Christmas Eve @ Carnegie Hall

Above, violinists for Vivaldi: Pamela Frank, Kyoko Takezawa, Bella Hristova, and Jinjoo Cho; photo by Pete Cecchia

~ Author: Ben Weaver

Monday December 24th, 2018 – Christmas Eve at Carnegie Hall was a nearly sold-out performance by the New York String Orchestra, a program organized by the Mannes School of Music each year: its 50th incarnation this year was marked by mayor Bill De Blasio declaring it the New York String Orchestra Day in NYC. Under the baton of Jaime Laredo, the 64-member orchestra, made up of young musicians from around the world (ages 16-23) presented an ambitious program of Mendelssohn, Vivaldi and Beethoven.

Mendelssohn’s popular Hebrides Overture is one of his most famous compositions: the moody, dark opening from the low strings, evoking the churning waves of the ocean, is an instantly recognizable tune. There are several of those in the work, heard by all in numerous commercials and movies over the years. The young musicians, following Maestro Laredo’s relaxed tempo, created an evocative, almost creepy, aural landscape.

Vivaldi’s thrilling Concerto for Four Violins from his famed collection of 12 concertos entitled L’estro armonico, was so admired by J.S. Bach that he transcribed it for four harpsichords. Requiring a quartet of star soloists to pull it off, the New York String Orchestra delivered four with unimpeachable credentials: Jinjoo Cho, Pamela Frank, Bella Hristova, and Kyoto Takezawa. The soloists both compete and complement one another throughout the work. Dazzling displays of virtuosity and unpredictable rhythms of the first movement give way to a yearning slow moments, where the four soloists play by turn in unison and in solo passages, then the fiery finale brings down the curtain. Certainly the four soloists leave nothing to be desired and the orchestra provided thrilling support.

Without stopping for an intermission (a welcome move), the piano was immediately set up for Beethoven’s great Piano Concerto #4 with Yefim Bronfman (above, photo by Pete Cecchia) at the piano. Mr. Bronfman has long been one of our favorite artists on this blog: he a musician of singular musical sensitivity and imagination. His gentle solo introduction of the concerto before the orchestra picks up the melody was like meeting an old friend. Beethoven’s melodies come in waves. Bronfman handles the running scales effortlessly. Maestro Laredo’s expansive tempo was especially rewarding in the Andante con moto movement where Bronfman’s soulful playing could move anyone to tears. Here, too, the young musicians provided wonderful support.

Performance photos by Pete Cecchia, courtesy of Carnegie Hall.

~ Ben Weaver