Review: Crescendo Magazine (Belgium)
"Quite impressive by our European standards. One can only marvel at this release. Beethoven’s Symphony No. 3 immediately captivates with its directness and the musicians' commitment. The tempos are brisk but never rushed, and the conducting highlights the modernity of Beethoven’s writing. The listener appreciates the ensemble’s uniformity, its rich overall sound, and the quality of the sections' contributions. This interpretation is flawless both musically and artistically.

In Mahler’s Symphony No. 5 The conductor perfectly captures the character of the movements, managing an airy and coherent instrumental texture. This is an heroic Mahler but one that avoids heaviness or excessive intention. The musicians of the Park Avenue Chamber Symphony, in an expanded formation, perform as a unified body, with all sections showing remarkable engagement, particularly the glorious brass.

The success of this album must be acknowledged, showcasing the high quality of the Park Avenue Chamber Symphony under David Bernard’s precise and inspired direction."

Review: Pizzicato Magazine
“One can only praise this recording. Conductor David Bernard convinces with his coherent and idiomatic Mahler conducting and is superbly supported by an excellent and committed orchestra. An often moving warmth characterizes Beethoven’s Third Symphony, which David Bernard conducts in a very inspired manner. He demonstrates not only a keen sense of color, but also of detail, which makes for an interesting rhetoric. Bernard does not miss a single opportunity the composer gives him. The excellent Park Avenue Chamber Symphony also serves as a very inspired instrument.”

Review: Stereophile
“The opening trumpet fanfare comes up with impressive, round depth, as does the Scherzo's obbligato horn. Woodwind and horn soli are precisely placed on the stage. Focused bass lines ground it firmly...David Bernard brings out plenty of the score's character. The opening dotted rhythms are oppressive in their weighty deliberation; the strings' somber march, while more transparent, remains weighted, and the second theme all but grieves. The Scherzo's second group, slightly selfconscious, is affectionately laid-back. The Adagietto, once it settles, flows in a single purposeful arc; even the big downward swoop is kept within bounds. The Finale is best, vigorous and gracious by turns, the strings bold and confident in the "scraping" fugues...This performance would have brought me to my feet in the hall [and] it's worth considering for audiophiles because of the superior sound.”

Review: ClassicsToday.com
”David Bernard and the Park Avenue Chamber Symphony have tackled big orchestral warhorses for years, and their Galahad-like persistence in face of formidable catalog competition deserves commendation…they brave the Mahler Fifth symphony’s formidable challenges admirably. The cellos and basses display impressive focus and cohesion in the second movement’s soft moments…the strings gain expressive poignancy in the Adagietto, abetted by Bernard’s fluid and animated basic tempo…The tricky first-desk wind and brass solos sport impressive character and agility throughout the performance. One must credit Bernard’s intelligent balancing of contrapuntal strands. What’s more, these musicians never “phone it in”, so to speak, they clearly relish how Mahler gives each orchestral section equal opportunity to shine. I also should mention the superb booklet essays by scholar Vera Micznik and Bernard himself, as well as the vividly detailed engineering.”

Review: The Arts Desk
”Two very different recordings of Mahler’s 5th have recently landed on the doormat, both worth hearing. Bychkov’s 5th symphony is well-prepared, but this work needs to begin sounding craggier and darker. With Bychkov, the funeral march feels too polished, as if it’s playing out in warm sunlight. David Bernard's Park Avenue Chamber Symphony, though polished, has plenty of edge and punch, the sonorities raw and rough when necessary. Bernard milks Mahler’s rhetorical corners for all they’re worth, moments like the massed horns’ whoop up to a high F in the first movement really telling…Lower brass are superb throughout, the second movement’s triumph well-earned. Bernard’s timings for the remaining movements are close to Bychkov’s, a resonant acoustic giving his hard-working strings extra body in the “Adagietto”. This “Rondo-Finale” is earthy, positive and humane. Both discs are worth investigating, Bernard’s coming with an interesting sleeve note linking the symphony to Mahler’s interest in early 20th century science.”

