#chambersymphony

[openingnightposts]

Spellbinding Strauss: David Bernard and the PACS

On a sunny May afternoon at DiMenna Center for Classical Music, the Park Avenue Chamber Symphony, led by Maestro David Bernard, offered more than a typical concert. Spellbinding Strauss, the latest in the Immersions and Explorations series, blended knowledge and pleasure. Bernard’s warm, witty welcome assured listeners that they already knew all they needed to enjoy the afternoon. Instead of a silent, formal group, the audience radiated subtle excitement, more like friends eager for a long-awaited dinner.

Concertmaster Alfheidur Saemundsson (2nd from Left) with David Bernard and The Park Avenue Chamber Symphony presenting Spellbinding Strauss at the DiMenna Center for Classical Music, NYC. Photo by Adam Bundy

An Immersive Apotheosis: The InsideOut Concert Experience

Furthermore, the patented InsideOut Concert model—Bernard's unique approach—placed the audience among the musicians. A visiting violinist and singer enjoyed her seat among the strings next to me. This intimacy erases the usual distance between audience and orchestra. Instead, the orchestra surrounds and envelops you. For admirers of Hofmannsthal's poetic inwardness, or Schopenhauer, who saw music as expressing inner reality, the InsideOut format lets you experience being inside the music, not just watching.

A view of the French Horn section with David Bernard and The Park Avenue Chamber Symphony presenting Spellbinding Strauss at the DiMenna Center for Classical Music, NYC. Photo by Adam Bundy

Don Juan: Strauss in his Halcyon Youth

Notably, Bernard prefaced each work with eloquent commentary, illuminating Richard Strauss' musical evolution—his apprenticeship with his father, the influential hornist Franz Strauss; his challenges managing the Third Reich; and his shift from classicist restraint to Romantic expressiveness. To clarify, Bernard drew an apt analogy to the visual arts, contrasting the restraint of classicism with Wagner's Romantic imagination—a comparison both illuminating and natural.

A view of the Harp with David Bernard and The Park Avenue Chamber Symphony presenting Spellbinding Strauss at the DiMenna Center for Classical Music, NYC. Photo by Adam Bundy

When the orchestra began Don Juan, the room shimmered with its showmanship. Strauss, still in his mid-twenties, showed boldness and remarkable command of inventiveness, chromaticism, and orchestration.

The piece's opening leap conveys Don Juan's swagger and unfolds in a richly chromatic language that still bears traces of Wagner, particularly the world of Tristan und Isolde, and reveals Strauss's deep absorption of Wagnerian style. At times, the love themes bloom into passages of surprising tenderness.

Vulnerable Melody with Rich Color and Calm Control

Notably, Don Juan highlights nearly every principal voice with uncommon individuality. The principal oboe, given one of the score's most exposed and cherished solos—often associated with one of Don Juan's great lyrical encounters—shaped its long, vulnerable melody with rich color and poised control. The concertmaster delivered the work's singing lines with luminous tone, expressive portamenti, and finely sculpted phrasing. The principal flute played Strauss's rapid figurations with exhilarating brilliance, while the principal clarinet added lines of soulful warmth. The trumpets cut through with gleaming vigor. The harps sent their glissandi flashing through the hall like sparks from flint.

A view of the Trombones with David Bernard and The Park Avenue Chamber Symphony presenting Spellbinding Strauss at the DiMenna Center for Classical Music, NYC. Photo by Adam Bundy Moments of Nostalgic Reflection

Above all—and here the emotional center of the score seemed to reside—the French horn section, and its principal especially, proclaimed Don Juan's heroic theme with leonine power. The horn occupies a uniquely personal place in Strauss's musical imagination. His father, Franz Strauss, was among the great horn virtuosos of nineteenth-century Germany and the most formative musical influence on the composer's youth. Throughout Strauss' output, the instrument repeatedly emerges with unusual prominence and affection: far-off calls, heroic fanfares, and moments of nostalgic reflection seem to carry a distinctive emotional affect. The principal horn of this concert met that legacy with majestic utterance, the section behind answering in burnished harmony; one felt the composer's inheritance made momentarily audible.

A view of the Bass Clarinet, Clarinets and Bassoons with David Bernard and The Park Avenue Chamber Symphony presenting Spellbinding Strauss at the DiMenna Center for Classical Music, NYC. Photo by Adam Bundy

To be sure, the strings, brass, woodwinds, and percussion together produced the richly blended orchestral sound for which PACS is justly admired. Bravura, it would seem, is simply in their bones.

Richard Strauss (1904). Photograph of Strauss taken in New York during his US tour that year. Public Domain

Death and Transfiguration: A Soul in Sublimation

Tod und Verklärung followed—a profound work about mortality, composed before Strauss turned thirty. Bernard led the orchestra with attention to detail, drawing heavy, foreboding phrases from the musicians. The timpani began with a hesitant beat, often heard as the artist’s failing heartbeat, while woodwinds appeared like memories. The clarinet and bassoon then added their own deep, lyrical lines.

Poignant Human Need

Most strikingly, the violin rose in long arches of yearning, giving voice to the artist's striving soul. The harps, with ascending arpeggios, scattered radiance through the hall. This was music of heightened subjectivity and luminous tone—a performance to remember. At transfiguration, the harps delivered the music's dazzling brilliance. Their ascendant arpeggios scattered luminous notes like points of light.

The audience among the Strings with David Bernard and The Park Avenue Chamber Symphony presenting Spellbinding Strauss at the DiMenna Center for Classical Music, NYC. Photo by Adam Bundy Atmospheric Blend with Psychological Depth

Furthermore, the French horn section conveyed meaning beyond the notes. With solemn clarity, the horns played the transfiguration theme—the rising phrase Strauss later quoted in Im Abendrot—honoring Franz's lasting influence on his son's love for the instrument. Trumpets and trombones finished the C-major climax with depth, confidence, brilliance, and power. Divided strings—shimmering violins, warm violas, breathing cellos, grounding double basses—created an atmospheric blend with psychological depth. Above all, the music was a portrait of the soul ascending toward its own apotheosis.

The Four Last Songs: Sara Beth Pearson's Luminous Denouement

Finally — and, to this listener, most movingly — soprano Sara Beth Pearson took her place in front of the orchestra for Vier letzte Lieder, Strauss's swan song. Composed in his eighty-fourth year, this final cycle can be compared to the late self-portraits of visual artists such as Picasso, Rembrandt, and Andy Warhol—a farewell reflection on a life's journey. Three songs use text from Hermann Hesse: Frühling (Spring), September, and Beim Schlafengehen (Going to Sleep), while the fourth, Im Abendrot (At Sunset), is set to verse by Joseph von Eichendorff.

Sara Beth Pearson, Soprano, singing Richard Strauss's Four Last Songs with David Bernard and The Park Avenue Chamber Symphony in Spellbinding Strauss at the DiMenna Center for Classical Music, NYC. Photo by Edward Kliszus The Composer's Tender Farewell

Sara Beth Pearson, a spinto soprano with luminous lucidity and emotional immediacy, was mesmerizing. Her line proceeded with seamless legato and the poise of the bel canto tradition. Her precise diction clarified every word. Singing (in German) phrases like "the garden is in mourning," "the magic circle of the night," and—most piercingly—"how tired we are of traveling, is this perhaps death?" she immersed listeners in the autumnal tenderness and valedictory spirit of Strauss's late style. Passion sprang from restraint. With pensive posture and expressive countenance, she deepened the music's quiet sorrow, drawing listeners to the composer's tender farewell. Bernard led an accompaniment of unusual sensitivity. The orchestra sometimes hushed to a tone; at others, it rose to match Pearson's intensity. Almost unbearably beautiful, Pearson’s performance transcended interpretation and became an experience.

Soprano Sara Beth Pearson with David Bernard and The Park Avenue Chamber Symphony presenting Spellbinding Strauss at the DiMenna Center for Classical Music, NYC. Photo by Adam Bundy The Dying Breath of Summer as a Single Leaf Drifts to Earth

Each of the four songs might be characterized as a diminutive concerto for its featured orchestral voices. As expected, the PACS principals rose to every demand. In Frühling (Spring), the principal flute traced filaments of birdsong over awakening strings. The principal clarinet added dappled chromatic warmth to Strauss's spring landscape — a charming nature painting in miniature. In September came perhaps the most affecting moment of the entire afternoon: the valedictory French horn passage that closes the song, seeming to exhale summer’s final breath as autumn quietly gathers. The French horn, an instrument that remained deeply personal to Strauss throughout his life, perhaps carrying echoes of his father, Franz Strauss, among the nineteenth century’s great horn virtuosi—spoke with haunting tenderness. One could almost feel the room hold its own breath.

David Bernard, Conductor of the Park Avenue Chamber Symphony and Massapequa Philharmonic Orchestra. Courtesy PACS

Then came Beim Schlafengehen (Going to Sleep), which includes one of the most beloved violin solos in orchestral literature. Between the second and third stanzas, the concertmaster emerges in an extended cantilena of tenderness, suggesting the soul’s gradual release from its earthly burden. The PACS concertmaster delivered this passage with eloquence, finish, and virtuosity. The tone was radiant with lines shaped with great sonority and delicate shadings as the music demanded. One absorbed the wondrous portamenti and sonic shaping, projected to the remotest corners of the room.

A view of the Flutes, Oboes, and English Horn with David Bernard and The Park Avenue Chamber Symphony presenting Spellbinding Strauss at the DiMenna Center for Classical Music, NYC. Photo by Adam Bundy

Finally, Im Abendrot (At Sunset) closes the cycle in twilit grandeur: the horn section again carrying the great chordal tread, the flutes and piccolo seeming to rise and disappear into the gloaming, while Strauss introduces a moving recollection of the transfiguration theme from Tod und Verklärung (Death and Transfiguration), composed nearly six decades earlier. The cycle thus closes in an act of self-encirclement and grace, with every section of the orchestra—strings shimmering, woodwinds glowing, brass radiant, percussion whispering, harps gilding—making the moment one of those rare apotheoses that linger in memory long after the final chord has faded.

Maestro Bernard at the Podium: Eloquence and Precision

To be sure, Bernard's conducting was, as always, expressive, precise, and artistically impeccable. His cues — subtle agogic accents here, an unmistakable sforzando there — were communicated with such plasticity that the musicians responded musically in kind, breathing as one. His commentary, moreover, illuminated rather than intruded; he is a peripatetic guide of the highest order, a cicerone for music lovers and aficionados alike. Above all, what struck this listener was the evident love between podium and ensemble, a relationship of mutual artistic trust forged over decades of shared music-making.

Soprano Sara Beth Pearson performs Strauss's Four Last Songs with David Bernard and The Park Avenue Chamber Symphony in Spellbinding Strauss at the DiMenna Center for Classical Music, NYC. Photo by Adam Bundy

PACS and Its Legacy of Excellence

The Park Avenue Chamber Symphony, founded in 1999, has long earned its place among New York's most beloved cultural institutions. A three-time First Prize winner of The American Prize Competition in Orchestral Performance, the ensemble has been acclaimed by The New York Times, Gramophone, and WQXR, with critics likening its sound to that of the great old-school European orchestras. In partnership with InsideOut Concerts, Inc., PACS continues to build authentic new audiences for classical music through its uniquely intimate format. Saturday's musicians — across the strings, woodwinds, brass, and percussion — performed with the depth, fervor, and inimitable sonority that have become the orchestra's signature. This was an evening of solid musicianship and artistry, an InsideOut triumph from first downbeat to final, lingering exhalation.

