RELATED In an age where the average concertgoer's attention span has been whittled down to the duration of a TikTok video, there exists a profound oasis where time expands rather than contracts—where stories unfold not in bytes, but in glorious, symphonic narratives that transport us to realms both fantastical and profound. Such was the recent Park Avenue Chamber Symphony presentation of "Symphonic Storytelling" at the DiMenna Center for Classical Music, where the indefatigable Maestro David Bernard, with narrator DeCarlo Raspberry, once again demonstrated why this ensemble has become one of New York's most cherished treasures.As the audience settled into the acoustically sublime space, an electric anticipation was already hovering in the air. And why not? In our fractured modern existence, what could be more revolutionary than sitting together to experience the communal magic of storytelling through music, that most universal of languages? David Bernard with Narrator DeCarlo Raspberry and the Park Avenue Chamber Symphony at the DiMenna Center for Classical Music in a concert of Symphonic Storytelling. Photo courtesy PACSDavid Bernard's Innovative Approach to Classical Music EngagementBernard, ever the charismatic musical ambassador, began the afternoon with welcoming remarks that instantly dissolved the artificial barrier between performer and audience. "You know all you need to know to enjoy today's concert," he assured us with characteristic warmth, inviting listeners to engage with the musicians and immerse themselves in the experience. This statement was not merely reassuring but a profound philosophical stance on how we should approach art: with openness rather than trepidation, heart rather than intellect alone.The maestro's introduction echoed what Leonard Bernstein once described as "the infinite variety of music that can transform the listener." Bernard's approach reminds us that music isn't merely to be analyzed but felt—a sentiment that resonates with what philosopher Susanne Langer called "the embodiment of feeling in logical form." Bernard’s gentle encouragement to look around during the concert was not just permission but an invitation to witness the living, breathing organism that is an orchestra in full flight.Exploring Ravel's Mother Goose Suite: Childhood Wonder Through Masterful PerformanceThe program began with Ravel's exquisite "Mother Goose Suite" (Ma Mère l'Oye), a most perfect marriage of childlike wonder and sophisticated musical architecture. What struck one immediately was how Bernard approached this score not as a cute curiosity or mere programmatic diversion, but as a profound statement worthy of the most serious consideration.Sleeping Beauty's Delicate Pavane: Wong's Violin MasteryThe opening "Pavane of Sleeping Beauty" emerged like a delicate watercolor painted in sound. Concertmaster Francis Wong led the violins with a gossamer touch that seemed to suspend time. His phrasing contained just enough rubato to suggest breath without distorting the architectural integrity of Ravel's meticulous construction. One was reminded of what critic Harold Schonberg might have called "the aristocracy of restraint"—that paradoxical ability to communicate deep emotion through disciplined precision. Théâtre des arts: Répétition générale: Jeannine: Pupazzi: Ma mère L'oye, Paris Musées 20231023171213. Public Domain via Wikipedia CommonsTom Thumb's Forest Adventure: Woodwind ExcellenceThe "Tom Thumb" movement showcased the orchestra's exceptional woodwind section, with the lyricism of oboist David Greenwald and percussionists creating evocative bird calls, one could almost see the forest materializing. The string section's portrayal of scattered breadcrumbs through meandering passages demonstrated Bernard's attention to the storytelling aspect of the music, with each note serving the narrative rather than merely displaying technical skill.East Asian Inspirations: Laideronnette's Exotic Soundscape"Laideronnette, Empress of the Pagodas" transported us to an exotic soundscape where one could feel the influence of the 1889 Paris Exposition on Ravel's imagination. The pentatonic scales and crystalline textures evoked not merely a superficial orientalism but a genuine exploration of sonic possibilities. Principal flutist Jenn Forese delivered passages that sparkled with the clarity of fine porcelain—an apt metaphor for the miniature ceramic characters dancing in the story.Beauty and the Beast: Contrasting Characters Through Instrumental DialogueIn "Beauty and the Beast," the orchestra achieved a remarkable contrast between the contrabassoon's growling portrayal of the Beast and the clarinet's graceful depiction of Beauty. Principal clarinetist Yoyo Chan brought exceptional warmth to her solos, creating a dialogue with the contrabassoon (Phil Murphy) that perfectly captured the emotional essence of this timeless transformation tale. As OpeningNight.online noted in a prior examination of programmatic music, "When listening, one is philosophically transported through time, space, and existence while envisaging the chimera of eternal questions facing humankind."