Review: MusicWeb International
“The playing has skill, character and commitment,. Conductor David Bernard knows his way round the symphony. and offers very considered and idiomatic Maher conducting throughout. Here we have energy in the bustling counterpoint, warmth in the lyrical passages – which are often truly con amore – and that compelling narrative arc through each movement which holds our attention in a big symphony. The first movement has the requisite lachrymose power at the outset. Although there is plenty of fire at the “Suddenly faster…Wild” marking, the speed is not too frenetic. The second movement flows well towards the coda’s chorale, and the trumpets sound a fine apotheosis. The “corno obbligato” part of the third movement scherzo is certainly well played, and the agreeable geniality of the Ländler and waltz sections are nicely characterised. The manner is very Viennese, helped by the conductor’s instinctive and persuasive rubato. The strings are excellent in the Adagietto, with good tone and real feeling for this love song. David Bernard sets a middling tempo, taking just about ten minutes, effectively mediating between the seven minutes of Walter and Mengelberg (who both knew the composer), and the twelve or thirteen minutes of a few overindulgent conductors.”

Review: Infodad/Trans Century Communications
“Its aural clarity is impressive…There is a thoughtfulness here to the slower sections, making them more ruminative and questioning than usual; In the third movement, Bernard shows how Mahler stretches dance forms even while inhabiting them…There is an almost oceanic feel to this movement, a sense of constant ebb and flow brought out to fine effect. …Bernard’s reading of the finale is more cohesive than Bychkov’s, with a greater sense of building to a suitable conclusion…Both orchestras perform admirably, both conductors clearly understand this music and have given considerable thought to the best way to present it, and both here show themselves to be quite worthy of Mahler – and prove that his Symphony No. 5 is quite worthy of their time, attention, and very considerable skill.”

Review: Classical Candor
"Bernard maintains a solid, forward-moving rhythm...It’s a steadfast, firmly grounded interpretation that eschews histrionics in favor of an unwavering fidelity to Mahler’s intentions….The celebrated Adagietto emerges perfectly, conveying Mahler’s obvious affection yet not dipping into sentimentality…In the Finale, Maestro Bernard lets the work’s effulgent joy shine radiantly through, concluding a thoroughly enjoyable reading."

Review: Classical Music Sentinel
“It's precisely these immense conflicts and emotive outbursts that conductor David Bernard captures and projects so well. From the opening movement's forceful oppression, through frays and skirmishes, love, all leading to the final movement's frenzied expression of ecstatic overwhelming joy, he always knows exactly which section(s) of the orchestra on which to focus his attention, in order to underline these conflicts…they play with impressive impact and convincing gusto, and also lend the beautiful Adagietto all the expressive care it calls for. You can even feel the elation within the final pages of the last movement emanate from each and every instrumentalist.”

Review: Broadway World Classical Music
"Maestro Bernard leads the orchestra on a take-no-prisoners journey that stirs the emotions and our very souls. The musicians are with him every step of the way...it is utterly thrilling, riveting, and breathtaking...this is a CD that should find a place in all music libraries, an honored place among the many recordings of the Fifth Symphony. It is truly a first among equals."

Link to Listen
https://bit.ly/HeroicBeethoven3Mahler5

Release Info/Program
Recursive Classics RC5213876

Park Avenue Chamber Symphony
David Bernard, Conductor

Beethoven Symphony No. 3, "Eroica"

I. Allegro con brio

II. Marcia funebre. Adagio assai

III. Scherzo. Allegro vivace

IV. Finale. Allegro molto

Mahler Symphony No. 5

I. Trauermarsch. In gemessenen Schritt. Streng. Wie ein Kondukt (With measured tread. Strict. Like a procession)

II. Stürmisch bewegt, mit größter Vehemenz
(Stormy. With utmost vehemence)

III. Scherzo. Kräftig, nicht zu schnell
(Vigorous, not too fast)

IV. Adagietto. Sehr langsam
(Very slow)

V. Rondo-Finale. Allegro

Review: Gramophone
“Extremely Impressive, quite passionate with tremendous spirit. Elegant, thoughtful, well-balanced and sophisticated...the Fourth conveys a sense of Joy, the Fifth is quite passionate – just listen to the first movement’s white-hot coda, or to how the orchestra dig into the finale with audible gusto. The Sixth is also a fine performance with a good sense of overall structure and sensitive attention to detail.… parts emerge like newly scrubbed details in a restored painting…Bernard and his musicians frequently shed new and valuable light on a thrice-familiar standard, abetted by a recorded ambiance that evokes concert hall realism.”