Sara Beth Pearson, Soprano, standing for extended applause with David Bernard and The Park Avenue Chamber Symphony in Spellbinding Strauss at the DiMenna Center for Classical Music, NYC. Photo by Edward Kliszus

David Bernard and The Park Avenue Chamber Symphony present Spellbinding Strauss at the DiMenna Center for Classical Music, NYC. Courtesy chambersympony.com

Spellbinding Strauss: David Bernard and the PACS

David Bernard, Conductor Sara Beth Pearson, Soprano

THE PROGRAM

Don Juan, Op. 20 (1889)

Death and Transfiguration, Op. 24 (Tod und Verklärung, Op. 24 (1890)

Four Last Songs  (VBier letzte Lieder)(1948)

     Spring (Frühling)      September      Going to Sleep (Beim Schlafengehen)      At Sunset (Im Abendrot)

Concertmaster: Alfheidur Saemundsson Principal Horn: Andrew Copper Principal Oboe in Don Juan: Da Ping Luo Principal Flute in Don Juan: Kelly Cuevas Principal Flute in Death and Transfiguration and Four Songs: Lindsay Brillson Principal Clarinet in Don Juan: Alex Yu Principal Clarinet in Four Songs:  Yoyo Chan

[openingnightposts]

David Bernard: The Maestro From the Inside Out

When the European Classical Music Awards announced that Maestro David Bernard had been named Conductor of the Year and Platinum Prize Winner at its Annual Grand Prix 2025, the news reverberated well beyond the Park Avenue Chamber Symphony at the DiMenna Center for Classical Music and the Massapequa Philharmonic at Tilles Center for the Performing Arts. It was, in the parlance of the concert world, a recognition long overdue — and for the musicians who have played under Bernard's baton season after season, it was nothing short of a confirmation of what they have known for years. Bernard is not merely a conductor. He is a teacher, a collaborator, a keeper of the score's innermost secrets, and — in the word one musician reaches for with unambiguous conviction — an artist of uncommon dedication.

This article draws on two sources of testimony: personal interviews with musicians of the Park Avenue Chamber Symphony and a series of questions posed directly to Bernard himself, whose answers illuminate the philosophy and craft that underlie every downbeat. Together, these voices compose a portrait as complete as any profile of a conductor can be — one shaped equally from the podium and from the chairs that face it.

Before the First Downbeat: The Annotated Score

The first thing to understand about David Bernard's rehearsal process is that it does not begin at the first rehearsal. Weeks before the orchestra assembles, Bernard sends every musician a marked-up score — a detailed annotated blueprint of his interpretive intentions, complete with tempo indications, articulation adjustments, dynamic clarifications, and sometimes even changes to note values.

Asked what he communicates before raising the baton at that first rehearsal, Bernard explained:

"When I internalize works, I develop a clear view of how I'd like the work to 'go' — its nuances, phrasing, pacing, and rhetoric/syntax that is woven through its layers, much of which goes beyond what is actually written in the score. The very first part of the preparation occurs when I share this with the musicians through an annotated score, way before the first rehearsal. At the first rehearsal, we can begin with a common baseline beyond what it would be with "clean parts."" — David Bernard

David Bernard, selected as Conductor of the Year and Platinum Prize Winner, European Classical Music Awards — Annual Grand Prix 2025. Courtesy PACS

Asked specifically what goes into those markings, he elaborated with characteristic precision:

"Changes and clarifications to articulations, dynamics, note values, and sometimes even changes to notes. A phrase may need to end lifted, requiring a quarter note to be changed to an eighth with an eighth rest. Certain figures or lines may need to be played stronger or softer than marked to bring out a certain layering between the parts. Notating these decisions in ways that are clearest to the musicians helps achieve a specific way of playing a passage. It not only saves rehearsal time — it allows us to focus on deeper aspects of the music making." — David Bernard

The musicians attest to how dramatically this shapes the rehearsal cycle from its opening moments. Lindsay Brillson, flute and piccolo with PACS since the 2023–2024 season, describes the downstream effect:

"This gives us the ability to get into the musical nuances of a piece much more quickly than we would otherwise, because we're already in sync with what he wants. So the music begins to come together as something beyond the notes on the page from almost the first rehearsal." — Lindsay Brillson, flute and piccolo

John Yakubik, the orchestra’s Principal Cellist for more than twenty years, confirms that this blueprint shapes the ensemble’s preparation from the first stand: "David circulates an annotated score prior to the start of a cycle. He has the principal strings mark up their parts accordingly, so everyone works from his blueprint."

Davis Erin Anderson, French horn with PACS since spring 2023, underscores the practical consequence of this advance work:

“Before a cycle begins, the orchestra receives a marked score with indications for articulations, note length, directionality of a phrase. These things are added to each player’s part, hopefully in advance of the first rehearsal, so that we are not starting from fifty-plus different approaches.”

Gabrielle Miskovitz, a violinist and PACS member since 2005 who has served as both Concertmaster and Principal Second over the years, speaks to the deeper interpretive purpose this serves:

“David has a commitment to his interpretation and understanding of the music, which, without question, has allowed for the unique success of PACS over the decades. He is meticulously detailed with notations during score preparation, which allows us as musicians to understand his musical goals prior to the first rehearsal.” — Gabrielle Miskovitz, Violin 

Gabrielle Miskovitz, Violin. Member of the Park Avenue Chamber Symphony. Courtesy Gabrielle Miskovitz Going Deep: The Rehearsal Cycle

One of the first things a new member of the Park Avenue Chamber Symphony learns about David Bernard is that his strategy within each rehearsal— distinctive, deliberate, and by all accounts enormously effective — goes deep and often starts at the end of a movement and works backward through the score. Bernard frames the logic as a matter of depth over breadth:

"Given the choice between spending the whole rehearsal going deep on one movement of a symphony as opposed to covering all movements — especially during early rehearsals — I will always opt for going deep. When you go deep, the orchestra retains the experience in high resolution and brings it to the next rehearsal. Going deep involves addressing the music-making and execution with care, not in a taskmaster way, but in a "you can do this, no, that wasn't quite it, let's focus this way.” In this approach, achievement follows achievement, building commitment and enthusiasm in the orchestra." — David Bernard

Patrick Sanguineti, in his second season as a PACS trumpeter, offers a vivid metaphor for what this achieves:

"David's approach to a rehearsal cycle evokes learning to read a complex text in a non-native language. He targets fluency and pattern recognition. The process can frustrate at times, but the payoff is a delayed gratification: suddenly, as the cycle nears its end, the granular work David put into those passages reveals a wider grammar and vocabulary that the orchestra now has to put the whole work together — and in a way that feels natural and intuitive." — Patrick Sanguineti, trumpet

Patrick Sanguineti, Trumpet. Member of the Park Avenue Chamber Symphony. Courtesy PACS

Alexander Schulmeister, a violinist who has been with PACS almost since its founding — his first concert was the orchestra's second, in early 2001 — identifies the cumulative architecture that Bernard builds:

"David drills into the music starting with the very first rehearsal, stressing ensemble, balance, articulation, and phrasing. David usually starts rehearsing at the end of a movement, working backwards to the beginning. Full movement run-throughs are done towards the end of the cycle; it is at that time that I feel the pieces coming together and becoming music rather than individual sections and passages." — Alexander Schulmeister, violin

Madeleine Carroll, violist with the Park Avenue Chamber Symphony and Massapequa Philharmonic Orchestra, found the method transformative from her first encounter with it: "It is a brilliant approach that helps us as musicians better understand the inner workings of the movement and recognize key patterns. I can then apply what he has instructed us to do to the rest of the movement. I learn a lot faster this way."

Madeleine Carroll, Viola. Member of the Park Avenue Chamber Symphony and the Massapequa Philharmonic Orchestra. Courtesy Madeleine Carroll

Davis Erin Anderson, French horn with PACS since spring 2023, offers a complementary image of the process: “A typical rehearsal under the baton of Maestro Bernard typically involves a deep dive into a certain section of music — a playthrough followed by hearing from individual sections or groups of sections. It’s sort of like taking a puzzle apart and putting it back together, with added clarity for just how things fit together.” The payoff, Anderson adds, is evident in the final product: “Maestro Bernard makes really good use of rehearsal time, so that when recording sessions or concerts come along, we’ve all had lots of repetition. Because of that, and because of independent practice and sometimes even sectionals that my fellow horn players and I will take upon ourselves, the final result is really clean.”

The Language of the Podium: Clarity as a Discipline

Every musician interviewed for this article used some variation of the word "clarity" to describe Bernard's communication. But clarity, as Bernard practices it, is not merely a manner of speaking. It is a physical and philosophical commitment — an understanding that the conductor's body and voice must become instruments of pure signal, stripped of noise.

On the subject of his famously understated physical presence on the podium — what I have described as "clear, expressive, compelling, and marvelously understated — no dramatic gesticulations or visual melodrama" — Bernard was direct:

"I am hyper-fixated on giving the musicians what they need to achieve, and in conducting, that requires clarity. It is absolutely a "less is more" kind of thing — to have clarity, you must eliminate "noise." I am the "coach" — not a player, so my signals need to be unquestionably useful and usable for the musicians. To do this, you must quiet your body to the point where your motions become more meaningful and important to the players. When you lead this way, you are drawing the musicians to you — in essence drawing out the best performance in the most expressive and demonstrative way." — David Bernard

The musicians recognize and respond to this economy with precision of their own. Brillson describes what it is like to be on the receiving end:

"Maestro Bernard is probably the clearest conductor I've ever worked with. He frequently uses a combination of precise musical description — for example, "the 16th following the dotted eighth needs just as much emphasis and volume as the eighth note" — as well as spoken rhythmic demonstration. He is incredibly efficient at communicating what he wants, and there is rarely any confusion as to what he's aiming for. Additionally, if he feels you still haven't understood his intention, he'll speak with you during the break and ask if there's anything he can do to help you achieve it." — Lindsay Brillson, flute and piccolo

Tay Kwak, a violinist in his fourth season with the Massapequa Philharmonic, identifies something beyond the words themselves: "It is not what Maestro Bernard says. It is how he says it. His communication skills are specific, concise, and they are always reinforced with his conducting, markings on the parts, as well as rehearsal notes afterwards."

William Nealon, the orchestra’s double bassist and a twenty-five-year PACS veteran, notes a particular and unusual technique: "He sings often, and he makes us sing our parts often. He does use a lot of metaphors — for example, he often says the beginning of a note should sound like a bell." Schulmeister echoes this with something approaching wonder: "I have never played for a conductor who had the section sing their parts before."

Anderson catalogues the sheer range of Bernard’s rehearsal techniques with an inventory that suggests a conductor of inexhaustible pedagogical resourcefulness: “Rehearsal techniques range from asking strings to play without their bows so as to dial in pitch and rhythm, singing individual lines so as to communicate rhythm or overall style, asking winds and brass to play a passage note by note so we can hear how our individual pitches fit into a chord, and lots of other ways that are so seamless I’m not even sure I can recall each one.”

John Yakubik, Principal Cellist, adds:

"He is a stickler for rhythm and articulation. He will have the orchestra say it a few times and then have us play it. There’s also a lot of singing to demonstrate the phrasing he would like." What accompanies all of this is an atmosphere of consistent patience. Carroll captures it memorably: "He is a teacher, coach, collaborator, and friend. He approaches his instruction with kindness, encouragement, patience, humor, and a solid commitment to achieving his goals. He has a steady and positive temperament that allows me to make mistakes without being too hard on myself, so I can learn quickly from them and improve."

John Yakubik, Principal Cello, Park Avenue Chamber Symphony. Courtesy John Yakubik

Anderson reaches for a single word that encompasses it all: “I’d say Maestro Bernard is a coach more than anything else. My sense is that he fundamentally believes in the capabilities of each player, otherwise we wouldn’t be there. I think he sees his role as one in which he works with us to bring out the best in each of us.” The effect of that coaching, Anderson adds, is cumulative and deeply personal: “Being part of the PACS project has taught me a lot about developing a style to suit the group I’m playing with. The way in which I approach articulation or the length of notes is quite nuanced now, thanks to the way in which Maestro Bernard specifically approaches the pieces we play.” Miskovitz confirms that this communication extends well beyond the verbal, noting that over the course of rehearsals, Bernard “communicates these nuances through repetition of rehearsal as well as shaping gestures in the moment.”

Conducting from Memory: The Necessity of Eyes

Among the disciplines that distinguish Bernard's work on the podium, none is more demanding — or more consequential in performance — than his practice of conducting the major repertoire entirely from memory. Mahler's Ninth. Stravinsky's Rite of Spring. Beethoven cycles. The score is never on the stand.

Asked what this discipline gives him in rehearsal and performance that a score on the stand could not provide, Bernard answered with characteristic economy:

"Yes — I conduct most concerts from memory. The most important benefit is that your body and eyes are free to fully engage with the musicians. When you look down at the score, you break that engagement, and the performance's overall energy suffers. The connection between musicians and the conductor is made and maintained through the eyes. I believe it is a necessity. My goal in preparation is to internalize the score, which not only results in the high-resolution view discussed earlier, but also results in memorization." — David Bernard

Kwak, reflecting on what this means from the musicians' vantage point, speaks to the sheer depth of knowledge it implies: "Maestro Bernard's understanding of each of the pieces is unparalleled, and his passion and work ethic are second to none. He conducts entirely from memory, and his knowledge of classical music is quite intimidating in the most admirable way. All of the training, knowledge, passion, and dedication just come out through his energy — and we just can't help but be sucked into his vortex."