—a principle perfectly demonstrated here.The Fairy Garden: Orchestral Magic UnleashedThe suite concluded with "The Fairy Garden," where Bernard's interpretation revealed the full measure of Ravel's genius for orchestration. The gradual build-up to the luminous climax was handled with exceptional pacing, allowing the audience to experience the entire emotional arc of awakening. Wong's violin solo here was particularly moving, rich with pathos yet never indulgent, revealing the profound seriousness that can exist within music ostensibly written for children.Throughout this performance, what impressed most was Bernard's ability to balance the fairytale elements with genuine emotional depth—a reminder that these stories endure not for their surface simplicity but for the profound truths they contain. As TheFrontRowCenter.com observed in their coverage of Bernard's innovative approach to audience engagement, his "InsideOut" philosophy transforms listeners from passive recipients to active participants in the musical experience.World Premiere: James Bernard's "Where the Wild Things Are" Brings Sendak's Classic to Symphonic LifeFollowing intermission came the world premiere of James Bernard's "A Musical Realization of Maurice Sendak's 'Where the Wild Things Are.' This ambitious undertaking seamlessly integrated pictorials, captions, and narration with original music. The younger Bernard (the maestro's son) demonstrated remarkable compositional acumen in balancing accessibility with artistic integrity—no small feat in contemporary classical composition. David Bernard with Composer James Bernard and the Park Avenue Chamber Symphony in a concert of Symphonic Storytelling. Photo courtesy PACS.Composer James Bernard’s diverse output includes song cycles, chamber music, concertos, symphonic tone poems, film scores, pop songs, and hip-hop beats. James aspires to create music that is both accessible and authentic, achieved through his skilled use of rhythm and groove. He is a student of Dr. Melinda Wagner at the Juilliard School and has had the privilege of working with renowned composers David Dzubay, Martin Amlin, Manuel Sosa, and Mary Kouyoumdjian during his studies at Tanglewood, Interlochen, and Mannes. When not composing, he enjoys taking walks through Central Park and listening to music from all periods and styles. James Bernard, Composer. Courtesy James BernardComposer James Bernard notes that “It is important to see that ‘Where the Wild Things Are’ reaches everyone, not just children. No matter how old you are, sometimes you just have to let a rumpus out and join the wild things, but at the end of the day, the best parts of being a kid, or even more a human being, are the people who care about you. Being able to capture this arc of discovery for Max through music was an absolute joy!”Wild Rumpus: Musical Chaos and ControlThe score proved dramatically effective, particularly during the "Wild Rumpus" section, where controlled chaos in the orchestra brilliantly mirrored Sendak's famous illustrations. One couldn't help but think of what philosopher Gaston Bachelard called "the poetics of space"—how imagination transforms our experience of the world around us. Just as Max creates his world in Sendak's tale, James Bernard created a sonic landscape that invites listeners to inhabit their imaginative realms.Sendak's Artistic Legacy Honored Through MusicThe Park Avenue Chamber Symphony navigated the demanding score with remarkable precision, demonstrating why this ensemble has earned multiple First Prize distinctions in The American Prize Competition. Their ability to pivot between tonal accessibility and edgy contemporary elements spoke to their technical prowess and interpretive intelligence. Wildflowers and where they grow (1882) from Maurice Sendak's 'Where the Wild Things Are.'