Samuel Barber: Adagio for Strings, Op. 11
Aaron Copland: Appalachian Spring Suite
Aaron Copland: Clarinet Concerto
Leonard Bernstein: Symphonic Dances from "West Side Story"

Nothing comes quite as close, musically speaking that is, to reaching at the core of America quite like the ballet Appalachian Spring by Aaron Copland (1900-1990). Despite having received his formal musical training in Paris under Nadia Boulanger and living in Brooklyn, he's the composer who captures best the "big sky country" spirit of America, especially in works like Billy the Kid, Fanfare for the Common Man, Rodeo and his score for Of Mice and Men. The "outdoorsy" and folksy feel of Appalachian Spring, typical of Copland's open intervals and harmonic structure, have caused it to become one of the best representations of American culture. Conductor David Bernard's relaxed tempo for the Introduction allows for the dawn's natural unfolding, before the full-blown awakening of nature which follows. The agrestic, corn-pone manner within the Revivalist and His Flock segment comes across well here, as well as the energetic, multi-layered rhythms of the Solo Dance of the Bride. The following Meno Mosso recapitulation of the opening sequence is highly expressive as well. The brisk tempo of the Variations on a Shaker Hymn (Simple Gifts) works very well here, and the Coda, as the sun sets in the west is heartfelt, warm and highly evocative.

The expressive playing of clarinetist Jon Manasse who serves as principal and guest clarinetist for many ensembles, suits the slow and lyrical opening movement of Copland's Clarinet Concerto extremely well. And the jazzy, jaunty feel of the fast final movement comes off naturally here, as if improvised. And overall, Jon Manasse's tonal range from the lowest to the highest notes is always fluid and dynamically well balanced.

David Bernard applies a juste milieu tempo for the venerated Adagio for Strings by Samuel Barber (1910-1981). At a timing of 8:38 it feels just right. I've heard recordings that clock in between 10 and 11 minutes and although grippingly sad, are pulled down by their own weight. The multi-layered balance here between the violins, violas and cellos is well done. And the loud climactic point, at the 6:00 minute mark, doesn't screech at you like others I've heard. The final few bars, where Barber seems to tip his hat at the final few bars of Gustav Mahler's Ninth Symphony, are effective without being affective.

The generally jazzy, big-city feel of Leonard Bernstein's West Side Story comes across well in this performance, especially during the "Cool-Fugue" segment. And the final Adagio in which the love story angle of this work is recapped, is finely done here. Based on the fact that the Park Avenue Chamber Symphony is considered a community orchestra, I would have to say: Well Done!

The booklet notes point out: "The opening sunrise music of Appalachian Spring speaks to the new dawn of American culture." Well to me, the final three notes of Appalachian Spring represent the first glimmer of a spring thaw after a cold winter. May they also represent, for the future of classical music, the first glimmer that we will see an end to this harsh winter of our cultural discontent.