Stripping Tradition: The Score on Its Own Terms

In a previous review of the PACS Mahler Ninth recording, I wrote that it achieves "that most elusive of musical goals: making a well-known work sound freshly minted, as if the ink on Mahler's manuscript had barely dried." That freshness does not arrive by accident. It is the result of a conductor who approaches a score by asking not what tradition demands, but what the music itself requires.

Asked directly how he strips away accumulated interpretive habit to help his musicians hear a familiar score with new ears, Bernard offered his fullest statement of artistic philosophy:

"When I approach a score, I tend to strive to highlight and release the natural flow and line inside the music — it is something of an obsession of mine. This can involve, to some degree, countering traditions of rubato to eliminate headwinds and obstacles to the flow and line that I see as embedded in the music. Mahler's Ninth is a work that carries quite a bit of performance tradition, some of which I stripped away to achieve what I felt was driven by the music itself. The most drastic overall change in character is the opening of the First Movement, which is often played through the lens of tugging at heartstrings in anguish. To me, the music's line demanded a youthful flow — looking back to Mahler's childhood, strolling through the countryside. This fit the music like a glove — a unique and refreshing result." — David Bernard

He went on to describe how the orchestra internalized that transformation in rehearsal:

"In rehearsal, the orchestra adapted beautifully — shifting from drawing espressivo from each note (a more vertical approach) to seeing the flow and line (a more horizontal approach). It is helpful to point out the contrapuntal dimension of this music — to listen to the outer voices and how they support each other. As we continued, the string players managed their sound and vibrato to support the line, and the new sound emerged. This particular transformation was memorable for me." — David Bernard

Jenn Forese, a flutist with both PACS and the Massapequa Philharmonic who wrote her graduate thesis on Mahler, was uniquely positioned to recognize what Bernard was doing — and uniquely grateful for it:

"When we were working on Mahler 9, I really enjoyed the extra highlighting of particular phrases and moments that could have been overlooked. As someone who has studied Mahler intensely in graduate school and wrote my thesis focusing on Mahler, I truly appreciated the highlighting of moments that I already knew were often overlooked. It brought more justice to our performance of Mahler's music." — Jenn Forese, flute — PACS and MPO

Jenn Forese, Flute.

[openingnightposts]

Sublime Schubert: A Radiant Immersive Masterclass by the Park Avenue Chamber Symphony

Outside, the thermometer had plunged to single digits—the kind of merciless February evening that sends even the heartiest New Yorkers retreating to their radiators. Nevertheless, those who braved the arctic chill and made their way to the DiMenna Center for Classical Music on West 37th Street were rewarded with something far warmer than any furnace could provide. The Park Avenue Chamber Symphony (PACS), under the baton of its visionary Music Director David Bernard, presented “Sublime Schubert,” a program of staggering beauty and intellectual depth that transformed the hall into a sanctuary of tonal radiance and communal warmth. Indeed, by the time the first pianissimo tremolo of the Unfinished Symphony sparkled through the room, every last shiver had been replaced by a quiet, collective gasp of wonder.

Maestro David Bernard describing Franz Schubert's Symphonic Works in a concert entitled "Sublime Schubert' with the Park Avenue Chamber Symphony at the DiMenna Center for Classical Music. Photo by Edward Kliszus

Active Inhabitants of the Orchestral Soundscape

Maestro Bernard, with his characteristic geniality and pedagogical flair, opened the evening with warm welcomes and introductions, setting the stage for what would prove to be an extraordinary immersive experience. Moreover, his remarks served as a gentle overture of their own—contextualizing the music, illuminating the genius of Franz Schubert, and, most importantly, inviting the audience to participate not merely as passive listeners but as active inhabitants of the orchestral soundscape. Clearly, the truest engagement with music demands not distance but proximity—and proximity, in every conceivable sense, was precisely what this evening delivered.

Inside the Sound: The InsideOut Concert Experience as the Ultimate Quadraphonic Journey

What distinguishes a PACS concert from virtually any other orchestral event in New York City is the patented InsideOut Concerts® format, pioneered and perfected by Bernard himself. Rather than the conventional proscenium arrangement—with its implicit barrier between performer and listener—the InsideOut model disperses the audience among the musicians of a 100-plus-member orchestra. The result is nothing less than the ultimate quadraphonic stereo experience, a total immersion in orchestral polyphony that renders even the finest home audio system a pale imitation. Consequently, every fortissimo is visceral, every pianissimo intimate, and every harmonic overtone palpable as it travels through the air and, quite literally, through your body.

Music Education and Musical Rapture Need Not Be Adversaries

Bernard encouraged audience members to look around throughout the concert, take photographs, and observe the musicianship unfolding in every direction. Furthermore, he invited individual sections of the orchestra to hold up their instruments for identification. To illuminate key passages, the orchestra performed brief excerpts. This revelatory approach—part master class, part theatrical experience, part sacred ritual—recalls what Leonard Bernstein championed in his legendary Young People’s Concerts: the conviction that music education and musical rapture need not be adversaries but can, in fact, be exquisite allies. Just as cinema devised IMAX to intensify its art form, and theater devised site-specific productions to dissolve the fourth wall, so InsideOut stands as classical music’s answer—its own revolution of intimacy and immersion.

Additionally, Maestro Bernard enriched the immersive tapestry with yet another sensory dimension: a large projection screen displaying evocative scenes, historical imagery, and contextual text throughout the performance. This visual counterpoint served as a luminous companion to the orchestral narrative, offering audiences biographical vignettes of Schubert's world, structural annotations illuminating thematic development, and atmospheric imagery that deepened the emotional resonance of each movement. Far from distracting, these projections functioned as a kind of visual programme note — a silent docent guiding the eye while the ear remained enraptured. The effect was holistic and transporting, transforming the concert into a genuinely multisensory experience that honored both the intellect and the imagination.

Unwavering Devotion to Craft

One of the most arresting aspects of sitting within the orchestra is the opportunity to watch the faces of both musicians and fellow audience members. The musicians, generally appearing dispassionate on the surface, are in truth burning with intense concentration, particularly during the more technically demanding passages. Yet when the music alights into a tender, Romantic venture—a lyrical second theme, a sighing appoggiatura—some musicians gently smile, a quiet acknowledgment of beauty passing through their hands and breath. The audience members, by contrast, are openly expressive, their faces registering wonder, contemplation, and at times a kind of luminous melancholy that only Schubert can provoke. It takes thousands of hours of preparation and an unwavering devotion to craft to perform orchestral music at this level, and those hours were manifest in every phrase the PACS delivered this evening.

A Young Man’s Torso, Perfectly Formed: The Symphony No. 8 in B Minor (“Unfinished”)

The evening began with Schubert’s Symphony No. 8 in B Minor, the celebrated “Unfinished,” and here Bernard made a decision both generous and symbolically resonant. He honored this work—written by a young man overflowing with melodic invention—by placing it in the hands of another young man: his son, James Bernard, who served as guest conductor for the performance. It was a gesture at once paternal and artistic, a passing of the baton (literally) mirroring the essential spirit of Schubertian fellowship and mentorship.

Guest Conductor James Bernard conducting Schubert's "Unfinished" Symphony No. 8 in a concert entitled "Sublime Schubert' with the Park Avenue Chamber Symphony at the DiMenna Center for Classical Music. Photo courtesy PACS Thematic Metamorphosis

Before the downbeat, Maestro David Bernard offered illuminating commentary on Schubert’s compositional process. He demonstrated how the melodic and harmonic material from the symphony’s haunting opening theme—that unforgettable pianissimo introduction in the cellos and basses, followed by the sighing oboe-and-clarinet duet—served as the generative seed from which Schubert constructed the entire work. This process of thematic metamorphosis, a hallmark of the Classical-Romantic bridge, was rendered even more vivid when sections of the orchestra performed the germinal motif in isolation, allowing the audience to hear the symphony's DNA before experiencing it in full orchestral bloom.

Luminous Orchestration

James Bernard took the podium with the aplomb of a conductor far beyond his years. His cues were clear and confident; his expression was articulate; his command of dynamics and articulation conveyed the kind of gestural authority that elicited an immediate, musical response from the players. The Allegro moderato first movement unfolded with a brooding tensile strength—the low strings providing a subterranean rumble. At the same time, the woodwinds sang their plaintive cantilena above, a dialogue of shadow and light that Schubert managed with an emotional directness that anticipates the Romantic era’s full flowering. The Andante con moto second movement, meanwhile, arrived like a consolation—its long-breathed melodies and luminous orchestration bathing the room in a glow of serene melancholy.

Guest Conductor James Bernard conducting Schubert's "Unfinished" Symphony No. 8 in a concert entitled "Sublime Schubert' with the Park Avenue Chamber Symphony at the DiMenna Center for Classical Music. Photo by Edward Kliszus Rich Orchestral Sonority and Virtuosic Command

David Bernard also noted the poignant historical context: Schubert never heard these works performed live. In his era, orchestral resources were scarce and expensive, and it was Beethoven—towering in reputation and influence—who commanded the forces necessary for premieres of large-scale works. Consequently, Schubert composed in a kind of magnificent isolation, and Bernard opined that this solitude may have emboldened the composer to write passages of exceptional difficulty—passages that only the most accomplished orchestras could realize. It is a bittersweet irony that the PACS, with their inimitable rich orchestral sonority and virtuosic command, were now bringing these works to vibrant, breathing life in exactly the manner Schubert himself never experienced.

Heavenly Length and Earthly Triumph: The Symphony No. 9 in C Major (“The Great”)

Before launching into the second half of the program, David Bernard returned to the podium to share additional insights into Schubert’s life and creative world. He spoke movingly of the Schubertiads—those intimate salon gatherings where the composer and his small circle of devoted admirers made music, recited poetry, and nourished one another’s artistic spirits. These evenings, Bernard explained, were the crucible in which much of Schubert’s chamber music was forged, and they offer an indispensable window into the mind of a composer who died at the devastating age of thirty-one, leaving behind a catalogue of over a thousand works of breathtaking lyrical beauty. As the great critic Harold C. Schonberg once observed in his magisterial survey of the great composers, Schubert possessed an inexhaustible melodic gift that seemed to flow as naturally and continuously as a mountain stream—and the “Great” C Major Symphony represents that stream at full flood.

A Thematic Wellspring

The Symphony No. 9 in C Major is, by any reckoning, a monumental work—Schubert’s capstone orchestral achievement, a composition of what Robert Schumann famously described as “heavenly length.” Bernard introduced the work by having the orchestra perform the celebrated opening horn theme once again, that noble, arching melody that serves as the thematic wellspring for the entire four-movement edifice. This holistic programming approach—showing the audience the architectural blueprint before unveiling the completed cathedral—gave the performance an extraordinary sense of narrative coherence and intellectual transparency.

Maestro David Bernard describing Franz Schubert's Symphonic Works in a concert entitled "Sublime Schubert' with the Park Avenue Chamber Symphony at the DiMenna Center for Classical Music. Photo Courtesy PACS A Marvel of Sustained Lyricism

And then the symphony began in earnest, and it was magnificent. David Bernard’s conducting was its usual expressive, precise, and deeply artistic self—a masterclass in orchestral leadership. His rubato was judicious, his accelerandi thrilling, his pianissimi gossamer-thin and achingly beautiful. The first movement’s sonata-form exposition unfolded with grandeur and rhythmic vitality; the Andante con moto second movement was a marvel of sustained lyricism, with the oboe soloists and the strings trading phrases of devastating tenderness; the scherzo blazed with rustic energy and contrapuntal wit; and the finale—that titanic, surging Allegro vivace—built to a peroration of genuine orchestral triumph.

Richly Burnished Sonority

Throughout this demanding work, the PACS musicians prevailed with remarkable aplomb. The woodwind section displayed impeccable intonation and a singing legato. The brass, particularly in the horn passages that are the symphony’s lifeblood, projected with warmth and heroic resonance. The strings—from the shimmering tremolandi of the first violins to the muscular, propulsive eighth-note figures in the cellos and basses—delivered the kind of richly burnished sonority that has become a PACS hallmark. And the timpanist anchored the rhythmic foundations with precision and dramatic flair, particularly in the finale’s electrifying coda. Considering the symphony’s length and formidable technical demands, the orchestra’s sustained concentration and musical cohesion were nothing short of exemplary.

