Wagner, Fung & Mozart - 10/13/13

Conductor: Dongmin Kim 
Wagner: Prelude from Tristan and Isolde (arr. Yoomi Paick) 
Fung: String Sinfonietta 
Mozart: Violin Concerto No 5 in A Major, K 219,"Turkish" - Sean Lee 
Mozart: Adagio and Fugue, K 546 

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Now that everybody is back in business and the official season is solidly underway, last week was full of exciting musical adventures of many sorts before wrapping up yesterday with the first concert of the New York Classical Players' Season 4. Moreover, I was particularly happy to go back to their Upper East Side home, the Church of the Heavenly Rest, not only because it is such a wonderful space, but also because I got to reach it by walking through Central Park on another splendid October afternoon. I actually felt kind of sorry about leaving the golden sun and crisp air behind, but on the other hand, I walked into the nave fully aware that everybody there was pretty darn lucky to be able to enjoy such a stellar ensemble play masterworks by Wagner and Mozart for free. So on with the music! 

A new version of the Prelude from Tristan and Isolde arranged for small string ensemble started the concert on a deeply Romantic note, the characters' passionate longing for each other gorgeously expressed in the long Wagnerian lines, which the musicians handled masterfully. Just listening to this prelude solidified the notion that changing the course of music history can also be a truly transporting experience for creator and listeners. 

Next, Vivian Fung's "String Sinfonietta" had a lot was going on in it, constantly keeping the orchestra and the audience at the edge of their seats. Displaying a wide range of moods and plenty of pizzicatos, this little string symphony was big on surprises and a real pleasure for the ears, with maestro Kim assuredly leaving no detail unattended. 

Then we went back to a tried and true classic with Mozart's fifth and last violin concerto. Bristling with the inventiveness and elegance that have come to characterize its composer's oeuvre, the Turkish was a perfect opportunity to hear out young violinist Sean Lee, who passed the daunting test without any difficulty. His refined tone proved a natural fit for the work's understated lyricism, and he knew exactly when to let lose in the most exuberant moments. 

As a bonus, our enthusiastic ovation earned us a deftly rendered Preludio from Bach's Partita No 3 in E Major, which turned out to be the ideal transition for the next, and last, but by no means least, piece on the program. 

So we went back to Mozart, but incidentally enhanced by a touch of Bach this time, with his "Adagio and Fugue", which I personally consider one of the Viennese master's most spectacular achievements. Combining dramatic outbursts with compelling rhythms, the whole work progresses with an underlying dark intensity that makes it all the more spell-binding. Thanks to their remarkable sense of musicality, the New York Classical Players delivered a performance that projected all the endless complexity of the short composition, and concluded this delightful concert with virtuosity and flair. 

Written by Isabelle Dejean (October 14, 2013)

Elgar, Penderick & Chopin - 04/22/12

Conductor: Dongmin Kim 
Elgar: Serenade for Strings, Op. 20 
Penderecki: Sinfonietta for Strings 
Chopin: Piano Concerto No 1 in E Minor, Op. 11 (Chamber Version) – Edward Auer 

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What better way to brighten up a miserable cold and rainy Sunday than with a little Chopin? Since I found it difficult to come up with a better alternative, I left behind my dry apartment and the pile of New Yorkers I was finally getting around to perusing and begrudgingly trudged across a deserted Central Park for The New York Classical Players’ last, but by no means least, concert of the season. After discovering this young ensemble earlier this year, I have quickly become accustomed to the refined command of their playing and the adventurous eclecticism of their programming. So there I was, back in the beautiful Church of the Heavenly Rest and ready to delight in English, Polish and French treats from Elgar, Penderecki and, an all-time personal favorite of mine, Chopin. 

Regardless of circumstances, there are few opening pieces as smooth as Elgar’s ever-popular Serenade for Strings. Performed by the superior strings of the New York Classical Players under the detailed conducting of their music director Dongmin Kim, this melodic feast sounded as crisp and silky as the composer must have dreamed it. The much heralded Larghetto, in particular, delicately came through with just the right combination of poetry and mystery. 

After Elgar’s uplifting introduction, we were in for a forceful, attention-grabbing second number with Penderecki’s Sinfonietta for Strings. The rude awakening triggered by the hard-hitting first chords was rapidly softened by the luminous lyricism of a long viola solo before the insistent chords returned and continued to assertively manifest themselves between individual turns by various soloists. Until the very end, the composition remained resolutely innovative, yet easily accessible. Accordingly, the orchestra did not even try to dig up any pretty sounds out of it, but successfully brought out its gritty edginess and unusual appeal. 

There is of course nothing unusual about Chopin’s appeal, and it was a priceless pleasure to hear his hyper-Romantic Piano Concerto No 1, never mind that it is actually the second one he wrote. The first American to ever win a prize at the Chopin Competition in Warsaw, among other prestigious awards, Edward Auer has had a long and distinguished career. Yesterday afternoon, as he was making his entrance after the expansive orchestral introduction, it immediately became obvious that he had not forgotten his first inspiration. Gentle yet passionate, he delicately emphasized the natural beauty of the music without sacrificing any of its fervent intensity. Having a chamber ensemble instead of a full orchestra accompany the soloist was a welcome novelty too, insofar as it made the whole experience more intimate, therefore more affecting. Unsurprisingly, the captive audience rewarded the musicians with a vigorous standing ovation. 

Before we parted ways, Edward Auer came back for an exquisite rendition of Chopin’s Nocturne Op. 15 No 2. Another proof, if need be, that one can never hear too much Chopin.

Written by Isabelle Dejean (April 23, 2012)