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New York Symphonic Arts Ensemble
www.nysae.net
Sybille Werner, Music Director and Conductor
Steven Graff, Piano
At
Julia Richman Auditorium
317 E. 67th Street
NY, NY
Robert D. Ekselman
February 26, 2006
Program:
Ludwig Van Beethoven (1770-1827)
Symphony No.3 in E Flat Major, “Eroica”, Op.55 (1804)
Allegro con brio
Marcia Funebre: Adagio assai
Scherzo: Allegro vivace
Finale: Allegro molto
Pyotr Ilyich Tchaikovsky (1840-1893)
Piano Concerto No.1 in B Flat Minor, Op.23 (1875)
Allegro non troppo e molto maestoso
Allegro con spirito
Andantino simplice
Allegro con fuoco
Programming Beethoven’s Eroica Symphony was an ambitious choice for an orchestra that is not professional. That having been said, tonight’s fearless performance by the New York Symphonic Arts Ensemble held its own. Phrases sang in long lines and there was drama too. Music Director / Conductor Sybille Werner led the orchestra with authority and style. Without any overstatement the orchestra gave us a sense of heroism in this programmatic – and somewhat lengthy – symphony, providing a very satisfying opening half to the concert.
A point of interest highlighted in the program notes: Both the Beethoven work and the Tchaikovsky Piano Concerto No.1 that made up the second half, had their dedications altered. Beethoven’s Symphony No.3 was dedicated to Napoleon Bonaparte, but upon Beethoven hearing that the Frenchman had declared himself Emperor, so legend has it, he tore the offending dedication page out and wrote in its stead ‘Eroica’. Tchaikovsky’s Piano Concerto No.1 was dedicated to Nicolai Rubinstein, the great Russian pedagogue / pianist, whose technical and compositional advice the composer sought – being himself not a performing pianist. Finding Nicolai to be entirely negative in his reaction to the piece, Tchaikovsky altered its dedication to Hans von Bulow, whose immediate response was overwhelmingly positive. Beyond the issues of the dedications, both works are grand in scale and character, although the similarities end there, because Beethoven’s hero was more universal in scope.
Pianist Steven Graff was the soloist tonight in Tchaikovsky’s massive Piano Concerto No 1. Mr. Graff already has an impressive resume of competition wins, solo engagements with orchestra, broadcasts and also lecture/recitals. With an unassuming stage manner this enterprising artist displayed all of the insight and intellect one might expect given a background as diverse as his, besides possessing a refined lyrical touch, expansive phrasing, and a warm tone.
I did notice that Mr. Graff had a considered awareness of the orchestra’s playing, which obviously had a direct bearing on his ability to move the tempi where it needed to move. Mr. Graff’s playing took in both the large scope of the whole, while also paying attention to details of phrasing, something that helped create a polished performance overall. The encore that following the concerto – Gnossienne No.1 – was written by eccentric French composer Erik Satie. This delightfully charming morsel was played with engaging simplicity and penetrating tone, and provided the perfect complement to the emotive force of the Tchaikovsky. The long line of admirers and well wishers waiting backstage after the performance attested to the considerable following Mr. Graff has already deservedly built up.
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