Maestro David Bernard conducting Schubert's "Unfinished" Symphony No. 8 in a concert entitled "Sublime Schubert' with the Park Avenue Chamber Symphony at the DiMenna Center for Classical Music. Photo courtesy PACS

A Holistic Vision: Bernard’s Gift for Musical Storytelling

What elevates a PACS InsideOut Concert from mere performance to genuine artistic event is Maestro Bernard’s extraordinary gift for musical storytelling. His spoken commentary throughout the evening was never pedantic or gratuitous; rather, it was illuminating, engaging, and suffused with a palpable love for the music and a sincere desire to share it with everyone in the room. He described his goal as providing the audience with a “holistic” view of Schubert’s music. This approach encompassed not only the sonic experience of the works but also their biographical context, compositional architecture, and emotional depth.

Artist Conversations

This pedagogical generosity recalls the great tradition of musical lecturing that stretches from the 92nd Street Y’s legendary programming—an institution whose decades of pre-concert talks, master classes, and artist conversations have done immeasurable service to music education in New York—to Bernstein’s televised explorations of symphonic form. And now, with its steadfast mission to enrich communal life through the arts, the PACS exemplifies the belief that great music thrives when it is not cloistered but shared, not merely performed but explained, contextualized, and brought into dialogue with its listeners' lives. Bernard’s InsideOut Concerts operate in precisely this spirit, and the results—judging by the rapt attention and audible delight of this evening’s audience—speak for themselves.

The DiMenna Center: A Jewel Box for Immersive Music-Making

A word must be said about the venue itself. The DiMenna Center for Classical Music, located at 450 West 37th Street in the heart of Hell’s Kitchen, is New York City’s only acoustically optimized space dedicated exclusively to classical music rehearsal, recording, and performance. Opened in 2011 as the permanent home of the Orchestra of St. Luke’s, the Center has since welcomed more than 100,000 visitors and over 400 ensembles. Its warm, resonant acoustics and flexible seating configurations make it an ideal home for the InsideOut format, and the space's intimacy ensures that every nuance of the orchestra’s playing registers with clarity and emotional impact.

Schubert’s Eternal Song: Why This Music Still Matters

Franz Schubert, who died in 1828 at the age of thirty-one, left behind a body of work of astonishing breadth and emotional depth—over six hundred songs, numerous chamber works, piano sonatas, masses, operas, and nine symphonies. He was, as Schumann recognized with prophetic clarity when he unearthed the “Great” C Major Symphony in 1839, a composer whose music bore within it “the core of everlasting youth.” It took roughly four decades after Schubert’s death for the world to recognize his full genius, and his influence ultimately rippled through the work of Brahms, Dvořák, Bruckner, and Mahler. If he was not the first of the Romantics—that distinction belongs more properly to Weber—he was, in the words of the great critics, the first lyric poet of music, a designation that rings truer with every passing generation.

Franz Schubert by Wilhelm August Rieder 1875. Public Domain As Inevitable as Birdsong at Dawn

There is in Schubert’s music a quality of interior luminescence—a way of catching the fleeting impressions of consciousness and fixing them in sound that is akin to the stream-of-consciousness technique in literature. His melodies arrive not as constructed things but as natural phenomena, as inevitable as birdsong at dawn, and yet they carry within them a piercing awareness of transience that gives them their peculiar, aching beauty. To sit inside the orchestra and feel these melodies pass through you—through the vibration of nearby strings, the breath of a neighboring oboist, the resonance of a French horn bell pointed directly at you—is to experience Schubert’s music in the most intimate and revelatory way possible. It is, in a word, transformative.

An Invitation to Experience Music Anew

This was, from first note to last, an evening of solid musicianship and inspired artistry, replete with the PACS’s inimitable rich orchestral sound. Maestro David Bernard, commanding and eloquent at the helm, demonstrated once again why he has been called “the Johnny Appleseed of Classical Music”—a champion and evangelist for an art form that too many have written off as inaccessible or irrelevant. James Bernard, stepping confidently into the spotlight, proved himself a conductor of genuine promise and musical sensitivity. And the men and women of the Park Avenue Chamber Symphony played with the kind of devotion, precision, and heartfelt expression that honors not only the composer but the art of music itself.

Single-Composer Deep Dives

If you have not yet experienced an InsideOut Concert, do not wait. The PACS’s 2025–2026 season, “Immersions and Explorations,” promises more evenings of this caliber—programs built around single-composer deep dives that draw audiences into broader, deeper perspectives on the masterworks. Classical music, at its best, is not a museum piece but a living, breathing, communal act of beauty and meaning. The Park Avenue Chamber Symphony, under David Bernard’s inspired leadership, proves this truth anew with every performance.

Maestro David Bernard conducting Schubert in a concert entitled "Sublime Schubert' with the Park Avenue Chamber Symphony at the DiMenna Center for Classical Music.

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The Nutcracker: A Magical Family InsideOut Concert Experience with Park Avenue Chamber Symphony

There are moments in life where dreams take flight and sugar plums dance upon the air. It is then that music transcends the merely beautiful and achieves something approaching the miraculous—when an orchestra, a conductor, and an audience breathe together in perfect communion. The world beyond the concert hall simply ceases to exist.

Such was the enchantment wrought by the Park Avenue Chamber Symphony under the luminous baton of David Bernard in their presentation of The Nutcracker: The Family InsideOut Concerts® Experience at the DiMenna Center for Classical Music in New York City.

David Bernard introducing InsideOut Nutcracker with the Park Avenue Chamber Symphony at the DiMenna Center for Classical Music in NYC. Photo by Edward Kliszus

A Conductor's Gift: The Art of Musical Storytelling

Maestro Bernard, that rare amalgam of scholar, showman, and poet, possesses what one might call the pedagogical temperament of Leonard Bernstein combined with the interpretive depth of the great European tradition. Conducting the entire ballet from memory—a feat that speaks to both his formidable intellect and his profound internalization of this beloved score—he moved between podium and audience with the ease of a master storyteller, his introductory remarks preceding each section transforming what could have been mere musical illustration into a genuine Gesamtkunstwerk—Tchaikovsky's total work of art that engaged hearts and minds alike.

A view from the woodwind section of Ballet Dancer Savanah Quiner in a scene from InsideOut Nutcracker with David Bernard and the Park Avenue Chamber Symphony at the DiMenna Center for Classical Music in NYC. Courtesy PACS

The tale itself, as Bernard reminded his rapt audience, springs from darker roots than the confectionery delights of the ballet might suggest. E. T. A. Hoffmann's original 1816 fairy tale, The Nutcracker and the Mouse King, presented a Gothic fantasy of considerable psychological complexity—a Märchen in which the boundaries between waking life and dream dissolve into something strange and wonderful.

Yet the ballet we cherish today emerged from a gentler French adaptation by Alexandre Dumas entitled The Story of a Nutcracker, which softened Hoffmann's shadows while preserving the essential magic. This French confection served as the narrative framework for Marius Petipa and his assistant, Lev Ivanov, to construct their choreographic masterpiece for the Imperial Mariinsky Theatre in Saint Petersburg, where it premiered in December 1892.

Splendid visual art of a scene from The Nutcracker with Conductor David Bernard, Ballet Dancer Savannah Quiner, and the Park Avenue Chamber Symphony at the DiMenna Center for Classical Music in NYC. Courtesy PACS

Orchestral Excellence: The Winds Sing, The Strings Soar

The Park Avenue Chamber Symphony—three-time First Prize Winner of The American Prize Competition in Orchestral Performance—demonstrated precisely why critics have proclaimed their performances "triumphant, polished, exquisite, with the depth and fervor of the old school European orchestras." Founded in 1999 and nurtured by Bernard's visionary leadership, this ensemble has achieved a remarkable synthesis of technical polish and interpretive vitality.

The orchestral playing throughout the afternoon was nothing short of bravura—solid, assured, and brimming with the colors and moods that Tchaikovsky painted with such orchestral brilliance. The ever-powerful winds, written with that characteristic Tchaikovskian espressivo, sang forth with noble authority. The flute solos possessed an otherworldly shimmer, whilst the piccolo's crystalline arabesques in the "Dance of the Sugar Plum Fairy" sparkled like frost upon a winter window. The woodwind choir achieved a pianissimo of gossamer delicacy in the "Waltz of the Snowflakes," creating that sense of frozen enchantment that Tchaikovsky surely envisioned.

Particularly noteworthy was the orchestra's handling of the famous celesta passages—that instrument which Tchaikovsky discovered during a Parisian sojourn and immediately recognized as the perfect "voice" of the Sugar Plum Fairy. The bell-like tones floated above the ensemble with ethereal purity, achieving what might be termed a timbral transcendence.

Tchaikovsky by Reutlinger (1888). Émile Reutlinger, Public domain, via Wikimedia Commons

Terpsichorean Delights: The Dancers Who Enchanted

Ballet and music intertwined most gloriously through the participation of exceptional dance artists who brought visual poetry to Tchaikovsky's sonic canvas. Savannah Quiner, a luminous talent from the American Repertory Ballet, performed the "Dance of the Sugar Plum Fairy" and the role of Clara with exquisite legato movement and ethereal grace. Her port de bras possessed that rare quality of seeming to continue infinitely beyond the physical gesture—I might describe it as movement that shimmers and ripples like light upon water.

The dancers from Eglevsky Ballet—that venerable Long Island institution founded by legendary New York City Ballet principal dancer André Eglevsky over fifty years ago—brought professional élan to the "Marzipan/Merlitons" divertissement. Charlotte Jonassen, Josette Gerber, Eleanor Han, Ella Zhu, and Gabriella Renosis performed with disciplined artistry and joyful abandon, their synchronized movements creating visual counterpoint to the flutes' delicate melodies. These young artists embody the finest traditions of classical training, demonstrating that the pedagogical legacy of the great Russian ballet masters continues to flourish on American soil.

Nutcracker. Image by Enrique from Pixabay

The InsideOut Experience: Innovation Meets Tradition

What distinguishes Bernard's approach—indeed, what has earned him recognition as "the Johnny Appleseed of Classical Music"—is his revolutionary InsideOut Concerts® format, in which audiences are seated among the musicians. This patented innovation dissolves the traditional barrier between performer and listener, creating an immersive experience of extraordinary intimacy. As WQXR, Newsday, and Classical World have attested, this format offers "an unsurpassed experience and level of engagement for audiences of all ages."

Featured Dancers assembling pre-performance with InsideOut Nutcracker with David Bernard and the Park Avenue Chamber Symphony at the DiMenna Center for Classical Music in NYC. Courtesy PACS.

The full house—parents and children alike, many of the latter dressed in festive holiday garb—responded to each introduction with enthusiastic warmth. But the true coup de théâtre arrived during the closing "Waltz of the Flowers," when children were invited to the front of the hall. There, at the podium itself, Bernard showed each young aspirant how to conduct the orchestra in this most famous of waltzes. The sight of small arms waving earnestly while the orchestra responded with professional courtesy and genuine affection was enough to melt the most cynical heart. Images from a ballet performance projected on a large screen accompanied the musical journey, creating a multimedia experience that genuinely touched hearts and minds in its delight and sheer enjoyment.

Savannah Quiner, Dancer. Photo by Rachel Neville

A Living Tradition: The Enduring Magic of Tchaikovsky

There was no end to the smiles of children and adults alike. Bernard's animated, inspired introductions created that most precious of musical phenomena: genuine gemütlichkeit, a communal warmth that made strangers into fellow travelers in Tchaikovsky's magical realm. Since the San Francisco Ballet began staging annual performances in America in the 1940s, The Nutcracker has become synonymous with the holiday season. This tradition now accounts for approximately 40% of the yearly ticket revenue of major American ballet companies.

Yet traditions endure not through mere repetition but through constant renewal. In the hands of Bernard and the Park Avenue Chamber Symphony, Tchaikovsky's score—which the composer himself once disparaged as "infinitely worse than Sleeping Beauty"—achieves its rightful status as one of the supreme achievements of the balletic repertoire. The orchestration glitters; the melodies soar; and for one magical afternoon at the DiMenna Center, the Land of Sweets became as real as the streets of Manhattan beyond its doors.

