A Lustrously Balanced, Cohesive Opening to the Greenwich Village Orchestra’s New Season
It was good to see a pretty packed house for the Greenwich Village Orchestra ‘s first concert of the 2013-14 season earlier this evening in the big, newly renovated auditorium cattycorner from Irving Plaza on lower Irving Place. They’ve been a downtown favorite since the 90s, serving up Carnegie Hall-class programming at considerably reduced prices (a $15 donation, which would get you a nosebleed seat, at best, on 57th Street, was all that was being asked, including a reception to follow). First on the bill was Beethoven’s Leonore Overture, one of those famous pieces that you know even if you think you don’t (classical radio stations often program it at about 45 minutes past the hour since it will take you pretty much all the way to the top). Early on, it was clear that this would be about pillowy nocturnal sonics contrasting with deftly pulsing insistence. There was a calm methodology but also an unselfconscious joy in conductor Barbara Yahr’s presence on the podium – and a twinkle in her eye when Beethoven’s signature humor made itself known, whether there and gone in a second, or in the when-is-this-going-to-end series of surprises as it wound out.
A slightly lesser-known work was next on the bill, the orchestra’s Raman Ramakrishan the featured soloist in Saint-Saens’ Cello Concerto No. 1 in A Minor. Yahr and the ensemble gave it a seamless, matter-of-factly assured rendition. The work follows a familiar trajectory from apprehension to triumph with many stops in between, the orchestra reaching into its nuances, playing up the composer’s highly balanced approach. Lustrous winds and brass countered balmy strings, with Ramakrishnan taking more the role of a complementary player than front-and-center soloist. Which fit the piece perfectly: aside from some bracing Romany-tinged acrobatics for the cello, this particular role is more about melody and purpose than ostentation, embraced warmly by the whole group.
The piece de resistance was Franck’s Symphony in D Minor, a deftly and intricately orchestrated and altogether underappreciated work. From the unfettered angst fluttering from the cellos as it opened, this turned out to be a richly epic, minutely jeweled, darkly sweeping interpretation, a storm to get completely lost in. Franck’s main axe was the organ – his works for that instrument are some of the 19th century’s most memorable – and there are places in this symphony which hint that it might have been composed on that instrument, with particularly choice, tersely delivered moments from Phil Rashkin’s english horn, Margery Fitts’ harp, Phil Fedora’s bassoon and Shannon Bryant’s oboe. What’s most artful about this piece is that the composer juxtaposes two radically different main themes, one troubled, the other a series of rather cloying, sentimental, pastoral varations that gradually and almost imperceptibly become more enigmatic and ultimately triumphant – rags to riches, musically speaking. And considering the era this piece comes from, there would seem to be a temptation to go for schmaltz with them. But that wasn’t the case: again, calmly and matter-of-factly, Yahr brought them in at the end with an emphatic sense of victory. Depth had won out against what for a moment seemed would be difficult odds.
Yahr leads the orchestra again on November 17 at 3 PM with guest violinist Itamar Zorman playing Moshe Zorman’s Galilean Suite plus Tchaikovsky’s Romeo and Juliet Overture and the Brahms Violin Concerto at Washington Irving HS Auditorium, Irving Place at 17th St., $15 sugg don, reception to follow.