Review: The Whole Note
"Conductor David Bernard has organized and conducted orchestras such as this Park Avenue Chamber Symphony, bringing them up to excellence in concerts and recordings... The Park Avenue Chamber Symphony players are to be congratulated... The sunny, optimistic, heroic and arguably the most beautiful of the three, Symphony No.5 in E Minor and the soul-searching gut wrenching but noble and magnificent Symphony No.6 in B Minor, the “Pathetique” are given equally fine performances. The "Pathetique" is a thoroughly convincing performance. Following the lugubrious opening measures, the Allegro non troppo of the first movement is spirited and elegant, the well-balanced phrasing clearly articulated, featuring a deft interplay between woodwinds and strings. The second movement “waltz” (in 5/4 time) is all grace and charm, while the brisk third movement march provides a perfect showcase for the ensemble’s stirring brass section before the anguished and despairing finale. It has a certain energy and style all its own.

As a distinguishing feature I noticed the conductor’s obvious effort to bring out all that’s written down in the score thus exposing internal voices I’ve not heard before. But what impressed me most is Bernard and his orchestra’s tremendous enthusiasm and love of this music that one can feel. It shows as if it were a live performance which is not easy to achieve."

Review: Stereophile
"First-class, poised, refreshingly clean and gimmick-free. Bernard's instincts are excellent. Merits legitimate consideration."

Review: Opening Night Reviews
"These well-crafted definitive recordings explore the inspirations and motivations that drove Tchaikovsky’s quest to craft his brilliant Fourth, Fifth, and Sixth Symphonies…This latest triumph work of Maestro Bernard and the Symphony reminds us not only of the importance of orchestral music but also the historical, humanistic value of late 19th-century music that redefined the symphonic genre and established Tchaikovsky as one of the foremost composers of his time….The PACS captured each work’s rich orchestral palette, lush harmonies, and keen sense of drama while conveying the music’s emotional depth…These recordings are groundbreaking in their contemporary exploration of emotional depth and psychological complexity that paved the way for later composers to probe further into personal expression and introspection.”

Review: Classical Candor
“Commendably precise, the contrasts in softer and louder passages especially telling in their nuanced delivery…It is fun hearing the music done up in such clear, clean sound and in such a clean, clear interpretation.”

Review: The Arts Desk
“...a sober, reflective account lacking in overt hysteria...a winning stoicism...it’s difficult to resist a third movement which exudes such positivity. The slow finale’s close is resigned but not despairing…”

Review: Fanfare Magazine
“Bernard’s shaping is unsurpassed in dramatic effectiveness…the clarity he gives to the varied voices is a joy.”

Review: Infodad/Trans Century Communications
”Thus, all that is really needed to enjoy the Enigma Variations is a good performance – although a very good one, such as that by the Park Avenue Chamber Symphony under David Bernard, is even better. In less-adept hands than these, Elgar’s music can sometimes have a clotted quality, even a kind of bloat. But Bernard and his ensemble present the Enigma Variations with a transparency that displays the work in the best possible light, allowing its care of construction and its flashes of humor to come through clearly – even to listeners who do not know exactly to whom each element of the piece refers.”

Review: Classical Candor
“They do a lovely job under the commanding leadership of Maestro Bernard. There’s nothing wishy-washy about this account. Bernard leads them boldly, with strong, firm, resolute direction. Thus, the music sheds much of the sentimentality from which it sometimes suffers…Maestro Bernard and his orchestra play the music in a most forthright manner, making it more heartfelt in the process. The interpretations dance lightly when necessary, display a cheerful playfulness at other times, and exhibit the proper decorum where appropriate. It’s an altogether delightful and clearheaded rendering of the score.”

