts of the film run on screen during a complete performance of the Strauss, and it didn’t always mesh in mood–exciting dance music as a backdrop for a person walking down a spaceship corridor, for example–but you’ve got to give Bernard credit for a charming, well-prepared performance of this concert staple. I also applaud him for choosing a stylistically well- balanced program, one that presented music from three different centuries.

Drew Petersen, who performed Mozart’s Piano Concerto No. 20 in D Minor, K.466, is a 16-year-old student at the Manhattan school of Music Pre-College division. He has considerable technique—his notes were in place, the cadenza playing was imaginative, and he has done a lot of wonderful charitable work for communities who need young artists like him. Unfortunately, he had to perform on a small Kawai piano, and there was little resonance and warmth of sound. Regarding a cinematic decision, I didn’t understand the need to roll the entire closing credits of the film “Amadeus” to the concerto’s slow movement. It’s a lovely choice for the movie, but here it was a distraction.

The performance of Shostakovich’s challenging Fifth Symphony was very impressive.

Bernard has chosen players wisely; the orchestra seems to have affection for each other, and their enthusiasm for the music was undeniable. The mysterious third movement of the Fifth was incorporated into a scene of the Harrison Ford film “Patriot Games,” and it was interesting to see when it was used. Unless Mr. Bernard chooses music that was written specifically for film, I do think that excerpts of concert works used in film should be heard with the movie only before performing the work as a whole. This way, you educate the audience about a film director or film composer’s approach to a classic score and also preserve the intention of the composer. In any case, David Bernard and the orchestra should be very proud of what they’ve accomplished; I look forward to hearing them again.

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