David Bernard, Park Avenue Chamber Symphony. Recursive Classics RC5956731.
By John J. Puccio
If you have been enjoying the Park Avenue Chamber Symphony for a while, or if you have been reading Classical Candor for any length of time, you probably know how good the Park Avenue ensemble sound. The orchestra includes mainly players who do other things for a living (like hedge-fund managers, philanthropists, CEO's, UN officials, and so on). They're not amateurs by any means, but they're not full-time musicians, either. Nor is the Park Avenue Chamber Symphony a particularly small group. It's about the size of most other full-sized symphony orchestras. Whatever, whether you’ve heard them or not, believe me, their playing will dispel any skepticism about the quality of their work; everyone involved with the orchestra deserves praise, especially their energetic leader, Maestro David Bernard.
So, why does the ensemble call itself a “chamber symphony”? After all, a chamber orchestra is traditionally a smaller group, originally designed to play in smaller rooms; whereas a symphony orchestra is a larger group, designed to play in concert halls or auditoriums. But while symphony orchestras produce bigger, more mellifluent, more grandiose sounds, chamber ensembles usually have the advantage of producing clearer, cleaner, more intimate sounds. I suspect the Park Avenue players chose their name because they combine the best aspects of both designations, chamber and symphony. At least, that’s they way they have always come across.
On the present recording, Bernard and his crew play the Symphony No. 5 by Austro-Bohemian composer and conductor Gustav Mahler (1860-1911). He wrote it in 1901-02, and it remains among his most multifaceted works, beginning in sorrow and solemnity and culminating in joy and happiness. The turning points are the third movement Scherzo, sounding much like Mahler's usual parodies of a traditional Viennese waltz, and the famous fourth-movement Adagietto, really a love letter to the composer's wife, Alma. These lead into a joyous fifth-movement Rondo-Finale, made more jubilant by the conducting of Maestro Bernard and the playing of the Park Avenue performers.
There is nothing flashy or earthshaking about Maestro Bernard’s performance, yet it seems perfectly suited to the occasion. In the first movement Bernard maintains a solid, forward-moving rhythm, the music gradually building into a heady climax. It’s a steadfast, firmly grounded interpretation that eschews histrionics in favor of an unwavering fidelity to Mahler’s intentions. The Park Avenue ensemble is equally up to the task of handling Mahler. The composer requested a large orchestra, listing most of the instruments he wanted; but he did not identify the number of strings assigned. Whatever, the Park Avenue players appear big enough in their numbers to produce a thrillingly full sound yet not so massive as to becloud the overall sonic picture.
For the second movement, Mahler indicated “Stormy. With utmost vehemence.” Maestro Bernard again adheres to the composer’s direction. Bernard is a particularly forceful and energetic conductor, so this movement suits him fine. This movement actually acts as a kind of extension of the first movement but with greater intensity and passion, a tone Bernard achieves admirably.
Next we come to the Scherzo, which after the turmoil and “vehemence” of the second movement may seem almost anticlimactic. Nevertheless, it provides a delightful interlude, if a typically peculiar one common to Mahler, as it playfully dances around various waltz and country dance motifs. Maestro Bernard seems to be having a good time with it. And then it’s on to the celebrated Adagietto. In fact, this section became so well known it is often performed by itself. The composer notes that the conductor should play it “very slow,” but Mahler himself was known to have played it fairly fast, at least compared to many of today’s conductors. Maestro Bernard takes a sort of compromise approach, slowly but not too slowly. It emerges perfectly, conveying Mahler’s obvious affection yet not dipping into sentimentality. It’s a sweet, compelling, and still highly emotional approach.
In the Finale, Mahler incorporates several themes touched upon in the previous movements, which help to unify the symphony into a satisfying whole. Here, Maestro Bernard lets the work’s effulgent joy shine radiantly through, concluding a thoroughly enjoyable reading.
Jennifer Nulsen did the audio engineering and mastering, along with engineers Isaiah Abolin, Thom Beemer, and Lawrence Manchester. They recorded the symphony at the DiMenna Center for Classical Music, NYC in May 2022. The opening trumpet notes set the stage for sound that has depth, dimension, and spaciousness. It’s clean, transparent sound that well captures the simulation of a live event, even though this one was done in a studio. A pleasantly deep, rumbling bass line adds to the illusion of realism. Both the audiophile and the casual listener should enjoy the sound.
JJP
By John J. Puccio
So, why does the ensemble call itself a “chamber symphony”? After all, a chamber orchestra is traditionally a smaller group, originally designed to play in smaller rooms; whereas a symphony orchestra is a larger group, designed to play in concert halls or auditoriums. But while symphony orchestras produce bigger, more mellifluent, more grandiose sounds, chamber ensembles usually have the advantage of producing clearer, cleaner, more intimate sounds. I suspect the Park Avenue players chose their name because they combine the best aspects of both designations, chamber and symphony. At least, that’s they way they have always come across.
There is nothing flashy or earthshaking about Maestro Bernard’s performance, yet it seems perfectly suited to the occasion. In the first movement Bernard maintains a solid, forward-moving rhythm, the music gradually building into a heady climax. It’s a steadfast, firmly grounded interpretation that eschews histrionics in favor of an unwavering fidelity to Mahler’s intentions. The Park Avenue ensemble is equally up to the task of handling Mahler. The composer requested a large orchestra, listing most of the instruments he wanted; but he did not identify the number of strings assigned. Whatever, the Park Avenue players appear big enough in their numbers to produce a thrillingly full sound yet not so massive as to becloud the overall sonic picture.
For the second movement, Mahler indicated “Stormy. With utmost vehemence.” Maestro Bernard again adheres to the composer’s direction. Bernard is a particularly forceful and energetic conductor, so this movement suits him fine. This movement actually acts as a kind of extension of the first movement but with greater intensity and passion, a tone Bernard achieves admirably.
Next we come to the Scherzo, which after the turmoil and “vehemence” of the second movement may seem almost anticlimactic. Nevertheless, it provides a delightful interlude, if a typically peculiar one common to Mahler, as it playfully dances around various waltz and country dance motifs. Maestro Bernard seems to be having a good time with it. And then it’s on to the celebrated Adagietto. In fact, this section became so well known it is often performed by itself. The composer notes that the conductor should play it “very slow,” but Mahler himself was known to have played it fairly fast, at least compared to many of today’s conductors. Maestro Bernard takes a sort of compromise approach, slowly but not too slowly. It emerges perfectly, conveying Mahler’s obvious affection yet not dipping into sentimentality. It’s a sweet, compelling, and still highly emotional approach.
In the Finale, Mahler incorporates several themes touched upon in the previous movements, which help to unify the symphony into a satisfying whole. Here, Maestro Bernard lets the work’s effulgent joy shine radiantly through, concluding a thoroughly enjoyable reading.
Jennifer Nulsen did the audio engineering and mastering, along with engineers Isaiah Abolin, Thom Beemer, and Lawrence Manchester. They recorded the symphony at the DiMenna Center for Classical Music, NYC in May 2022. The opening trumpet notes set the stage for sound that has depth, dimension, and spaciousness. It’s clean, transparent sound that well captures the simulation of a live event, even though this one was done in a studio. A pleasantly deep, rumbling bass line adds to the illusion of realism. Both the audiophile and the casual listener should enjoy the sound.
JJP
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