Link to Listen
https://bit.ly/RecursiveThisScepteredIsle

Release Info/Program
Recursive Classics RC5946217

Park Avenue Chamber Symphony
Park Avenue Chamber Symphony Wind Ensemble
David Bernard, Conductor

1. Mannin Veen: I. The Good Old Way (Moderato)
2. Mannin Veen: II. The Manx Fiddler (Allegro moderato)
3. Mannin Veen: III. Sweet Water in the Common (L'istesso tempo)
4. Mannin Veen: IV. Manx Fisherman's Evening Hymn (Andante moderato)
5. Mannin Veen: V. The Manx Fiddler (reprise) (Allegro moderato) 6. Mannin Veen: VI. Finale (Andante moderato)
7. Suite No. 1 in E-flat for Military Band, Op. 28a: I. Chaconne
8. Suite No. 1 in E-flat for Military Band, Op. 28a: II. Intermezzo
9. Suite No. 1 in E-flat for Military Band, Op. 28a: III. March
10. Fantasia on a Theme by Thomas Tallis: I. Largo sostenuto
11. Fantasia on a Theme by Thomas Tallis: II. Poco piu animato
12. Fantasia on a Theme by Thomas Tallis: III. Tempo del principio
13. Variations on an Original Theme, Op. 36 ("Enigma"): Theme
14. Variations on an Original Theme, Op. 36 ("Enigma"): 1. C.A.E.
15. Variations on an Original Theme, Op. 36 ("Enigma"): 2. H.D.S-P.
16. Variations on an Original Theme, Op. 36 ("Enigma"): 3. R.B.T.
17. Variations on an Original Theme, Op. 36 ("Enigma"): 4. W.M.B.
18. Variations on an Original Theme, Op. 36 ("Enigma"): 5. R.P.A.
19. Variations on an Original Theme, Op. 36 ("Enigma"): 6. Ysobel 20. Variations on an Original Theme, Op. 36 ("Enigma"): 7. Troyte
21. Variations on an Original Theme, Op. 36 ("Enigma"): 8. W.N.
22. Variations on an Original Theme, Op. 36 ("Enigma"): 9. Nimrod
23. Variations on an Original Theme, Op. 36 ("Enigma"): 10. Intermezzo: Dorabella
24. Variations on an Original Theme, Op. 36 ("Enigma"): 11. G.R.S. 25. Variations on an Original Theme, Op. 36 ("Enigma"): 12. B.G.N. 26. Variations on an Original Theme, Op. 36 ("Enigma"): 13. Romanza: ***
27. Variations on an Original Theme, Op. 36 ("Enigma"): 14. Finale E.D.U.

Review: Classical Music Sentinel
“heartfelt, warm and highly evocative. 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.”

Review: Classical Candor
“As lovely a rendition [of Barber’s Adagio for Strings] as any I’ve heard…Bernard leads a longingly pensive, wistfully reflective interpretation of the [Copland Clarinet Concerto], with a beautifully measured response from Manasse…The album concludes with the Symphonic Dances from West Side Story by Leonard Bernstein (1918-1990)…it’s familiar territory, but it’s freshened by Maestro Bernard’s enthusiastic approach. He seems genuinely engaged with the music, its story, and its people, and he brings the whole thing to life with his vigorous, animated direction.”

Review: The Clarinet Journal
"As expected, clarinetist Jon Manasse graces us with a sublime introduction in the Copland Clarinet Concerto with the Park Avenue Chamber Symphony. Manasse’s intonation is perfectly integrated with the orchestral underpinning which is not an easy task in this work. Legato and control of tone are expertly handled in the adagio section. In the cadenza, Manasse offers a reading with ease and simplicity but with just the right amount of ornamentation. His phrasing within the cadenza is clear and thoughtful, and keeps the listener engaged. In the “rather fast” section, Manasse gives us yet again playful, ornamental gestures in the right amount. Interpretation of this work is tricky in terms of tasteful ornamentation. The Copland, after all, is a slice of Americana and not “bebop” in style; less is more when it comes to digressions from the score. Manasse’s cleanliness and thoughtful playing combined with his choice of ornamentation make this a very compelling performance.

