Long Island Philharmonic – June 19, 2010 Concert Review

Long Island Philharmonic

David Stewart Wiley, conductor

Joseph Kalichstein, piano

Tilles Center for the Performing Arts, New York

June 19, 2010

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

Roanoke Symphony Orchestra review: Clarinet piece was rare jewel

The following review by appeared in the January 26, 2010 edition of the Roanoke Times.

There was plenty to like in Monday night’s Roanoke Symphony Orchestra concert at the Roanoke Performing Arts Theatre.

But the Virginia premiere of Lowell Liebermann’s magnificent new clarinet concerto outshone everything else.

When it came to superlatives, soloist Jon Manasse’s splendid performance pretty much sucked all the oxygen out of the room, leaving little to say about the Gershwin, Dvorak and Mozart works, any of which on another night might have been the centerpiece of a program.

Yes, Maestro David Stewart Wiley presided over finely calibrated crescendi in the overture to Mozart’s opera “The Marriage of Figaro.” The Dvorak Symphony No. 8 in G Major was artfully shaped and soulfully played. And George Gershwin’s little “Lullaby for Strings” was as likeable as ever.

But when the Concerto for Clarinet and Orchestra, Op. 110, by American composer Liebermann cruised to a breathless finish and the standing ovation and shouts of bravo were echoing through the hall, it seemed clear that we had heard a piece that will remain in the repertoire for decades to come.

But it will always take a player of Manasse’s caliber to do justice to Liebermann’s work. The occasional gifted amateur may strike out into the deep waters of the Mozart clarinet concerto. But no amateur can handle the Liebermann piece. This bravura work requires not merely a professional player, but a virtuoso.

It is lyrically gorgeous, full of ravishing tunes from the opening whole-tone scales to the perpetual motion finale. The orchestra is called upon to provide a wash of ethereal textures with high bells and delicate woodwind effects.

It’s difficult to pick out peak moments. But the entire middle slow movement, with its sinuous, long-breathed melodies that take unexpected chromatic turns, was breathtaking. Manasse’s technical mastery was obvious enough in the rapid passage work. But the pianissimo passages in the instrument’s very highest tessitura, with intonation that was dead-on perfect, were extraordinarily lovely. Manasse deserved every bit of adulation he got at the end of this piece.

As a final gift to the audience, the RSO performed the Brahms Hungarian Dance No. 5 to yet more shouts of approval.

by Seth Williamson

Thanksgiving For The Arts: an editorial

The following editorial appears in the November 8, 2009 edition of The Roanoke Times

By David Stewart Wiley

As we move closer to Thanksgiving, I want to express my sincere thanks to our region for supporting the Roanoke Symphony (and all of the arts) during these challenging economic times. It is important for all of us to celebrate good news where it exists, and the symphony is a true success story.

The good news is the Roanoke Symphony continues to experience record ticket sales in both our classical and pops series, with 1,625 tickets sold for our opening masterworks concert and a few thousand for our upcoming pops concert with superstar Natalie Cole. While ticket sales are so important to the vitality of the RSO, even in record years they do not cover the cost of these programs. So please know that every contribution and sponsorship is needed and truly appreciated — especially now.

Every citizen in our region should take great pride in the remarkable success of their professional orchestra and chorus — particularly that we are operating with a balanced budget year after year.

Did you know the RSO alone invests close to a quarter-million dollars in taxes and fees annually for the Roanoke Valley region and Virginia? The RSO is the region’s very own artistic stimulus package.

In a time of budget strain for local schools where our dedicated teachers have to do more with less, the symphony — and all arts education programs — are more needed now than ever before.

We all recognize that support comes in many ways, from volunteer time to monetary contributions, and it is the spirit of community that drives us all to success. With that in mind, special thanks are due to The Roanoke Times for reviewing important regional musical events and artists. Stories about our recent U.S. debut of a young, rising star violinist gives us all a glimpse into a bright future for the arts. It’s inspiring and exciting. And, did you hear about the RSO’s recent encore involving electric guitar? What a wonderful illustration of how the arts transcend age and genre.

Remember the first time you heard an orchestra or a particular song or pianist? What was it that spoke to you, made you connect?

The arts have incredible power to touch us. This is the journey that we share together, for through the arts we are invited to live our lives more fully, more sensitively and with vigor.

I am grateful to serve with an amazing team of professional musicians, supported by a great executive staff, board, donors and volunteers who share in our vision and commitment. We remain a stable, strong and vital pillar in our region particularly when we take the long view, the generational view.

The marketplace puts a short-term price on everything, but the arts place not simply a price but a long-term value on those things that matter. Education, community, connections, partnerships with schools, businesses and other civic organizations: These things matter now more than ever. With your attendance and support, your orchestra will remain vital, an artistic business model of excellence that generates not only excitement but is a vital part of the region’s economic engine.

Consider this a personal invitation from me, and your entire RSO team, to share in our successful 56th symphony season. Please support all the arts — we need you and we welcome you all.

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