An Exhilarating, Insightful Program from the Park Avenue Chamber Symphony
It obviously wasn’t conductor David Bernard’s intention to write his own review of the Park Avenue Chamber Symphony’s concert this past Sunday on the Upper East Side. But he was in a particularly good mood to share some insights about how he and the ensemble were going to approach the program – and what might be useful from a listener’s perspective. And those insights were right on the money – thanks for your help, maestro! He joked that the bill was”essentially a tribute to the New York Philharmonic,” being that their recently retired principal clarinetist Stanley Drucker would be featured on the Mozart Clarinet Concerto, followed by Dvorak’s New World Symphony, which the NY Phil famously premiered.
Bernard explained the dramatic opening piece, Carl Nielsen’s Helios Overture as a “postcard,” which it is, since the Danish composer wrote it on holiday in Greece. But as Bernard took care to mention, it’s no ordinary postcard, and the orchestra did justice to its sheer, majestic magnificence, from an almost impeceptible intro, a long climb upward, bright beams bursting through and then dancing clouds voiced by high strings amidst a bright brass-fueled fugue. It’s more Classical than Romantic when it comes to the interchange of voices that make Nielsen’s music so much fun to conduct – and witness close up.
Bernard introduced some controversy, voicing the opinion that the Mozart Clarinet Concerto, being the composer’s final finished work, is more of a self-penned obituary than the famous Requiem. Since so much of the Requiem is either repetition, or wasn’t even written by Mozart himself, that’s plausible, and as the group played it, Bernard’s contention was hard to argue against. Drucker – who’s played this as much or more than any symphony orchestra clarinetist alive – brought a wise, woody tone and a bubbly but measured joie de vivre to the more animated sections over a lush backdrop. Bernard described it as wistful rather than morose, and the orchestra nailed that emotion, especially when the dancing cascades in the third movement interchanged with a pensive expansiveness, as if to say, you mean we have to stop here? But we’re having so much fun!
Introducing the Dvorak, the conductor implored the audience to listen with fresh ears: “We’ve all heard this before,” he admitted, “But it is a masterpiece.” And the performance reaffirmed that: the PACS record and release a lot of their concerts on itunes and at Spotify and on cd, and this one deserves to be one of them. Individual voices, whether from the bass section, Brett Bakalar’s crystalline English horn solos, and the rest of the group were precise and distinct, the strings cohesive and pillowy – and sometimes blustery – and the suspense nonstop, for those in the crowd with the ability to defamiliarize from previous experiences with it. Here’s one possible interpretation: the two most recurrent themes are a cowboy tune and a minor-key blues riff, right? So, with all the aggressively circling battle scenes and fervent marches, could this be a coded history of American imperialism: cowboys versus Indians? Slavers and slaves? Or something more Slavic, maybe? After all, Dvorak knew how often his own turf in what’s now the Czech Republic had been overrun by invaders, so could this ostensibly American symphony have a subtext that’s much closer to home?
The Park Avenue Chamber Symphony’s next concert is an auspicious one, on February 22, 2015 at 3 PM at Rose Theatre in the Jazz at Lincoln Center complex, where they’ll be playing Lorin Maazel’s Wagner arrangement, The Ring Without Words, as well as Stravinsky’s Le Sacre du Printemps.
And coming up at the Czech Center (321 E 73rd St.) in the upstairs gallery, Dvorak’s original score for the New World Symphony will be on display daily from Nov 17 to 21 from 1 to 8 PM. It’ll be the first time in decades that the manuscript has been outside of Czech territory.
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