Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Saluting One of New York’s Great Music Advocacy Organizations at Lincoln Center Last Night

Every generation tends to view successive ones as being more and more effete. That preconception becomes all the harder to argue with in an age where daily life for so much of the population is becoming more and more virtual and less and less real. Why drag yourself to Manhattan at rush hour to immerse yourself in a sublime and intimate performance when you could get a virtual equivalent on Facebook Live? 

So to see a packed house for the annual Young Concert Artists gala at  Alice Tully Hall last night was a shot of serious optimism. Does the continued success of an organization whose raison d’etre is to champion and springboard the careers of young classical musicians portend a sea change, maybe? A slow tidal shift? Or does that simply reaffirm the eternal appeal of great art? All of the above, maybe?

The concert itself was great fun, a display of ferocious chops, and intuition, and joie de vivre, played to an audience reflecting the relative youth of most of the performers. The prospect of being able to see pianists Lise de la Salle amd Anne-Marie McDermott. violinists Ani Kafavian and Juliette Kang, bassist Xavier Foley. harpist Emmanuel Ceysson and the Zora String Quartet alongside veteran flutist Paula Robison and cello icon Fred Sherry – just to name a handful of the 23 former and current YCA roster members – together onstage is less likely than it might seem. Each has a busy solo, orchestral and chamber music career.

If pageantry could be genunely profound, it would be the version of Tschaikovsky’s Serenade for Strings played by YCA’s conductorless fifteen-piece all-star ensemble. With unbridled, fluttery joy balanced by more direct intonation and clear, uncluttered dynamic shifts, the group reveled in its balletesque riffs, drawing a straight line back to Mozart.

Mezzo-soprano Sasha Cooke, backed by McDermott and the Zora String Quartet, followed a similarly straightforward trajectory from plaintiveness to a blaze of five-alarm drama in Ernest Chausson’s Chanson Perpetuelle. That vigorous sensibility took a turn in a more upbeat, triumphantly lilting direction with Ravel’s Introduction and  Allegro, played by a septet including Sherry, Kang, Robinson and  Ceysson along with violinist Paul Huang, violist Toby Appel and clarinetist Narek Arutyunian.

The program closed with a mashup of Scott Joplin, Liszt and John Philip Sousa arranged for piano eight hands, performed by de la Salle and McDermott with Gleb Ivanov and Yun-Chin Zhou. As completely over-the-top as the concept was, careening from one idiom to another with zero regard for segues, there’s no denying how much fun the four musicians were having while simply trying to maintain a semblance of tightness. Which testifies to the kind of outside-the-box thinking that might or might not be putting more and more young people in the seats. That question continues to bedevil everyone in the concert business these days – and it’s inspiring to see YCA coming up with some answers that are obviously working.

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May 2, 2018 Posted by | Uncategorized | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Symphonic Music Losing Its Charm? Not If the Greenwich Village Orchestra Get Their Way

Audiences don’t typically go to symphony orchestra concerts to be held rapt by meticulous counterpoint, or a perfect balance between ominous strings and animated brass, or to watch the orchestra trace a line straight back from Brahms to Bach. People come out to be swept away by the beauty of the music. We’ve all heard the horror stories about how classical music is in its death throes, with the graying of its fan base, the New York City Opera in bankruptcy, ad nauseum. But by judging by the size, enthusiasm, and sheer diversity of the crowd at the Greenwich Village Orchestra‘s Sunday performance, there are some circles where classical music is absolutely thriving.

And it’s safe to assume that these crowds wouldn’t be so engaged and supportive if the GVO didn’t deliver such spirited performances. Obviously, ensembles like this one benefit from a lighter workload, a greater number of rehearsals and fewer of the hassles that bedevil higher-profile orchestras, including but not limited to recycling the same old warhorses night after night while juggling an incessantly erratic barrage of newer works that often clash ridiculously with the older repertoire.

It’s a familiar formula: get the crowd’s attention with something lively, bring it down with something quieter and more substantial and then up again for a big rousing finale. And for the GVO it worked like a charm this time out. With a meticulous attention to dynamic shifts and contrasts, guest conductor Pierre Vallet brought the curtain up with a trio of pieces from Berlioz’s “concert opera” The Damnation of Faust. The first selection, Menuet des Follets, got a jolly, balletesque sway balanced by pillowy strings; the second, Ballet des Sylphes, had a nocturnal if not particularly nymphlike sweep; the third, the Rakoczy March (based on the Hungarian national song) broght the boisterously dancing energy back up.

Vallet then switched gears with a richly uneasy triptych from Ravel’s Sheherezade, a potently intense counterpart to the blitheness of the Berlioz. This particular suite, in contrast to the famous one by Rimsky-Korsakov, doesn’t bother to so much as hint at the Middle East: instead, it’s a moody, atmospheric series of art-songs. Soprano Sasha Cooke blended seamlessly into the washes of strings with a judicious wariness that was far from arioso and all the more effective for it. The opening piece, Asie, wasn’t the least bit Asian, the orchestra and singer hanging back on its swells and dips, letting the brooding, underlying stillness linger: after all, at this point Sheherezade doesn’t yet know that the finicky sultan isn’t going to kill her. The second, La Flute Enchantée, set Simon Dratfield’s bubbly yet cautiously measured flute against similarly measured rises and falls from the ensemble. The third, L’indifferent, achieved the same persistent suspense.

The concert ended joyously with Brahms’ Symphony No. 4. What was most enjoyable about Vallet’s interpretation from this particular vantage point was how historically informed it was, putting the music in context. That luxuriantly driving first movement quickly got a chance to reveal itself as a fugue, albeit one all dressed up for a night out! The second was done as proto Southwestern gothic, the orchestra playing up its Spanish tinge for all it was worth before moving on to bright string/brass contrasts.The sheer fun of the third movement, complete with cinematic chase scene midway through, provoked spontaneous applause from the crowd. The symphony and concert concluded on an appropriately impactful, rhythmic coda that was just short of puglistic, with its triumphant, Beethovenesque series of false endings awash in equal amounts lustre and neo-Baroque counterpoint. The Greenwich Village Orchestra’s next concert, on March 30 at 3 PM, has an even more auspicious program, maestro Barbara Yahr leading the group with guest violinist Hye-Jin Kim through Samuel Barber’s Adagio and Violin Concerto plus Prokofiev’s Symphony No. 5. The concerts take place at the sonically excellent Washington Irving Auditorium, Irving Place at 17th Street; tickets are a $15 suggested donation, with a reception to follow.

February 11, 2014 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , | Leave a comment