The Greenwich Village Orchestra Play Tschaikovsky in 3D
Sunday evening in the Gilded Age Irving Place auditorium they call home, the Greenwich Village Orchestra played an insightful, richly intuitive concert akin to the “composer portrait” series uptown at the Miller Theatre. The composer was Tschaikovsky: in a moneymaking mood, in a good mood, and also in a very bad mood. Stepping in for music director Barbara Yahr, guest conductor Pierre Vallet led the ensemble through a program that ran the kind of rollercoaster of emotion that you would expect from this composer’s music.
They opened with the Festival Coronation March, a last-minute Tsarist commission that was reportedly a rush job. It’s what you would expect, a full-on High Romantic anthem whose pomp and circumstance came across just muted enough to hint at camp without actually going there. Was Tschaikovsky being subtly sarcastic with this piece? Russian music is full of irony, and history always gives tyrants the short end of the stick…or leaves them at the end of a rope.
By contrast, the Violin Concerto, with soloist Siwoo Kim ably negotiating the lightning staccato passages that violinists of its era considered too challenging to play, was all about tough tasks and triumph: at the end, there was an unspoken but palpable sigh of relief, everyone in the ensemble with the look of “OMG, we actually got through this!” As he did with the opening number, Vallet established a very wide dynamic range early on, allowing for a high ceiling, which the group built to as seamlessly as can be done with such a technically demanding work.
But the piece de resistance was the Symphony No. 4. As the orchestra played it, it’s all about subtext. Was this, as the program notes asked, the lament of a closeted gay man trying to make the best of a bad situation in a homophobic society…or simply a self-portrait of a tortured artist? Either way, it worked. The angst was relentless when it had to be, particularly during the stalking, vamping second movement, which has become a template for horror film themes over the years. Bookending it were steady, similarly relentless themes that came across, in a far more subtle way, as being just as tormented, if in their dogged pursuit of something that seems just around the corner but never arrives: a suspense film for the ears.
The Greenwich Village Orchestra’s next concert is Sunday, May 17 at 3 PM, with Yahr returning to the podium for a dramatic conclusion to their season featuring Rossini’s William Tell Overture, a music video with music by Berlioz performed with special guest mezzo-soprano Naomi O’Connell, and then Gershwin’s An American in Paris. Suggested donation is $20/$10 stud/srs, reception to follow.
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