Maestro David David Bernard engaging with the audience at an InsideOut Concert with the Park Avenue Chamber Symphony at the DiMenna Center for Classical Music In New York City. Photo Courtesy Park Avenue Chamber Symphony

Park Avenue Chamber Symphony Contact Information

Park Avenue Chamber Symphony

Website: chambersymphony.com Tickets: Eventbrite Season Events Venue: DiMenna Center for Classical Music, 450 West 37th Street, New York, NY 10018 Email: [email protected]

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Scintillating Saint-Saëns: An InsideOut Revelation with the Park Avenue Chamber Symphony

In the luminous heart of Manhattan, the DiMenna Center for Classical Music once again proved why it has become a sanctuary for adventurous musical experiences. On this particular evening, the Park Avenue Chamber Symphony, under the visionary direction of David Bernard, unveiled Scintillating Saint-Saëns: The Full InsideOut Concerts® Experience, a program that stitched together history, virtuosity, and the irresistible charm of French Romanticism.

Maestro David Bernard describes the music with the Park Avenue Chamber Symphony as they present Scintillating Saint-Saëns at the DiMenna Center for Classical Music in NYC. Photo by Adam Bundy Photography Bernard’s trademark pre-concert talk, full of anecdotes that sparkle like chandeliers in a Parisian salon, set the evening aglow. Drawing on the orchestra’s storied legacy of innovation, community engagement, and deeply humanistic performance practice, he framed Saint-Saëns not as a museum relic but as a living, breathing spirit whose music still shimmers with immediacy. Bernard’s remarks, reflecting his own brand of raconteurship, reminded the audience how an orchestra’s essence lies not in abstraction but in storytelling — and how the InsideOut format, which seats listeners among the musicians, transforms the concert hall into an experiential agora.

Maxim Lando performs St. Saëns Piano Concerto No. 2 with the Park Avenue Chamber Symphony as they present Scintillating Saint-Saëns at the DiMenna Center for Classical Music in NYC. Photo by Adam Bundy Photography A charming moment occurred as pianist Maxim Lando greeted his former mentor, concert pianist Allison Lander, who had first known him at the Great Neck Music Conservatory when he was a bright-eyed three-year-old insisting on helping her carry music scores. Their reunion embodied the night’s theme: music as a lifelong, communal weave.

Camille Saint-Saëns by Eugène Pirou, 1880. Bibliothèque nationale de France, Public domain, via Wikimedia Commons

Camille Saint-Saëns and the Architecture of Genius

A Composer of Chromatic Color and Contrapuntal Intellect Saint-Saëns — that protean titan of French Romanticism — occupies a curious niche in music history. Though adored during his lifetime, his reputation was later overshadowed by Wagnerian thunder and Debussy’s diaphanous impressionism. Yet as Harold Schonberg reminds us in his seminal writings, Saint-Saëns possessed a “clarity of intellect clothed in sumptuous sonority” — a phrase that perfectly captures the two masterpieces featured tonight.

Brass and Woodwinds of the Park Avenue Chamber Symphony as they present Scintillating Saint-Saëns at the DiMenna Center for Classical Music in NYC. Photo by Adam Bundy Photography Bernard’s program illuminated the composer’s intricate relationship with Franz Liszt, who famously championed him, and traced the evolving gravitas of the works as audiences worldwide continue to rediscover their architectural brilliance. In the spirit of Bernstein, Bernard invited listeners to appreciate how Saint-Saëns manipulates thematic transformation, harmonic rhetoric, and contrapuntal filigree with the mastery of a Renaissance craftsman and the technological daring of a 19th-century futurist.

Piano Concerto No. 2: Maxim Lando’s Brilliance in Motion

Andante Sostenuto: A Cathedral of Sound The concert opened with Saint-Saëns’ Piano Concerto No. 2, a work whose improvisatory spirit and neoclassical wit draw from Bach, Beethoven, and the composer’s own organist alter ego. Lando’s opening cadenza unfurled like a Gothic arch — dramatic, spacious, and steeped in 19th-century chromaticism. His touch was assertive yet supple, creating the effect of an organ prelude reincarnated on the modern concert grand.

Maxim Lando, Pianist. Courtesy maximlando.com As Bernard spun textures of diaphanous strings beneath him, Lando navigated each harmonic swerve with a rhetorical finesse reminiscent of the great French pianists — a fusion of clarity, steel, and aristocratic poise. The audience sensed instantly that we were in the company of greatness. Second Movement: A Pearl of Perpetual Motion The Allegro scherzando danced with crystalline lucidity. Lando’s articulation was mercurial, flecked with mercantile sparkle — the very definition of jeu perlé. Every figuration was sculpted with what one might call textured scintillation, creating an aural tapestry of elegance and precision.

French Horns and Woodwinds of the Park Avenue Chamber Symphony as they present Scintillating Saint-Saëns at the DiMenna Center for Classical Music in NYC. Photo by Adam Bundy Photography Finale: Tarantella of Fire The presto finale erupted with folkloric vigor, the rhythmic drive relentless, joyful, and feverish. Bernard shaped the orchestral response with his hallmark blend of athletic precision and emotional generosity. The Finale concluded in a jubilant conflagration, prompting an eruption of cheers.

Symphony No. 3 (“Organ”): A Cathedral Built of Light

Paolo Bordignon and the Majesty of Immersive Organ Sound Saint-Saëns’ Third Symphony stands as a Showcase Symphony, a summation of his artistic life. With Paolo Bordignon at the digital pipe organ — voiced and spatially calibrated through a surround-sound system — the piece became a living organism of color and resonance.

Paolo Bordignon, Harpsichord and Organ. Courtesy paolobordignon.com Bernard’s decision to incorporate a state-of-the-art digital instrument honored the composer’s entire sound world: majestic, mystical, and cosmologically immersive. Bordignon, celebrated organist and choir director of St. Bartholomew’s Church in New York City, infused each registration with French Romantic authenticity, from the ethereal whispers of the Adagio to the apocalyptic grandeur of the Finale. Adagio – Allegro moderato The first movement of the Symphony No. 3 emerged with the inevitability of tectonic motion—a vast architectural span in which Saint-Saëns seems to test the tensile strength of symphonic form. From the opening gesture, built upon the unmistakable Neapolitan tensions, David Bernard shaped the music with the deliberation of an artisan laying the foundation stones of a grand cathedral. The strings entered not as a mere section but as a collective breath, drawing listeners into a world where harmonic shadow and radiant light coexist in fragile equilibrium.

Bassoons, clarinets, and oboes with the Park Avenue Chamber Symphony as they present Scintillating Saint-Saëns at the DiMenna Center for Classical Music in NYC. Photo by Adam Bundy Photography As the movement unfolded, its contrapuntal layers intertwined with clarity, revealing voices often submerged beneath the surface. Bernard’s pacing allowed each structural arch to rise with organic purpose, while the orchestra’s deft handling of Saint-Saëns’s shifting textures suggested a rare fusion of emotion illuminated by intellect. In those moments when the music surged toward its first great climax, one felt a pulse of existence vibrating through the ensemble. It was a movement not merely performed but inhabited, a vast psychological landscape rendered with both precision and profound inner life.

David Bernard conducts the Saint-Saëns Piano Concerto No. 2, featuring Pianist Maxim Lando with the Park Avenue Chamber Symphony as they present Scintillating Saint-Saëns at the DiMenna Center for Classical Music in NYC. Photo by Adam Bundy Photography Adagio: A Meditation in Tonal Opalescence The slow movement floated in an iridescent haze, strings and organ weaving a transcendent dialogue. Here, the InsideOut format achieved its purpose: listeners inside the orchestra felt the vibrations as if inside the body of a great cathedral. It was a moment of spiritual osmosis. Scherzo: Virtuosic Alchemy The scherzo’s contrapuntal labyrinths, punctuated by brilliance from pianists Maxim Lando and Keyi Wang, showcased Saint-Saëns’ genius for structural acuity. Bernard shaped the movement as a kaleidoscopic fugato, emphasizing the composer’s sophistication while never sacrificing kinetic sparkle. Finale: A Triumph of the Human Spirit The Maestoso burst forth with the organ’s radiant C-major proclamation. It was overwhelming in the best sense — seismic yet tender, monumental yet personal. As the orchestra surged toward its blazing apotheosis, one felt the entire hall transforming into a collective heartbeat.

Organist Paolo Bordignon performs in Saint-Saëns' Symphony No. 3 with the Park Avenue Chamber Symphony as they present Scintillating Saint-Saëns at the DiMenna Center for Classical Music in NYC. Photo by Adam Bundy Photography The Park Avenue Chamber Symphony: A Legacy of Excellence With its storied history, innovative outreach, and associations with world-renowned guest artists, the Park Avenue Chamber Symphony continues to redefine what an orchestra can be. Bernard’s stewardship combines intellectual rigor with human warmth — a reminder that classical music, when presented with imagination, becomes a deeply communal, life-affirming force.

A Season of Musical Revelations Awaits

If this evening's triumph serves as prologue, the Park Avenue Chamber Symphony's 2025-26 season promises a series of musical revelations that will further cement the orchestra's position as one of New York's most vital cultural institutions. The season ahead unfolds like a carefully curated conversation between epochs and aesthetics, each concert offering its own unique dialogue with the musical canon. Of particular note is the December 2025 concert, which promises to be a seasonal jewel in the orchestra's crown. This program will undoubtedly weave together the festive spirit with the profound musical intelligence that Bernard and his ensemble bring to every performance. This musical celebration of Tchaikovsky's The Nutcracker will surely transport audiences into that liminal space where time suspends and music speaks directly to the soul. Moreover, with the Family InsideOut Concerts® format continuing to dissolve boundaries between performer and listener, each concert becomes not merely an event to attend but a musical journey to inhabit—a chance to sit within the very heart of the orchestra and feel the music pulse through one's being. For those who understand that great music-making requires not just excellence but also vision, not just technique but also soul, the Park Avenue Chamber Symphony's upcoming season represents an essential pilgrimage, with December's concert standing as a particularly luminous waystation on that journey toward musical enlightenment.

Maestro David David Bernard engaging with the audience at an InsideOut Concert with the Park Avenue Chamber Symphony at the DiMenna Center for Classical Music in New York City. Photo Courtesy Park Avenue Chamber Symphony

Scintillating Saint-Saëns: An InsideOut Revelation with the Park Avenue Chamber Symphony

Park Avenue Chamber Symphony 875 5th Avenue New York, NY 10065 [phone] Official Website Tickets & Season Information: https://www.eventbrite.com/cc/park-avenue-chamber-symphony-2025-26-season-events-4325463 Venue: All concerts are held at the DiMenna Center for Classical Music 450 West 37th Street, New York, NY 10018 Donate: https://chambersymphony.com/donate

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A Conversation with David Bernard: Bringing Saint-Saëns' Organ Symphony to Life

An interview with the Park Avenue Chamber Symphony's conductor and impresario about the November 22nd concert at DiMenna Center for Classical Music in NYC

The Park Avenue Chamber Symphony kicks off its 2025-2025 season at the DiMenna Center for Classical Music on November 22, 2025, with one of the most thrilling works in the orchestral repertoire: Camille Saint-Saëns' Symphony No. 3 in C minor, the "Organ Symphony." I sat down with David Bernard, the ensemble's conductor and impresario, to discuss why this concert promises to be an unforgettable evening.

Saint-Saëns' Third Symphony: A Showcase Masterwork

Edward Kliszus: Maestro Bernard, Saint-Saëns' Third Symphony is incredibly popular—and I think it is one of the greatest symphonies ever written. What are your thoughts on this incredible work?

David Bernard: I completely agree that it is one of the greatest symphonies, and I am often puzzled by the degree to which Saint-Saëns is under-estimated as a composer. He was both an innovator and a craftsman—always writing music that inspires and delights. But with his Third Symphony, we have the pinnacle of his symphonic career. Saint-Saëns called the Third Symphony his “most important work,” having “poured everything he knew” into it.

What makes it extraordinary is how you hear Saint-Saëns crafting every note and every phrase to be his absolute best. I call this kind of work a “Showcase Symphony,” where the composer demonstrates a lifelong artistic arc by presenting the most evolved voice. As you listen to the pacing, contrapuntal skill, beautiful textures, and melodies expertly intertwined and choreographed through one of the most prominent orchestras that can fit in a concert hall, along with a large organ and a grand piano with two players, you vividly experience all that Saint-Saëns has to offer the world.

Camille Saint-Saëns by Eugène Pirou, 1880. Bibliothèque nationale de France, Public domain, via Wikimedia Commons

EK: It certainly is a "showcase symphony," as you put it—is this what drew you to programming this work?