. Internet Archive Book Images, No restrictions, via Wikimedia CommonsThe familial connection between composer and conductor made this premiere particularly touching—a multigenerational artistic dialogue that added resonance to the performance. As Maurice Sendak once remarked in an NPR interview, "I refuse to lie to children...the fantasy is what's true." This philosophical approach found its perfect musical expression in Bernard's composition, which treated the emotional complexities of childhood with the seriousness they deserve.Rimsky-Korsakov's Scheherazade: The Ultimate in Symphonic StorytellingThe concert culminated in Nikolai Rimsky-Korsakov's magnificent "Scheherazade," a dazzling orchestral showpiece based on "One Thousand and One Nights." From the stern, unison brass proclamations representing the tyrannical Sultan to Wong's seductive violin solos portraying Scheherazade herself, the orchestra created a vivid contrast between despotic power and creative imagination.Sinbad's Maritime Adventures: Orchestral SeascapesMaestro Bernard's approach to this warhorse was anything but routine. His interpretation revealed fresh insights into a familiar masterpiece, emphasizing the architectural grandeur while never losing sight of the intimate storytelling at its core. As Russian literary theorist Mikhail Bakhtin might have noted, the performance captured both the "dialogic imagination" of the narrative frame and the "polyphonic" nature of the tales within tales.The first movement, "The Sea and Sinbad's Ship," featured undulating string passages that vividly captured the rolling waves. Bernard's meticulous attention to dynamic contrast allowed the orchestra to paint pictures of tranquil waters and turbulent storms. Principal Flutist Lindsay Brillson's lyrical contributions evoked gentle sea breezes with crystalline clarity, while the brass section handled the majestic ship theme with commanding authority. David Bernard and Concertmaster Francis Wong with the Park Avenue Chamber Symphony in a concert of Symphonic Storytelling. Photo by Edward KliszusThe Kalendar Prince: Mysterious Tales Through Musical DialogueIn "The Kalendar Prince," Principal Bassoonist James Marshall's haunting solo set the mysterious tone with exceptional control and expressivity. The interplay between woodwinds and strings throughout this movement created a compelling dialogue that enhanced the narrative quality. Principal Clarinetist Anna Bush delivered her solo passages with remarkable agility and character, her instrument weaving gracefully through Rimsky-Korsakov's exotic harmonies.Royal Romance: The Young Prince and Princess Movement"The Young Prince and The Young Princess" showcased Rimsky-Korsakov's gift for melodic invention through one of classical music's most beautiful love songs. Wong's violin soared above the orchestra with heartfelt lyricism, his warm tone perfectly capturing the passionate yearning between the young lovers. Bernard shaped these lyrical passages with remarkable sensitivity, allowing the music to breathe naturally while maintaining forward momentum.Dramatic Finale: From Festival to ShipwreckThe finale, "Festival at Baghdad - The Sea - The Ship Goes to Pieces Against a Rock," combined all the musical elements into a tour de force of orchestral brilliance. Bernard unleashed the full power of the ensemble to depict the bustling Baghdad festival, with its whirling dances and exotic instrumentation. His precise conducting maintained clarity even in the most densely orchestrated passages, while his dynamic gestures inspired the musicians to deliver performances of thrilling intensity.During the tumultuous shipwreck sequence, Bernard's physical gestures seemed to summon the storm itself from the orchestra. Wong's recurring Scheherazade violin solos provided essential contrast, reminding listeners that we were experiencing these adventures through the storyteller's voice. His final solo, accompanied by gentle harp arpeggios, was delivered with ethereal beauty, gradually fading to a whisper as Scheherazade concluded her tales and secured her life from the Sultan. Scheherazade and Sultan Schariar by Ferdinand Keller (1880). Public domain, via Wikimedia CommonsEnsemble Excellence: The Park Avenue Chamber Symphony's Virtuosic UnityWhat distinguished this concert was not merely the excellence of individual performances but the remarkable cohesion of the entire ensemble. As Bernard later commented, "Scheherazade demands virtuosity from every orchestra section. It's not enough to have brilliant soloists—the entire ensemble must breathe and move as one entity to truly capture Rimsky-Korsakov's vision."Technical Mastery Across All SectionsThe string section's unified bowing and precise articulation in the fastest passages demonstrated exceptional technical preparation. The brass section, often challenged by Rimsky-Korsakov's demanding writing, maintained power and refinement. Read the full article