New York Music Daily

Global Music With a New York Edge

Tag: elgar

Repartee and Revelations From Young Concert Artists on the Upper West

Is it fair to a duo act to say that the highlight of their show involved only one of them? In this case, that’s a reflection of the material on the bill rather than the performance. The piece was Tonia Ko’s mesmerizing Waves and Remains for Solo Violin; the player was Benjamin Baker, at Merkin Concert Hall this past evening.

The composer introduced it as an illustration of how clouds passing across the sky metaphorically reflect the transitory nature of home, and whether it’s actually possible to go back. Strumming, she explained, reminds her of her Hawaiian childhood, and that’s how Baker opened the work, tersely, then shifted to steady, circling phrases that interpolated pizzicato accents within them. The device can be maddeningly difficult to play, cleanly – Baker made it seem effortless. Ko’s increasingly uneasy series of waves and echo devices rose to a very amusing, atonal paraphrase of a well-known nursery rhyme at the end.

Baker and his frequent tourmate, pianist Daniel Lebhardt, also had great fun with Britten’s Suite for Piano and Violin, Op. 6. Their playful jabs during the call-and-response of the opening march segment were matched by the more lingering, lyrical camaraderie that the composer artfully shifts to in the second movement, and also in the third, almost a parody of a minuet.

There were two other pieces on the bill as well. The duo opened the show with the slow upward trajectory of Schubert’s Fantasy in C Major, D. 934, Lebhardt attacking the recurrent series of rapidfire, tremoloing phrases with remarkable restraint, leaving the floor to Baker for a display of pensive grace and silken, high harmonics. And yet, Baker couldn’t resist sliding just a hair toward the feral blue notes of Hungarian folk music when Schubert’s faux-Romany dance kicked in.

They closed with the predictable High Romantic angst of Elgar’s Sonata for Violin and Piano in E Minor, a post-World War I reflection that’s hardly the match for, say, what Bartok or Ullmann had to say about it, but the crowd enjoyed the whole thing. The takeaway from this show, staged by Young Concert Artists, seemed to be “these guys are going to do pretty much everything a classical musician is required to do in 2018.” This performance ultimately revealed as much about a professional friendship as it did the two musicians’ formidable chops.

The Young Concert Artists series has helped launch the careers of a similarly formidable list of players, including but not limited to Pinchas Zuckerman, Richard Goode and Dawn Upshaw. Ko happens to their latest composer-in-residence: based on this piece, they chose spectacularly well. The next performance on this season’s schedule is at the Morgan Library at noon on Feb 7 with oboeist Olivier Stankiewicz and pianist Jonathan Ware playing an all-French program of works by Poulenc, Dorati, Saint-Saens and Sancan; cover is $20 including museum admission.

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The Spectrum Symphony Bring an Exciting, Eclectic Program to the West Village

Orchestras are like restaurants in that new ones usually take awhile before they work out all the quirks. The Spectrum Symphony, on the other hand, have a lush, experienced gravitas, and sound as if they’ve been around a long time, even as they’ve taken a promising role in advocating for new music. Their previous concert in the comfortable, surround-sound sonics of St. Joseph’s Church on 6th Avenue in the West Village was a characteristic mix of ideas and emotions from across the ages, delivered with meticulous detail under the baton of conductor David Grunberg. The group’s next concert is this Wednesday, March 25 at 7:30 PM, with an auspicious program featuring Anthony Iannaccone’s From Time to Time, Fantasias on Two Appalachian Folksongs; Schumann’s Piano Concerto in A minor, with soloist Victoria Mushkatkol and Sibelius’ Symphony No. 3 at St. Joseph’s Church, 371 6th Ave. south of Waverly. Cover is $20.

The ensemble’s previous concert here featured a dreamy diptych of Elgar’s Sospiri paired with Massenet’s popular Méditation (from the opera Thaïs), Susan Heerema’s terse, masterfully nuanced violin imbuing it with both lullaby calm and a distant restlessness over pillowy strings. By contrast, the world premiere of Jun Yi Chow’s Serenade mashed up a lively neoromantic drive, a big, acidic fanfare and an austerely otherworldly, circular string conclusion, in the process channeling a hundred years of orchestral music.

Soloist Gerard Reuter’s alternatingly dancing and richly resonant oboe fueled Mozart’s Oboe Concerto, K.314 over a lush backdrop equally infused with stateliness and joyously precise teamwork. The concert concluded with a Haydn masterwork, Symphony No. 101, “The Clock,” which earned its nickname from the playfully metronomic rhythm of its second movement. Obviously, there’s a lot more to it than that. The orchestra brought out all the earnestly driving, singalong bustle in the opening movement and its waltzing reprise in the third, a balletesque, goodnatured precision in the famous second movement, and eventually a conclusion rich with color and attention to dynamic shifts. This week’s concert promises as much or even more, considering the program.

The Greenwich Village Orchestra Shines New Light on an Old Warhorse

Concert as breeding ground for discovery: plenty of fans of classical music would agree that the Beethoven Violin Concerto is one of the best-loved pieces in the repertoire, while a cynic might say that it’s one of the most-played. And they’d both be right. Either way, there’s no arguing that it’s awash in warm nocturnal lustre and attractive harmony. Orchestras tend to focus on that good cheer and play it buoyantly, setting up the many sizzling solo moments for the violin. Yesterday evening conductor Barbara Yahr and the Greenwich Village Orchestra went deep into it, found a lullaby and then a love ballad and played them with a tenderness that was as evocative as it was unexpected. And violin soloist Itamar Zorman matched that approach: only when the final, quirky scherzo built to a jaunty dance did he really dig in and cut loose on the slithery cascades at its peak, and the contrast was spine-tingling.

What became crystal clear from this performance is that Beethoven had a crush on somebody when he wrote this! Whoever she was, she was gorgeous. Yahr led the group through the first movement with a gentle persistence that became even more muted and gauzy on the second, caressing the melody. As an interpretation of a work that gets played so often in concert and on classical radio, something that listeners might multitask through or drift off to sleep with after a Mets game, it was a genuine revelation.

Elgar’s Enigma Variations weren’t a revelation, but they were a lot of fun. This suite is proto film music, or, as Yahr told the crowd, “a Facebook page.” Its portraits and caricatures – some of them rather mean-spirited – flit by in a split second, so Yahr had the orchestra play some of the juicy bits beforehand as signposts to keep an eye out for. So when the annoying neighbor on his bike, or the guy and his clumsy dog playing catch with a stick at the river’s edge, made their appearance, everybody was ready. And those moments of drollery contrasted with the rather somber self-cameos (musical selfies?), and the ode to the composer’s advocate at the London publishing house who gave him grunt work to pay the bills, which the ensemble played as a rapt hymn.

And before the performance, arriving patrons were treated to some tasty fanfares from the brass section, tucked back on the stairs over the front door! This orchestra is an East Village institution, a throwback to the neighborhood’s historically artsy roots, and continues to represent that vanishing tradition. The GVO’s next concert is Nov 16 at 3 PM with Griffes’ The White Peacock, the Schumann Cello Concerto featuring soloist Brook Speltz and Sibelius’ lush, windswept Symphony No. 1, at Irving HS Auditorium on Irving Place and 17th St., suggested donation is $20/$10 for students and seniors and there’s a reception afterward.