Long Island Concert Orchestra in Review
Jason Tramm, conductor
Gauen Kim, cello soloist
David Winkler, Executive Director
Broadway Church, New York, NY
November 4, 2022
The Long Island Concert Orchestra (LICO), under the baton of conductor Jason Tramm, brought a highly enjoyable program to the Broadway Church in New York City on November 4th – two iconic works, the Tchaikovsky Variations on a Rococo Theme, Op. 33, with cellist Gauen Kim, Mozart’s Symphony No. 35 in D major, K. 385 “Haffner,” and the US premiere of Mannheim Preludes, by composer and Executive Director of Chamber Players International, David Winkler.
Mr. Winkler welcomed the audience and spoke about his Mannheim Preludes. This 2016 work, commissioned by the Karpfälsiches Kammerorchester of Mannheim, is written in the style of the Italian Overture (three sections: fast-slow-fast, played as single continuous whole). Mr. Winkler took a tense thematic motif and “passed” it around the ensemble throughout. While one sensed the tension, it was not always rendered convincingly. Some attacks were tentative, and the ensemble was not always razor-sharp. One is generally reluctant to make assumptions, but perhaps there was not enough time for extra rehearsals. These issues notwithstanding, it is an effective work, and conductor Jason Tramm invested boundless energy and commitment to bring out the best in the orchestra. The appreciative audience gave Mr. Winkler warm applause.
Cellist Gauen Kim took the stage for the Tchaikovsky Variations on a Rococo Theme. I’m not sure if Ms. Kim was a last-minute substitute, as the promotion materials listed Eunae Jin as the cello soloist. There was also no talk about the work (or any program notes), which was a bit disappointing, considering the interesting history of how the work’s dedicatee Wilhelm Fitzenhagen, played a bit “fast and loose” with Tchaikovsky’s original conception. As they say, you can look it up, but for a start the Variations on a Rococo Theme employs a theme that is not actually Rococo, but is an original theme in the Rococo style.
There is a certain insouciance required from a soloist to capture this work’s spirit, as too much “seriousness” ruins the playfulness and humor that abounds throughout. It’s not enough however, to just swagger, one must also negotiate the considerable technical demands. Ms. Kim fit the bill perfectly. Her tone was warm and rich, her bow work excellent, and her intonation overall quite true. Her rapid passage work was clearly articulated, and the humor was projected with an easy touch that never sounded affected. Ms. Kim is an elegant player!
Maestro Tramm was an ideal collaborator, keeping the orchestra “in line” while sensitive to the soloist. The one or two very brief moments when the orchestra was obscuring Ms. Kim were quickly addressed. The call-and-reply moments were charming. All of those ensemble concerns that I felt during the Winkler had disappeared. The audience gave Ms. Kim a well-deserved standing ovation.
The evening concluded after intermission with Mozart’s Symphony No. 35 in D major, K. 385 “Haffner.” This masterpiece must be considered one of the finest of Mozart’s forty-one symphonies, and Maestro Tramm’s reading served it well. It reminded me of my last hearing of him conducting a Mozart symphony, in that he let the music speak without resorting to any needless “originality.” His an intelligent, respectful approach – after all, Mozart needs no one’s “help.” It proved to be one of the most enjoyable twenty minutes of music that this often jaded listener has experienced in a very long time. At one point, a violist broke into a huge grin as he was playing, which really touched me, as this exemplified what music should be, pure joy.
The opening Allegro con spirito was ebullient, with the “fire” that Mozart indicated. The woodwinds were the stars of the lovely Andante. The clever Menuetto was a musical tug-o-war between the tonic and dominant. The scintillating Presto brought the audience to their feet in an extended standing ovation. Bravo!
The Long Island Concert Orchestra returns to the Good Shepherd Church for a program in the “Great Artist Series” on November 30. 2022.