DB: I seem to be drawn to “showcase symphonies”. Despite each symphony existing in its own artistic world, composers often seek to hone and perfect their voices over the course of their lifetimes. This quest frequently results in a late work that emerges as their last and best artistic expression. There are so many examples of this—in both Tchaikovsky’s Pathetique and Mahler’s Ninth, each movement presents the composer’s most evolved voice across key archetypes. La Mer was Debussy’s “Showcase Symphony”—a work that he continued to perfect and adjust to his final day. And Gershwin, in an homage to Debussy, similarly wrote and perfected “An American in Paris” in a similar way to Debussy and La Mer.

EK: Interesting point about Tchaikovsky Pathetique and Mahler’s Ninth—though these works are seen as “Farewells” not “Showcases” by many. That seems to be contradictory, right?

Yes, that’s true. When studying these works, I felt the energy and creative imperative emanate from each page. I heard a creative voice relentlessly elevating this music to new heights, making it difficult to see them as reflective of composers with one foot in the astral plane. They are clearly showcases of mastery and sophistication.

EK: This piece is commonly known as the "Organ Symphony," but won’t those who know this work from its triumphant Finale be surprised to learn that the organ doesn't play throughout the entire work?

DB: The name “Organ Symphony” didn’t come from Saint-Saëns. For him, it was simply “Symphony No. 3,” and the inclusion of the Organ, along with the virtuosic solo Piano part, is all about Saint-Saëns showcasing his most evolved artistic voice. In this work, you have Saint-Saëns the Organist, and Saint-Saëns the virtuoso pianist, along with Saint-Saëns the symphonist, all seamlessly integrated. And just as Saint-Saëns portrayed all of the facets of this musical life, his use of the Organ showcased everything the instrument brings. Alongside the triumphant organ in the Finale, there are the subtle ethereal organ textures in the Adagio. And yes, there are incredible purely symphonic sections as well.

Digital Organ Technology Meets Classical Performance

From the Space Program to the Concert Hall

EK: I have attended many concerts at the DiMenna Center and have never seen an Organ there. How will you feature the Organ on November 22nd?

DB: We will be bringing in an Allen Dual Manual Digital Organ for this concert. The DiMenna Center is a flexible performance space, and a digital organ allows us to bring an appropriate organ sound to this excellent venue. Digital organs can be voiced and balanced specifically for the space they're in. We can ensure seamless integration between the organ and the orchestra, which is essential for this piece.

EK: Some purists might argue that only a large pipe organ can do justice to this work. What would you say to them?

DB: Large pipe organs are wonderful, with an incredible variety of sounds and range, creating absolutely breathtaking sound worlds. And it is undoubtedly important to remember that this symphony was written with a large pipe organ in mind. However, a symphony alongside a large pipe organ presents significant challenges for presenters and the audience. In most cases, performing or recording this work on a large pipe organ requires using a church that is not well-suited to such performances. While it is possible to address acoustic hurdles in a recording with mic placement, the results vary. In many recordings, including Eugene Ormandy's with E. Power Biggs, the organ is recorded separately from the orchestra and is incorporated in post-production. But in live performances, while the organ is perfectly harmonized with the church's acoustics, the orchestra is not. The clarity and balance of the orchestra within itself and with the organ suffer, with challenges that vary depending on where you are sitting in the pews.

Paolo Bordignon, Harpsichord and Organ. Courtesy paolobordignon.com

In this event, we can create the perfect environment for Saint-Saëns' Symphony No. 3. The Digital Pipe Organ's speakers will be placed to surround the audience, who are seated within the orchestra. This way, the audience experiences the organ and the orchestra from within, fully immersed in Saint-Saëns' incredible sound world, something not possible without the Digital Organ or InsideOut.

And we're absolutely thrilled to have Pablo Bordignon as our organist for this performance. Pablo is not only a magnificent musician but also brings an exceptional pedigree to this project. As Organist and Choirmaster at the Church of St. Bartholomew on Park Avenue—one of New York's most prestigious musical institutions—he works with one of the city's finest pipe organs week in and week out. Pablo intimately understands both the capabilities and the sonic character of great pipe organs, which makes him the ideal artist to realize Saint-Saëns' vision through our digital instrument.

What's remarkable about Pablo is his versatility and his deep understanding of the French Romantic organ tradition that Saint-Saëns was writing for. He knows exactly how to voice the registrations, how to shape those long, sustained lines in the Adagio, and how to unleash the organ's full majesty in that triumphant finale. His sensitivity as a musician means he'll be listening intently to the orchestra, ensuring perfect balance and integration—which is crucial, as I mentioned, because this isn't an organ concerto but a true symphony where organ and orchestra must breathe as one.

Having an organist of Pablo's caliber also means our audiences will hear interpretive choices informed by the highest level of artistry. He brings both technical mastery and profound musicality to everything he plays. The fact that he's equally comfortable with the great pipe organs of New York's churches and with cutting-edge digital technology speaks to his forward-thinking approach to music-making. He understands that what matters most is serving the music and the composer's intentions, regardless of the medium.

What to Listen For in Saint-Saëns' Organ Symphony

EK: What should audiences listen for in this symphony?

DB: Oh, there's so much! First, listen for the motto theme that appears at the beginning—a simple four-note motif that Saint-Saëns transforms throughout the entire symphony. It's like a musical seed that grows into a mighty tree. In the first movement, pay attention to the strings' passionate outpouring and the mysterious atmosphere Saint-Saëns creates. The slow section is achingly beautiful, with some of the most gorgeous string writing you'll ever hear.

In the second movement, the scherzo section features delightful, quicksilver passage work—listen for the interplay between strings and winds. And then there's the finale: when that organ enters with the full orchestra in C major, it's pure, unbridled joy. The final pages build to an overwhelming climax that never fails to raise the hair on the back of your neck. I've conducted this piece several times, and I still get chills.

In our immersive setup, you can also watch these moments unfold. You might see the organist preparing for that massive entrance or observe the wind players preparing for their solos. It adds another layer of anticipation and excitement to the experience.

EK: The final Maestoso of the Third Symphony was included in the film "Babe." How do you feel about that?

DB: I love “Babe”! The soundtrack included not only a portion of the Third Symphony but also the pop song “If I had Words,” a cover of the same music with lyrics by Jonathan Hodge. It is always wonderful when the audience comes to a concert knowing at least a bit of the music in advance.

Featured Soloist: Saint-Saëns Piano Concerto No. 2

EK: Your program also features Saint-Saëns' Piano Concerto No. 2. How did you choose this work to pair with the Third Symphony?

DB: Consistent with each concert during our 2025-2026 IMMERSIONS AND EXPLORATIONS season, I devoted this concert to an expansive exploration of Saint-Saëns. I chose the Second Piano Concerto as an example of the mature elegance, virtuosity, and seamless blend of French refinement and Romantic passion.

It is also innovative. At the opening of the concerto, where most listeners would expect a majestic first movement, Saint-Saëns delivers a cadenza for the lone soloist. The writing, with its superbly crafted voice leading infused through running 16th notes, sounds like an organ prelude. It is shockingly beautiful and brilliant and clearly designed to evoke Saint-Saëns' personal experiences as an organist. As this movement continues to unfold, Saint-Saëns continues to surprise and delight with a fantasia that contains yet another cadenza. The second movement is a delightful perpetual motion, while the finale delivers a driving tarantella imbued with brilliance and gracefulness. In so many ways, it is a perfect concerto.

Maxim Lando, Pianist. Courtesy maximlando.com Maxim Lando: Virtuoso Pianist and Rising Star

EK: You've engaged the young pianist Maxim Lando for this performance. What can you tell us about him?

DB: Maxim Lando is an extraordinarily talented, musical, and accomplished artist—one of the most exciting pianists on the scene today. He's already built an impressive career performing with major orchestras and at prestigious venues worldwide. What I love about Maxim is that he not only combines dazzling technical facility with genuine musical insight, but he always seems to have fun bringing this music to audiences. And this happens to be one of his favorite concertos, which is always important to me when I select soloists.

Maxim represents the best of the new generation of pianists—artists who have prodigious technique but never let virtuosity overshadow musicality. He studied at some of the world's most prestigious conservatories and has won numerous competitions, but what sets him apart is his maturity as an interpreter. When you hear Maxim play, you're not just witnessing finger gymnastics; you're experiencing a deeply thoughtful musical mind at work. He understands the architecture of a piece, the harmonic language, the rhetorical gestures—all the elements that transform notes on a page into compelling storytelling.

For the Saint-Saëns Second Concerto, you need a pianist who can do it all. The opening cadenza requires not just technical command but also a sense of dramatic timing and improvisatory freedom—it must sound spontaneous, almost as if Maxim were composing it on the spot. The scherzo movement demands crystalline clarity and lightning-fast finger work, with delicate passagework that can easily sound mechanical in lesser hands. And the tarantella finale needs both rhythmic drive and infectious energy. Maxim brings all of these qualities to his playing. He has the technical prowess to toss off the most difficult passages with apparent ease. Still, he also has the sensitivity to shape a phrase beautifully, to find the singing line within the virtuosic display.

What's particularly exciting is Maxim's affinity for French repertoire. He has an innate understanding of that French aesthetic—the elegance, the clarity, the subtle shadings of color that distinguish French Romantic music from its German counterpart. Saint-Saëns was himself one of the greatest pianists of his era, and he wrote this concerto knowing precisely what the instrument could do. Maxim plays with that same kind of natural pianism, where everything sounds effortless even when it's fiendishly difficult.

Beyond his artistry, Maxim is an excellent collaborator. In a concerto, the relationship between soloist and orchestra is crucial—it's a conversation, not a competition. Maxim listens, he responds, he shapes his playing to blend with and complement the orchestral texture. That collaborative spirit will be especially evident in our immersive format, where the audience will see and hear that musical dialogue happening in real time.

I also appreciate that Maxim is genuinely passionate about sharing classical music with diverse audiences. He understands that our mission with the InsideOut concerts is to make classical music more accessible and engaging, and he embraces that philosophy wholeheartedly. His joy in performing is palpable, and that enthusiasm is contagious—it draws audiences in and helps them connect with the music on a deeper level.

The fact that this concerto is one of his favorites means he's lived with this music, studied it deeply, and developed a personal relationship with it. That kind of commitment shows in every performance. When an artist loves the music they're playing, it transforms the experience for everyone in the hall. I do not doubt that Maxim's performance will be one of the highlights of our entire season.

Maestro David David Bernard engaging with the audience at an InsideOut Concert with the Park Avenue Chamber Symphony at the DiMenna Center for Classical Music In New York City. Photo Courtesy Park Avenue Chamber Symphony

The InsideOut Concerts Experience: Immersive Classical Music

EK: The Park Avenue Chamber Symphony is known for its immersive seating arrangement. Please explain how this works and why you've chosen this format.

DB: The immersive concert experience is something I'm deeply passionate about because it attracts and builds audiences for classical music. Instead of the traditional setup where the audience sits in rows facing the orchestra, we place audience members throughout the ensemble—you might find yourself sitting next to the French horns, behind the cellos, or near the timpani. It's like being inside the music rather than observing it from a distance.

The philosophy behind this approach is simple: music is an experiential, communal, three-dimensional experience. When you're seated among the musicians, you become part of the performance. You can see the violinists' bows moving in perfect synchronization, watch the eye contact between players as they pass melodic lines back and forth, and observe the physical effort and emotion on the musicians' faces. You hear the music from within, experiencing the different instrumental colors as they bloom around you.

For the Third Symphony specifically, this immersive setup is absolutely ideal. Imagine sitting near the strings during that achingly beautiful slow section, feeling the intimacy and vulnerability of their sound. Or being positioned near the brass when they enter with those triumphant fanfares. And when that organ unleashes its full power in the finale—wherever you're sitting in the hall, you'll feel those vibrations resonating through your entire body, but the orchestral response happening all around you creates an almost surround-sound effect. It's overwhelming in the best possible way.

EK: How does the immersive seating change the experience for audience members who might be used to traditional concerts?

DB: It's a revelation for most people. In traditional seating, you get a carefully curated, balanced sound—which is terrific, don't get me wrong. But you're essentially hearing what you would typically hear in a recording: a blended orchestral sound. In the immersive setup, you experience the orchestra as the musicians experience it. You might hear the oboe solo more prominently because you're closer to it, or the rich sonority of the cello section might envelop you. But while every seat offers a unique sonic perspective, the room's acoustic enhancement ensures you hear the full experience.