This recording of the Copland Clarinet Concerto is highly recommended and will undoubtedly become recognized as an important interpretation of this classic work in the clarinet canon."

Link to Listen
https://orcd.co/pacssoundsofamerica

Release Info/Program
Recursive Classics RC3139941

Park Avenue Chamber Symphony
David Bernard, Conductor
Jon Manasse, Clarinet

Barber Adagio for Strings
Copland Appalachian Spring Suite
Copland Clarinet Concerto (Jon Manasse, Clarinet)
Bernstein Symphonic Dances from “West Side Story”

Review: Gramophone
"David Bernard treats each of the symphonies with alert and respectful acuity. He trusts Dvořák’s metronome markings, often to surprising and exciting effect, and makes sure the narratives unfold with seamless assurance...The New World sounds freshly considered, with thrust balanced by serenity"

Review: BBC Music Magazine
“There’s a tremendous sheen to these performances of Dvorák’s later symphonies...The oh-so familiar Ninth stands proud, but I’ve played their lyrical Eighth on loop.”

Link to Listen
https://orcd.co/pacsdvoraksymphonies

Release Info/Program
Recursive Classics RC3137552

Park Avenue Chamber Symphony
David Bernard, Conductor

Dvořák Symphony No. 6
Dvořák Symphony No. 7
Dvořák Symphony No. 8
Dvořák Symphony No. 9

Review: Gramophone
"...an impressively elegant, thoughtful, well‑balanced and sophisticated Tchaikovsky Pathétique…carefully sculpted phrasing in the finale’s thematic statements, their pointed articulation throughout the second movement and the X‑ray clarity of the low strings underneath the bassoon solo in the first movement’s opening Adagio…The second movement’s outer sections take Tchaikovsky’s con grazia directive to heart, with the melodies taking playful shape as they move over the bar lines. The finale’s songful fluency and unanimity of phrasing communicate a dignified reserve…in the third movement, Bernard’s excellent textural contouring gives bristling focus to the compound 12/8 and 4/4 metre, and the march theme’s wonderful trombone and tuba parts emerge like newly scrubbed details in a restored painting…Bernard and his musicians frequently shed new and valuable light on a thrice-familiar standard, abetted by a recorded ambiance that evokes concert hall realism.”

Review: Classical Candor
“...as thrilling as they come.”

Review: The Arts Desk
“...a sober, reflective account lacking in overt hysteria...a winning stoicism...it’s difficult to resist a third movement which exudes such positivity. The slow finale’s close is resigned but not despairing…”

Link to Listen
https://orcd.co/pacspathetique

Release Info/Program
Recursive Classics RC2059912

Park Avenue Chamber Symphony
David Bernard, Conductor

Tchaikovsky Symphony No. 6, “Pathétique”

Review: Gramophone
“...vividly alive...well contoured and shaped.”

Review: Classical Candor
“an exceptionally energetic and dramatic interpretation.”

Review: The Arts Desk
“it’s a winner: dramatic, witty, eloquent and boasting some startling choral work in the last movement. I also like conductor David Bernard’s flowing slow movement, refreshingly free of sentiment. The finale is outstanding. There’s a refreshing absence of bombast at the close, and an abundance of uninhibited joy. Well worth investigating.”

Link to Listen
https://orcd.co/pacsbeethoven9

Release Info/Program
Recursive Classics RC2058306

Park Avenue Chamber Symphony
David Bernard, Conductor
Kristin Sampson, Soprano
Edith Dowd, Alto
Cameron Schutza, Tenor
Brian Kontes, Bass

West Point Glee Club
New Amsterdam Singers
Young New Yorkers’ Chorus

Beethoven Symphony No. 9