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.

Share
by Harry Saltzman  for New York Concert Review; New York, NY

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.

Share
by Anthony Aibel  for New York Concert Review; New York, NY

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

Share
by nyconcertreview  for New York Concert Review; New York, NY

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.

Share
by Anthony Aibel  for New York Concert Review; New York, NY

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.

Share
by Anthony Aibel  for New York Concert Review; New York, NY