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The New York Philharmonic Plays Bernstein at Carnegie Hall: Glenn Dicterow (violin), Ana María Martínez (soprano), Paul Groves (tenor), New York Choral Artists, Joseph Flummerfelt (Chorus Director), Alan Gilbert (conductor), New York Philharmonic, Carnegie Hall, New York City, 14.11.2008 (BH)

New York Philharmonic
Alan Gilbert, Conductor
Glenn Dicterow, Violin
Ana María Martínez, Soprano
Paul Groves, Tenor
New York Choral Artists
Joseph Flummerfelt, Chorus Director

Bernstein: Symphonic Suite from On the Waterfront (1954; 1955)
Bernstein: Serenade (After Plato's Symposium) (1953-54)
Bernstein: West Side Story Suites Nos. 1 and 2 (1955-57)


A few years ago the New York Philharmonic explored the possibility of the orchestra's moving its season to Carnegie Hall, a good idea in theory that was wisely abandoned.  But I'd be happy to sign a petition to get the ensemble there for say, four or five concerts a year.  For this all-Bernstein evening marking the composer's 90th birthday, they sounded magnificent.  Alan Gilbert's explosive reading of the suite from On the Waterfront made me realize how rarely this fine score appears in concert, especially with such bold brass and percussion work. 

Inspired by Plato's Symposium, Bernstein's Serenade is a violin concerto in all but name: it is an affectionate summation of his connection to the writer, and like its source, is a series of statements about the nature of love.  Its five movements are named after Plato's speakers, each with a different character.  Concertmaster Glenn Dicterow mined "Phaedrus" for its sweetly lyrical, rhapsodic character, and "Aristophanes" for some light neoclassicism.  "Eryximachus" was played like Hindemith at warp speed, a preface for the muted nobility of "Agathon."  And a highlight near the end was Dicterow's moving duet with cellist Carter Brey in "Socrates: Alcibiades."

After intermission came two concert suites from West Side Story, assembled posthumously and including much of the material not used in the popular Symphonic Dances.  Soprano Ana María Martínez and tenor Paul Groves were in fine voice—charming, even insouciant where needed—but for these works my ears wanted a tad less operatic veneer.  And some balance problems meant that the huge forces behind them overpowered each singer now and then.  Members of the New York Choral Artists were notable for accuracy and enunciation in the many supporting parts.  But the musicians would not be denied, and in the big moments, such as the sizzling "Jet Song," the orchestra was an unstoppable fireball.  Rather than get out of the way, I let the waves of heat pass right through my body.

For its first encore, the group threw out a neat trick: the Overture to Candide, but with nary an Alan Gilbert in sight.  I got nervous that the conductor-less ensemble couldn't maintain accuracy in the faster passages, but that fear evaporated almost immediately. And responding to waves of applause, as if to show that Gustavo Dudamel has no monopoly on certain Bernstein favorites, the group tossed off the "Mambo" from West Side Story with crackerjack gusto.

Bruce Hodges


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