What surprises people most is the visual element. Concertgoers often tell me they had no idea how much communication happens between musicians—the subtle nods, the breathing together, the way a concertmaster might lean into a phrase to lead the section. You witness the choreography of music-making, a form of artistry in its own right. And for a piece like the Saint-Saëns, where there are so many intricate conversations between different instrumental groups, being able to see and hear those dialogues up close is extraordinary.

There's also something wonderfully democratic about it. In a traditional hall, the "best" seats are typically in the center orchestra section. In our immersive setup, every seat is special in its own way.

[openingnightposts]

Park Avenue Chamber Symphony’s 2025-2026 Season: IMMERSIONS AND EXPLORATIONS

The internationally acclaimed Park Avenue Chamber Symphony has announced its 2025-26 season of immersive concert events powered by the Patented InsideOut Concerts® format. For the 2025-2026 season, Maestro David Bernard has selected programs that focus on a single composer, offering audience members an in-depth perspective on that composer.

Step inside the music this season! Visit the Park Avenue Chamber Symphony 2025–26 Season Events page on Eventbrite to discover programs that will inspire, uplift, and transform your concert experience.

"While it is always enjoyable to hear programs that offer tastes from many composers, sometimes it feels as though we only skimmed the surface of individual composers," says Music Director David Bernard. "This season, we focus each concert on a single composer, with works selected to draw the audience into a broader and deeper perspective. Paired with our InsideOut format, it’s a total musical immersion and exploration."

Maestro Bernard’s patented InsideOut Concerts approach transforms concerts into fully immersive events that not only place audience members among the musicians but offer a unique artistic opportunity.

Maestro David Bernard conducting the Park Avenue Chamber Symphony at an InsideOut Concert at the DiMenna Center for Classical Music in New York City. Photo Courtesy Park Avenue Chamber Symphony

A Season of Explorations

The 2025-26 season celebrates three towering figures of classical music through carefully curated programs that offer in-depth explorations of each composer's genius. Each program is offered in both family-friendly and full evening experiences, ensuring accessibility for music lovers of all ages.

Scintillating Saint-Saëns - November 22nd

Scintillating Saint-Saëns kicks off the season on Saturday, November 22nd, with performances at 2:00 PM (Family Experience) and 5:00 PM (Full Experience). Audiences will be transported into the exotic worlds and brilliant orchestrations of Camille Saint-Saëns, experiencing firsthand the French master's gift for melody and his revolutionary approach to orchestral color.

"The combination of Saint-Saëns’ Piano Concerto No. 2 and his Organ Symphony gives audiences a complete perspective on his genius. The concerto dazzles with virtuosic brilliance, beginning with what almost sounds like an organ prelude—a beautiful foreshadowing of the Organ Symphony. That symphony, in turn, is innovative, exhilarating, and emotionally sweeping. Together, these works showcase the full range of Saint-Saëns’ creativity, from intimate lyricism to monumental orchestral color." – David Bernard

Maestro David Bernard conducting the Park Avenue Chamber Symphony at an InsideOut Concert at the DiMenna Center for Classical Music in New York City. Photo Courtesy Park Avenue Chamber Symphony Sublime Schubert - February 7th

Winter continues with Sublime Schubert on Saturday, February 7th (2:00 PM Family Experience and 5:00 PM Full Experience). Franz Schubert's profound emotional depth and lyrical genius will surround audiences as they discover why this composer's music continues to move hearts nearly two centuries after his passing.

"Pairing Schubert’s Unfinished Symphony with his Ninth Symphony—the Great—allows audiences to experience the full breadth of his musical imagination. The Eighth Symphony is magical, otherworldly, and strikingly innovative, while the Ninth embodies the quintessential Viennese symphonic tradition. Together, they provide a deep and comprehensive exploration of Schubert, capturing both his lyricism and his grand, architectural vision." – David Bernard

Spellbinding Strauss - May 16th

The season concludes with Spellbinding Strauss on Saturday, May 16th (2:00 PM Family Experience and Full Experience times to be announced). Whether exploring the waltzing elegance of Johann Strauss II or the dramatic power of Richard Strauss, this final celebration promises to send audiences home with melodies that linger long after the last note fades.

"The program of Don Juan, Till Eulenspiegel, and the Four Last Songs offers a thorough journey into Richard Strauss’ musical world. The works Don Juan, Till Eulenspiegel, and the Four Last Songs each demonstrate different aspects of a twentieth-century composer's range. These pieces illustrate characteristics such as dynamic character development, technical skill, reflection, and lyricism, offering insight into the emotional and stylistic diversity present in the composer’s output.  -David Bernard

In addition to these three Explorations, Maestro Bernard and the Park Avenue Chamber Symphony offer two fantastic musical events:

David Bernard leads the Park Avenue Chamber Symphony in an Immersive Concert celebration of Tchaikovsky's The Nutcracker at the DiMenna Center for Classical Music in New York City. Photo Courtesy Park Avenue Chamber Symphony

THE NUTCRACKER:

The InsideOut Concerts™ Experience - December 13,  2 PMEglevsky Ballet presents The Nutcracker – December 20, 1 PM and 7 PM, December 21, 2 PM

The Park Avenue Chamber Symphony offers two Nutcracker experiences. On Saturday, December 13th at 2 PM, the holiday season brings a special treat with THE NUTCRACKER: The InsideOut Concerts™ Experience for Everyone! This beloved Tchaikovsky masterpiece comes alive when experienced from within the orchestra, allowing audiences to feel the magic of the Sugar Plum Fairy's theme and the thunderous excitement of the battle scene as never before.

On Saturday and Sunday, December 20th and 21st, the Park Avenue Chamber Symphony joins the Eglevsky Ballet at Tilles Center for the Performing Arts for the complete ballet.

Special Music School Concerto Competition Showcase

In partnership with NYC’s Special Music School, the Park Avenue Chamber Symphony hosts a concerto showcase featuring winners of the SMS concert competition.

The Revolutionary InsideOut Concerts® Experience

What sets the Park Avenue Chamber Symphony apart is its groundbreaking InsideOut Concerts format, where traditional concert hall barriers dissolve and the audience becomes an integral part of the musical fabric itself. Seated among the musicians, concertgoers experience orchestral music with an intimacy and immediacy that has earned acclaim from WQXR, Newsday, Classical World, The Epoch Times, and the digital publication OpeningNight.Online.

"This innovative approach brings an unsurpassed experience and level of engagement for audiences of all ages," notes the orchestra's season description. The format has proven particularly effective in growing new audiences for classical music, engaging families through schools, and presenting multi-media concert presentations that make classical music accessible to contemporary audiences.

Maestro David Bernard conducting the Park Avenue Chamber Symphony at an InsideOut Concert at the DiMenna Center for Classical Music in New York City. Photo Courtesy Park Avenue Chamber Symphony

Award-Winning Excellence

Since its founding in 1999, the Park Avenue Chamber Symphony has built an impressive legacy of excellence. The orchestra is a three-time FIRST PRIZE Winner of The American Prize in Orchestral Performance (2011, 2012, 2013), with judges describing their performances as "extremely impressive, well-shaped. This ensemble is good enough to surpass many professional orchestras, performing challenging repertoire on a professional level."

New York critics have consistently praised the orchestra's performances as "Triumphant...polished…exquisite…with a strong sense of style and commitment…with the depth and fervor of the old school European orchestras." This critical acclaim extends to their extensive catalog of recordings, available on iTunes, Amazon, and Spotify, which has built a loyal following both in New York City and worldwide.

Visionary Leadership

At the helm of this exceptional ensemble stands Music Director David Bernard, whose dramatic and incisive conducting has gained recognition in the United States and over 20 countries on four continents. A multiple First Prize winner of the Orchestral Conducting Competition of The American Prize, Bernard has been described by judges as "a first-rate conductor…phenomenal performance…masterly in shaping, phrasing, technique and expressivity."

Bernard's artistic leadership extends beyond the podium. He serves as Music Director of both the Park Avenue Chamber Symphony and the Massapequa Philharmonic. He is recognized as an acclaimed orchestra builder sought after for his artistic leadership and innovation in community engagement. Under his guidance, both orchestras have experienced growing audiences, expanded ensembles, and increased critical acclaim.

Maestro David Bernard conducting the Park Avenue Chamber Symphony at an InsideOut Concert at the DiMenna Center for Classical Music in New York City. Photo Courtesy Park Avenue Chamber Symphony

Prestigious Performance History

The orchestra's reputation has been solidified through performances at the world's most prestigious venues. Recent highlights include a transcendent Lincoln Center performance of Stravinsky's The Rite of Spring, with LucidCulture noting that "Conducting from memory, David Bernard led a transcendent performance…vivid…expertly choreographed." Their Carnegie Hall performance of Beethoven's Ninth Symphony was praised as "taut and dramatic" by the conductor. OpeningNight.Online has praised Bernard's artistry, noting his "clear, expressive, compelling" conducting style.

Critical Recording Success

Bernard's recorded legacy has garnered enthusiastic critical praise from international publications. Gramophone Magazine lauded his Tchaikovsky Pathétique as "an impressively elegant, thoughtful, well-balanced and sophisticated Tchaikovsky Pathétique." The Arts Desk proclaimed his Beethoven Symphony No. 9 release "Scintillating Beethoven…Edge-of-the-seat playing…it's a winner: dramatic, witty, eloquent and boasting some startling choral work in the last movement."

His complete recorded Beethoven symphony cycle earned praise from Fanfare magazine for its "intensity, spontaneity, propulsive rhythm, textural clarity, dynamic control, and well-judged phrasing." Most recently, The Art Music Lounge proclaimed his premiere recording of new editions of Stravinsky's The Rite of Spring and The Firebird as "THE preferred recording of The Rite because of its authenticity as well as the almost startling boldness of approach."

Accessibility and Community Engagement

True to their mission of making classical music accessible to all, the Park Avenue Chamber Symphony offers these extraordinary experiences starting from just $0.00, removing financial barriers that might prevent music lovers from attending. This commitment to accessibility reflects Bernard's innovative approach to growing new audiences for classical music through community engagement, school partnerships, and family-oriented programming.

The Art of the Immersive InsideOut Audience Experience by Conductor David Bernard and the Park Avenue Chamber Symphony at the DiMenna Center for Classical Music in New York City. Courtesy Park Avenue Chamber Symphony

Experience Music Like Never Before

The 2025-26 season represents more than just concerts; it's an invitation to experience classical music in its purest and most immediate form. When audiences sit inside the orchestra during InsideOut Concerts®, they don't just hear the music—they feel the vibrations of the double basses, witness the precise coordination between conductor and musicians, and experience the collective breathing of an ensemble creating art in real time.

This immersive approach has proven transformative for both seasoned classical music lovers and newcomers to the genre. Families discover that classical music can be interactive and engaging, while longtime enthusiasts gain new appreciation for the intricate details and collaborative nature of orchestral performance.

Looking Forward – The 2025-26 Season

As the Park Avenue Chamber Symphony embarks on its 2025-26 concert series, it continues to push boundaries while honoring classical music's greatest traditions. Each InsideOut Concert® represents a unique opportunity to witness musical mastery up close, creating memories that last a lifetime and potentially inspiring the next generation of classical music enthusiasts.

For tickets and complete season information, visit the Park Avenue Chamber Symphony 2025-26 Season Events page on Eventbrite.

Children helping Maestro Bernard conduct the Waltz of the Flowers with the Park Avenue Chamber Symphony at the DiMenna Center for Classical Music in New York City. Photo by Edward Kliszus

About the Park Avenue Chamber Symphony

Founded in 1999, the Park Avenue Chamber Symphony is a three-time FIRST PRIZE winner of The American Prize Competition in Orchestral Performance. Under the leadership of Music Director David Bernard, the orchestra has gained international recognition for its innovative programming, exceptional artistry, and revolutionary InsideOut Concerts® format, which places audiences inside the orchestra for immersive musical experiences.

Media Contact Information

Park Avenue Chamber Symphony David Bernard, Music Director 875 5th Ave, New York, NY 10065 Phone: [phone] Website: chambersymphony.com

All performances take place at the DiMenna Center for Classical Music, located at 450 West 37th Street, between 9th and 10th Avenues, in New York City.

https://youtu.be/cAKdNDfaRFY?si=S7KxeCGehqAjkDsW

[openingnightposts]

Stravinsky's Timeless Fable Reborn on Shelter Island

What emerges when musical theater's most intimate devils meet Stravinsky's most deceptive angel? What happens when this encounter unfolds in the loving embrace of a community that understands, perhaps better than most Manhattan venues, that great art requires not grandeur but truth?

