The Long Island Philharmonic has had four Music Directors since its founding in 1979, but none of them has been as effective at communicating intimate, nuanced music with the audience as David Stewart Wiley. Its Music Director for almost ten years, Mr. Wiley enjoys speaking to the audience before many of the pieces the orchestra performs, and those in attendance clearly enjoy it, benefitting from musical examples that accompany that talk because they get a preview—much like a movie trailer—and know what details to listen for. And the Long Island audience needs this added familiarity more than in a major city, where a Mozart symphony isn’t exactly a foreign affair.

Before the performance of Mozart’s Symphony No. 39, Wiley interestingly noted that the first movement may be the first time the waltz (opposed to the Minuet) was incorporated into a symphony. He also rightly mentions the countryside, folk aspect to the symphony as a whole. And that inspires an analogy: Mozart brings the countryside to the symphony, and the Long Island Philharmonic brings the symphony to the countryside, enriching the musical experiences of thousands of Long Islanders, who do not have to leave the suburbs in order to hear great music—or great music-making. Perhaps—quite fittingly—the suburbs of Long Island are the perfect place to hear intimate music.

The performance of the 39th Symphony was indeed given a polished, sparkling and elegant account. The sound of the orchestra is in terrific shape, with special mention going to the solo clarinet and the French Horns for handling difficult moments with effortlessness and beauty. In Beethoven’s Fourth Piano Concerto, excellent pianist Joseph Kalichstein, who often modestly collaborated like he was one of many solo instruments within the orchestra rather than the main soloist, nonetheless gave the kind of briskly-paced performances—in the outer movements—that didn’t always mesh with the ensemble behind him. Still, it was impressively played on both technical and musical fronts, with the slow movement the undeniable highlight, as its darkly solemn and sublime moments were performed with tremendous conviction.

In Bartok’s Romanian Dances, which opened the program, the clarinet solos were playfully and endearingly shaped. The Piccolo solo was played with great sensitivity, creating the character of a wandering, lost soul. Wiley set the mood before each dance and achieved deeply committed performances from the players. The first violin section played with unity of movement—often using their bows fully, from the lower part of the bow (the ‘frog’) to the very tip, which can be a rarity for orchestras.

The intimate musical repertory the Long Island Philharmonic explores is sorely needed, as many orchestras concentrate on the more ostentatiously grand symphonic music and stay away from the more delicate gems. Yet Long Island audiences appreciate the nuances of this delightful music because David Stewart Wiley allows his audiences to savor it all—during the performance, but also before it.

-Anthony Aibel for New York Concert Review; New York, NY

Available online at: http://www.nyconcertreview.com/blog/?p=556

by Bruce Von Bryan, special to The LI Press

There was anticipation and electricity in the air for several thousand concertgoers at the Tilles Center on Saturday evening, as the Long Island Philharmonic & Chorus performed a program by Mozart, Schubert, and Beethoven exactly thirty years to the day of the first concert in 1979.  The chorus filled the back of the stage and joined the orchestra as Music Director & Conductor David Stewart Wiley energetically led the musicians in Wiley’s own full orchestration of the Star Spangled Banner.  Mozart’s piano concerto in A Major K. 488 comprised the rest of the first half, featuring pianist Seymour Lipkin.  Lipkin, no stranger to Tilles audiences, has been a visible figure in orchestral music on Long Island, having been conductor of the Huntington Symphony until 1979.  Lipkin brought an elegant pianistic touch to the Mozart, although a few memory slips were in evidence.  Wiley and his players provided a sympathetic and stylistic accompaniment, with beautiful woodwind solos in abundance.  The final allegro brought the audience to grateful applause.

After intermission and a recognition of the orchestra’s founding members, Wiley and the musicians presented the so-called “Unfinished” Symphony in B Minor by Franz Schubert.  The performance demonstrated beautiful phrasing, dramatic and compelling silences, and wide dynamic contrasts.  Particularly notable were principal oboe Diane Lesser’s oboe solos and Pascal Archer’s clarinet playing.  Wiley, conducting without a score, chose a moderate allegro tempo for the first movement which allowed the second theme to shine, and the flow of the second movement andante seemed to unify the two movements convincingly as one.  This performance demonstrated that the LI Philharmonic has grown artistically into an impressive regional orchestra under Wiley’s leadership, and deserves continued support and attendance. The full Tilles Center audience expressed its appreciation with sustained applause.

The final work on the concert was Beethoven’s early experiment with the “Ode to Joy” theme — the Fantasy for chorus, orchestra, and piano.  Lipkin provided the opening cadenza and launched into the variations with orchestra with great energy.  The 120-member LI Philharmonic Chorus, expertly prepared by Frances Roberts, demonstrated clear diction and powerful choral sonority, led by a well-blended sextet of soloists positioned in the center.  Wiley and his ensemble seemed to be relishing every moment, communicating the raw power of Beethoven’s music.  It was an exciting way to conclude this birthday celebration event, and the audience responded with an immediate and sustained standing ovation.  The satisfied crowd was rewarded by Maestro Wiley and his musicians with an encore performance of the finale of the Beethoven. 

The LI Philharmonic and Broadway star Franc D’Ambrosia will perform with the LIP this coming Friday at the patchogue Theater.  www.liphilharmonic.org

David Stewart Wiley’s ongoing popularity has been demonstrated not only through consistent acclaim by critics and audiences alike but through very significant multi-year growth in attendance and ticket income. “We have come a long way together in the last few years” says Wiley. “I am grateful to our dedicated professional musicians, hard working board and staff, wonderful chorus and chorus master, and the many individuals and businesses throughout Long Island who continue to sustain us and support our vital mission. Our future looks really bright, and I am privileged to serve as Music Director of the LI Philharmonic.” 

Educational outreach residencies with the Philharmonic in the schools have expanded dramatically in recent years. “I am amazed at how wonderful he is with the young musicians and school children” added Mr. Austin. “It demonstrates the Philharmonic’s commitment to the creative growth of our children as a core mission of the institution.” Under Wiley’s baton, the Long Island Philharmonic has shown remarkable artistic growth. Newsday reported, “There was never too much for conductor David Stewart Wiley, who had the program well in hand. It was a very pleasant experience for one who hadn’t heard the Long Island Philharmonic recently. It sounded fresh and revitalized.” 

David Stewart Wiley has developed new audiences for the Philharmonic through performances in established Nassau and Suffolk concert halls as well as newer venues. For the upcoming 2009- Theatre and Staller Center for the Arts, as well as at Hofstra University’s John C. Adams Playhouse and the new Adelphi University Performing Arts Center. 

The Long Island Philharmonic recently announced its 31st season for 2009-2010, with top violinist Nadja Salerno-Sonnenberg, world-acclaimed pianists Joseph Kalichstein and Seymour Lipkin, among other stellar solo artists. The season will include the annual New Year’s Eve Spectacular, Forbidden Broadway, and two Broadway headliners, Franc D’Ambrosio, best known as the longest-running Phantom and the legendary Chita Rivera. 

David Stewart Wiley also continues as the Music Director & Conductor of the Roanoke Symphony Orchestra in Virginia. 

For more information, contact Jane Park at (631) 293-2223 x 120.