Shimmering Technique & Sound
This article is from the archive of The New York Sun before the launch of its new website in 2022. The Sun has neither altered nor updated such articles but will seek to correct any errors, mis-categorizations or other problems introduced during transfer.

The Mostly Mozart Festival has begun, and two of the featured composers this season are Mozart and Beethoven. Before diving into the deep end of the pool, a visit to another venue that showcases these composers seemed appropriate. So on Saturday evening I attended an orchestral concert at Bargemusic in Brooklyn.
An orchestral concert at Bargemusic? Yes, indeed. This unique floating venue for chamber music does sometimes cram in a smallish full ensemble to perform for a large crowd. This night everyone got to know their neighbors up close and personal.
The Manhattan Symphonee was founded by violin dealer Gregory Singer in 2005 and consists of players between ages 20 and 30 which, coincidentally, is also the approximate number of musicians. For this concert of three works, master violinist and executive director of Bargemusic, Mark Peskanov, performed in three distinct capacities.
He began by conducting a spirited and very crisp version of the overture to The Marriage of Figaro. This was refreshingly lighthearted music making, with welldefined accents and dramatic contrasts of volume. Considering the size of the hall and that of the orchestra, the blended sound was superb, although, concerned about the propinquity of performers to patrons, I had taken the precaution of giving away my seat and perching instead at the stern.
The bottom was a little weak at the beginning of the G Minor Symphony of Mozart, but the lower strings made a solid recovery as Mr. Peskanov not only conducted but also played his violin as a member of the first desk. Overall this was an exciting realization, most notable for the unbounded enthusiasm of the players who seemed to realize how blessed they were to be able to intone such heavenly music — a far cry from most local professional bands.
After intermission we were all treated to a superb accounting of the Violin Concerto of Beethoven. Here Mr. Peskanov was both soloist and conductor and was impressive in both assignments. The concerto depends more than most on its performance because it is in reality a highly repetitious and oddly simple construction — Glenn Gould once described it as “a lot of guts and one good tune.” It is not uncommon to suffer through a rather colorless, boring realization even when a world-class fiddler is on the podium. But if the soloist is invested, the results can be magnificent. This night Mr. Peskanov played with warmth, humor, nobility, and, most impressively, humanity.
Beyond a shimmering technique, Mr. Peskanov presented the first movement as heroic, varied in tonal color and breadth and punctuated with a cadenza that deconstructed the music in a noticeably contemporary manner. The orchestra supported with broad strokes and underlying fire. The middle Larghetto was the highlight of the evening, as the soloist designed and delivered the most delicate of tapestries. When the violin finally sings by itself, Mr. Peskanov established and nurtured a lovely cantabile tone, luxuriating in lyrical line. This was music making of the highest order.
But what will remain the memory of the evening occurred when, at the beginning of the final Rondo, the violin introduction leads to one big, upbeat orchestral chord. As soon as his charges intoned this good-humored tutti, the soloist turned to the audience and beamed from ear to ear. He was most appreciative of the accomplishments of his ensemble and so was the overflow crowd. One last point: Bravo to this violinist for ending the concerto quietly as Beethoven had intended, not bombastically as many lesser artists feel compelled to do.
Before immigrating to Boston, Serge Koussevitzky conducted an orchestra known as the Tzimro on a boat that cruised the Volga. Apparently the ambience was similar to that at Bargemusic, fine performances of the classics, gentle rocking of the venue itself, music presented with the communal fellow feeling that should be part of any artistic experience, and great views of the harbor that make this venue the envy of every concert promoter in Manhattan.