On a sultry August evening in the Shelter Island School Auditorium, something extraordinary transpired. Here, under the auspices of the Shelter Island Friends of Music, David Bernard and his magnificent Park Avenue Chamber Symphony presented Stravinsky's L'histoire du Soldat with such luminous artistry that the work's century-old themes felt urgently, achingly contemporary.

The Devil's Bargain: Context and Creation

The Soldier's Tale emerged from Stravinsky's own pact with necessity. Stranded in wartime Switzerland, financially desperate, and cut off from his usual Russian and Parisian networks, the composer conceived this chamber work as touring entertainment. This piece could survive on sheer creative wit rather than orchestral opulence. The 1918 influenza pandemic ultimately scuttled Stravinsky's modest touring dreams, much as our own recent pandemic reminded us of art's simultaneously fragile and essential natures.

From these constraints emerged what many consider Stravinsky's most perfectly integrated theatrical work—a piece that represents "a complete change of paradigm" following the horrors of the Great War. The work's seven-instrument ensemble, deliberately modeled on American jazz bands while filtered through Stravinsky's revolutionary harmonic language, created something entirely unprecedented in classical music.

Most significantly, The Soldier's Tale "straddles the divide between the competing ideals of reversion to traditionalism and the rejection of tradition." The work's "Grand Chorale" recalls Bach's harmonic procedures, albeit with modern dissonances. In contrast, the “Dance du Diable” and the “Triumphal March” recall the grotesque aggression of The Rite, with their use of the extreme registers of each instrument, their unrelenting dissonance, and their abandonment of tradition.

A scene from A Soldier's Tale performed by the Park Avenue Chamber Symphony. Photo by Adam Bundy Photography Maestro Bernard's Revelatory Leadership: Navigating Stravinsky's Technical Labyrinth

Under David Bernard’s direction, the Park Avenue Chamber Symphony musicians made familiar music sound freshly minted while conquering some of the most demanding challenges in the chamber music repertoire. Bernard's interpretation revealed why Gramophone magazine has praised his recordings for their "intensity, spontaneity, propulsive rhythm, textural clarity, dynamic control, and well-judged phrasing." His approach to Stravinsky's challenging score demonstrated the same "dramatic and incisive conducting" that has earned him recognition across four continents.

The technical demands of The Soldier's Tale are formidable. Stravinsky's score reveals his chief technical traits: bitonality (two voices, each in different keys), rhythmic disruption, dislocation and asymmetry, as well as the telltale prevalence of a diversity of short motifs repeated in layered ostinati. These polytonal structures, where competing pitch centers create harmonic tension without resolution, require musicians to maintain absolute intonational integrity while navigating constantly shifting metrical terrain.

Álfheiður Sæmundsson's violin performance proved particularly masterful in confronting the instrument's central dramatic burden. Her violin must serve as the lynchpin of the entire drama: the soldier's violin (complete with little cadenza), a metaphor for the soul that he will ultimately lose. The technical challenges include exposed solo cadenzas and the need to maintain perfect intonational accuracy while navigating Stravinsky's bitonal harmonic structures—particularly treacherous in the "Little Concert" section, where the violin establishes precise tuning relationships with the other instruments.

Trent Firestine appears as the Devil in a scene from A Soldier's Tale performed by the Park Avenue Chamber Symphony. Photo by Adam Bundy Photography

Alex Yu's clarinet work demonstrated exceptional command of some of Stravinsky's most demanding woodwind writing. The clarinet's role requires absolute rhythmic precision, particularly through Stravinsky's constant meter changes, while maintaining the jazz influences Stravinsky absorbed from written scores rather than live performances. Yu's performance in the crucial "Pastorale" movement, where the particular challenge of intonation with the clarinet, achieved a delicate balance between technical accuracy and expressive musicality.

James Marshall's bassoon playing navigated some of the instrument's most treacherous passages in the repertoire. The "Pastorale" movement presents specific intonational challenges requiring ultra-careful listening and flexing to match the clarinet, while the "Ragtime" movement—with its tempo marking of 192 to the eighth and constant meter changes can easily become what is sometimes called a "'ragged' ragtime." Marshall's performance demonstrated the technical mastery required to execute extensive passages involving only two notes, high F# and high G#, while maintaining perfect ensemble coordination.

Mario Correa's trumpet work exemplified the brass challenges inherent in Stravinsky's jazz-influenced writing. The score's demands include not only the technical precision required for the rhythmically complex passages but also the stylistic authenticity needed to evoke the tango, waltz, and ragtime idioms that Stravinsky, despite never having heard jazz performed live, incorporated into his harmonic language.

Trent Firestine as the Devil. Photo by Adam Bundy Photography

Bruce Leggett-Flynn: A Tour de Force of Theatrical Virtuosity

The evening's revelation was undoubtedly Bruce Leggett-Flynn, whose solo inhabitation of every speaking role—Narrator, Soldier, Devil, and all the Devil's various disguises—proved nothing short of miraculous. This British actor, whose background spans rugby fields and nightclub stages, brought a specificity and theatrical intelligence to each character that illuminated every corner of Ramuz's text.

Leggett-Flynn's Devil was particularly memorable—not the cartoonish tempter of lesser productions, but rather a figure of genuine menace wrapped in seductive charm. His transitions between characters occurred with such seamless artistry that the audience never questioned the theatrical logic of his multiple personas. His final incarnation as the triumphant Devil possessed a chilling inevitability that left the audience contemplating the work's moral complexities long after the final notes faded.

Visual Splendor: Ariel Adkins' Surrealist Revolution

Ariel Adkins' production design proved a master class in theatrical imagination. As the founder of Artfully Awear, Adkins has spent years transforming clothing into storytelling tools. Her work has been featured in The New York Times, Vogue, and Forbes through collaborations with MoMA, the Guggenheim, and other significant cultural institutions worldwide.

Her surrealist-inspired design concept—layers of translucent chiffon serving as both sculptural environment and projection surface—created a visual language perfectly aligned with Stravinsky's musical modernism. The costumes' emphasis on "illusion and fragmentation" echoed not only the composer's ties to Surrealism but also the work's central themes of identity and transformation. Adkins possesses that rare ability to make art more accessible" through visual storytelling—precisely what this production achieved.

Bruce Leggett-Flynn as the narrator in a scene from A Soldier's Tale performed by the Park Avenue Chamber Symphony. Photo by Adam Bundy Photography The Musical Revelation: Seven Players, Infinite Worlds—Stravinsky's Polytonal Architecture

The heart of this performance lay in Bernard's conducting and his musicians' responses to Stravinsky's revolutionary harmonic language. The work's instrumentation creates equal players in the drama—each instrumentalist becomes a character rather than a mere accompanist. What makes this particularly challenging is Stravinsky's use of bi-quintal structures, where two perfect fifth intervals are stabilized and elaborated, creating harmonic tensions between competing pitch centers that require absolute precision from each performer.

Paul Robertson's percussion work proved central to the drama's psychological architecture. Arguably, the percussion has the last word in the whole piece, representing the Devil's ultimate triumph. The technical challenges include navigating multiple editions of the percussion part, as there are differences between each edition, even those approved by Stravinsky, while maintaining the specific timbral colors Stravinsky demanded for his jazz-influenced rhythmic structures.

Ed Matin's trombone and Bill Nealon's double bass provided the harmonic foundation for Stravinsky's bitonal experiments. The double bass faces challenges in the work's use of layered ostinati, which create an iridescent equilibrium—repetitive patterns that must remain rhythmically absolute while supporting the harmonic tensions of Stravinsky's competing tonal centers.

The ensemble's mastery of Stravinsky's metrical complexities proved particularly impressive. The work is rife with changing time signatures, demanding rock-solid steadiness from each player to prevent the ensemble from derailing. The famous "Ragtime" movement presents the ultimate test—a tempo marking of 192 to the eighth note combined with constant meter changes that can destroy lesser ensembles.

Bernard's approach to ensemble building creates immersive music-making that engages contemporary audiences in uniquely meaningful ways. This evening's performance demonstrated precisely why the Park Avenue Chamber Symphony has earned such critical acclaim for transforming classical music experiences through technical mastery wedded to interpretive insight.

A scene from A Soldier's Tale performed by the Park Avenue Chamber Symphony. Photo by Adam Bundy Photography Movement, Magic, and Meaning

The contributions of the movement ensemble—Trent Firestine, Ariel Adkins, and nine-year-old Natali Leon—added layers of physical poetry to the musical storytelling. Their presence reminded us that Stravinsky conceived this work as a multimedia theater piece, not concert music with incidental staging.

Young Natali Leon's participation particularly moved the audience, suggesting that great art crosses generational boundaries when presented with authentic artistic commitment. Her involvement embodied the Shelter Island Friends of Music's mission to bring "world-renowned artists and rising stars" together in the service of musical excellence.

Technical Excellence in Service of Art

The production team's contributions proved equally essential. John Kaasik's lighting design created atmospheric support that enhanced rather than overwhelmed the intimate scale. At the same time, James Marshall's direction demonstrated the sophisticated understanding of musical theater that comes from deep experience in both music and drama. Sara Mundy's stage management ensured seamless transitions that maintained the work's essential flow and continuity.

Trent Firestine as the Devil. Photo by Adam Bundy Photography The Deeper Resonances: Why This Soldier's Tale Matters Now

What made this performance extraordinary was its recognition that The Soldier's Tale speaks directly to our contemporary moment. Stravinsky's Faustian tale about a soldier who trades his authentic self for material success resonates with poignancy in our age of digital distraction and commodified culture.

The work's themes of exile, displacement, and the search for authentic human connection resonate powerfully with audiences still processing their own recent experiences of isolation and loss. I propose that the most meaningful artistic experiences often emerge when performers and audiences recognize their shared humanity through the transformative power of great art.

A Community Triumph

This performance exemplified everything that makes Shelter Island Friends of Music such a vital cultural institution. Their commitment to presenting "world-class cultural performances, free of charge" creates precisely the kind of community-centered artmaking that nurtures both artists and audiences. Their partnership with the Park Avenue Chamber Symphony demonstrates how musical excellence and community engagement can coexist beautifully.

The Front Row Center has documented that the most memorable musical experiences often occur when "modern life meets a gentler, more connected past"—precisely what transpired in this intimate school auditorium setting.

The Lasting Impact

As the final notes of the "Triumphal March of the Devil" faded and the audience erupted in applause, one sensed that something genuinely special had occurred. This was not merely a successful performance of a challenging work, but rather a reminder of why live music-making remains irreplaceable in our increasingly digital world.

David Bernard's vision of classical music as accessible, immediate, and emotionally transformative found perfect expression in this evening's artmaking. His innovative approaches to audience engagement—evidenced throughout the Park Avenue Chamber Symphony's 25-year history—continue to demonstrate that traditional concert formats need not be abandoned, but rather reimagined with greater humanity and artistic integrity.

The Soldier's Tale, Courtesy PACS The Art of Necessary Magic

This Soldier's Tale succeeded because everyone involved understood that Stravinsky's masterpiece demands not just musical competence but theatrical courage and emotional truthfulness. Opening Night Online has observed that the most remarkable performances achieve that rare synthesis where technical mastery serves emotional authenticity—where tradition and innovation coexist without contradiction.

On this August evening, Bruce Leggett-Flynn, Ariel Adkins, David Bernard, and the extraordinary musicians of the Park Avenue Chamber Symphony reminded us why live performance remains essential: it creates shared experiences that no recording, however excellent, can replicate.

They demonstrated that the most profound art often emerges not from abundance but from constraint—from artists who understand that limitations can become sources of creative liberation. They proved that community-based artmaking, when approached with appropriate seriousness and love, can achieve the highest levels of artistic excellence.

Shelter Island Friends of Music and institutions like it represent something precious in our cultural landscape: spaces where art serves community and community nurtures art, where professional excellence meets human warmth, and where the transformative power of great music can touch hearts and change lives. For those fortunate enough to witness this Soldier's Tale, the memory will linger like the best kind of devil's bargain—one where the exchange enriched rather than impoverished the soul, where art's ancient magic proved once again its capacity to make us more fully human.

It is worth noting that James Marshall, who served as both director and principal bassoonist for this production, brings a unique perspective as a resident of Shelter Island.