Author: Oberon
Thursday May 16th, 2018 - This evening at Alice Tully Hall, Young Concert Artists marked the end of their 2018-2019 New York season with a gala concert that honored both the organization's founder, Susan Wadsworth, who is retiring, and long-time YCA friend and patron, Peter Marino.
Teddy Abrams was on the podium tonight, leading the Orchestra of St. Luke's in music by Ibert, Chausson, and Mendelssohn. Three very talented young musicians upheld the sterling reputation of Young Concert Artists, and organization which has - over the years - introduced and promoted an astounding number of first-class artists.
Flautist Anthony Trionfo (above, photo by Paul Shim) opened the concert with Jacques Ibert's Flute Concerto. Wearing a jacket woven from the Rhine Gold, Mr. Trionfo dazzled even before he began to play. Ibert's concerto, which premiered in 1934, was just the right vehicle for this charismatic flautist's golden tone and colossal technique, and his glittering jacket seemed made for the occasion.
In the opening Allegro, a jaunty first theme finds perfect contrast in a languid second theme. Reams of spot-on fiorature flowed with wit and sparkle from Mr. Trionfo's flute, whilst his body English kept us visually engaged. In the lyrical Andante, the flautist's impressive breath control set the long melodic line serenely above the accompaniment of the St Luke's cushioning strings. Mr. Trionfo ended the Andante on a remarkable sustained tone that hung endlessly on the air, evoking gentle sighs of admiration from the keenly attentive audience.. The longest of the work's three movements is the last: a jazzy Allegro scherzando laced with virtuoso solo cadenzas. This demanding finale is such a challenge for flautists that it became a test piece at the Paris Conservatoire. Would Mr. Trionfo have passed such a test? With flying colours, to be sure. Tonight's audience loved him.
In striking contrast to the vibrancy of the Ibert, SooBeen Lee (above, photo by Paul Shim), a violinist from South Korea, offered Ernest Chausson's Poème. In this atmospheric work, the darkish glow of the orchestra (Chausson in a Wagnerian mood) underscores themes of longing and tenderness played with silken clarity and poetic nuance by Ms. Lee.
The deep, mysterious orchestral introduction features solo moments for oboe, clarinet, and flute. SooBeen Lee sustains a long tone, accompanied by the timpani; this leads to a pensive solo passage, and to a hymn-like statement from the strings. As the music increases in passion, the violin shines on high before a breathtaking descent. Following ethereal phrases from Ms. Lee, the music turns cinematic. The autumnal horn sounds, and a series of shimmering trills from the soloist brings this haunting work to a close. Ms. Lee's performance was very warmly received by the audience.
To conclude the program, Nathan Lee (above, photo by Paul Shim) performed Mendelssohn's Piano Concerto #1. This young virtuoso, who hails from the state of Washington, began playing the piano at the age of six, and made his orchestral debut at the age of nine. Although he looks like a boy about to enter prep school, Mr. Lee is now 17, and has already built an impressive resumé. Displaying the assured artistry we would expect from musicians much further along in their careers, Mr. Lee's depth of feeling in the Andante (often playing with his eyes closed) and his nimble and dynamically nuanced Allegro work captivated the audience.
From its opening orchestral agitato of rising chromatics, the pianist serves up his splendid opening statement; the music then slows for a lyrical piano solo. Horn calls precede a cadenza, during which a double-barrelled cellphone intrusion (it rang, and then a recorded message was clearly audible throughout the house) nearly derailed the performance. But Mr. Lee maintained his focus. In the ensuing Andante, his playing was expressive, magical, and abundantly gorgeous.
Turbulence marks the start of the concerto's concluding Molto allegro e vivace, the pianist commencing with cascades of notes, delivered with dazzling dexterity. The orchestral writing made me think at times of Offenbach. Mr. Lee's playing was marked by charming dynamics...and a sweet tug of rubato, judiciously applied.
As the concerto came to its brilliant conclusion, the audience went wild for Mr. Lee. Returning amidst an insistent standing ovation, the pianist offered an encore: Debussy's poetic "Beau soir", played with ravishing clarity.
~ Oberon