Broadway by the Boardwalk at Hudson River Park (8/11/25)

 Anthony Rapp and Adam Pascal

These two guys put on a great show and there was quite a crowd on hand for this final concert in a summer series. Having the show Rent as part of each performer's history, it featured in parts of the program. Not having ever seen/heard Rent, some of that was lost on me. But they have performed this style of a set over the past several years and it came off very well Monday evening.

Without a printed program, I can't really tell you what songs were performed and which vocalist sang solo in the solos. The set opened with (I think) If It Makes You Happy. This was followed by a song from Spring Awakening (another show I've never seen/heard). The third incorporated "blah-blah-blah" (literally) and "totally fucked" as lyrics. The latter might actually be the title.

Some Rent trivia followed, with one of the guys saying that he always had a problem remembering the lyrics to One Song Glory. So, he taped the lyrics on orange poster cards to the top of a desk, and the blocking was created so that he could get back to the desk periodically. That worked fine when the show played Off Broadway, but when the show transferred to Broadway, the stage manager said that the orange cards could be seen from the balcony, so they had to go. I think he got all the lyrics right Monday night.

Next up was a Peter Gabriel song I didn't know, followed by a Radiohead song I didn't know. Four more songs I didn't know were next, a combination of solos and duets. One of the vocalists also played guitar, and backup included electric guitar and keyboard.

As announced from the stage (and their banter was very easygoing and easy to follow), Billy Joel's I've Loved These Days was next, then David Bowie's Starman.

Living in America followed, and the concert closed out with Seasons of Love (Five thousand-twenty-five ... even I sort-of knew that one!) [“Five Hundred Twenty Five Thousand Six Hundred”] and the crowd loved it. Am I glad I went? Yes. Was it my cup of tea? Not exactly. But it was a real joy seeing so many people enjoying live music. And the crowd knew a lot more of the songs than I did. Kudos to BrotherMeister for letting me know about the concert.

ConcertMeister

Naumburg Orchestral Concerts (8/5/25)

ECCO: East Coast Chamber Orchestra

J.S. Bach/arr. Michi Wiancko (1685–1750)/(b. 1976), Chaconne, from Partita No. 2 in D minor, BWV 1004, (1717–1720) 

George Gershwin (1898–1937), Lullaby for Strings, (1919)  

David Ludwig (b. 1974), Virtuosity – Five Microludes for a String Orchestra, (2013)** 
1. Concerto for Two Violins, 2. Concerto for Viola, 3. Concerto for Cello, 4. Concerto for Contrabass, 5. Concerto for Orchestra

Jennifer Higdon (b.1962), String, (2002) 

John Adams (b.1947), Shaker Loops, (1983)
1. Shaking and Trembling, 2. Hymning Slews, 3. Loops and Verses, 4. A Final Shaking

** commissioned by ECCO

The Bach started calmly for the most part, opening with a solid tutti (all of the fourteen string players) though later there were sections where smaller groups were featured. There was a nice mix of volumes, tempi, and rhythms. [Barking dog! This dog had been rambunctious leading up to the concert, so much so that another patron who was already there with her dog decided to give up her seat and move somewhere else. Bad form. The human, not the rambunctious dog.] 

The Gershwin was new to me and seemed fairly modern at the beginning, especially for Gershwin in 1919. It then settled into a gentle, rhythmic feel—restful indeed, with a slightly Latin flavor to it.  

The composer, David Serkin Ludwig, was at the concert and spoke before his piece was performed, including the fact that the movements sort of blended together. I’m glad he told us because I couldn’t tell where one left off and the next began. The first movement (featuring two violin soloists) was modern, with some dissonances but not harshly atonal. The second (viola) was brisk, almost frenetic, then gentler and calmer. The third went back to frantic and then slightly mournful (hello! it's a cello). The fourth movement (bass) had the bass providing strong rhythm before settling into a tune followed by more frantic sounds. At times, the bass was used for percussion and at times the writing sounded like very low growling. The fifth was brisk but not frantic and had a section where all five soloists played together before we had a full tutti again. There were some nice aural effects, for example, orchestral glissandos. During the applause, the composer came back onstage to join the orchestra for a bow. 

A note about some modern music. It’s not the cup of tea for some people. In fact, the audience was smaller by about one-fourth after the intermission. And some people left during the final two pieces on the program. 

The Higdon work had a pizzicato opening (plucked strings, not bowed) and was bright, fun, and modern. Once again, there were dissonances but not overly harsh ones. It had driving rhythms leading to a button at the end. Yes, some more audience members left. 

The Adams was very modern, and I could not tell where any of the movements ended, except for the fourth, when the orchestra stopped playing. So, my notes are sort of stream of consciousness, since the names of the movements also didn’t really give much of a clue to what I should be listening for. The piece started with quick back-and-forth bowing that stretched on quite a bit. The volume varied from time to time. Then it was quieter for a bit. I’m not sure what it was trying to achieve nor whether it achieved it, and audience members were leaving with some regularity. I was tempted but I stayed. During a very pretty solo cello line four people sat down in the empty row in front of me—go figure. I don’t even remember how the piece ended, as I had stopped taking notes by then. 

The modern stuff was not exactly my cup of tea either, but I stayed all the way through. Would I hear any of the three modern pieces again? Maybe. But only if only one of them was on the program and there was something else on the program that I really wanted to hear. 

A note about the scores the musicians play from. More and more, they are not physical paper scores, they’re electronic (I’m assuming iPad, but I could be wrong). At one point, the first violin’s electronic device malfunctioned. She had to physically walk back two rows to see another violinist’s device in order to cue her own back up. I’d never seen that happen before. What a world.

ConcertMeister

Naumburg Orchestral Concerts (7/22/25)

Nosky's Baroque Band
Aissslinn Nosky, Director & Violin Soloist

George Frideric Handel (1685–1759), Concerto Grosso in D major, Op. 6, No. 5, HWV 323, (1739) 1. Allegro, 2. Presto, 3. Largo, 4. Allegro, 5. Minuet 

George Frideric Handel (1685–1759), Sonata a 5 in B flat major, HWV 288, (1707) 1. Andante, 2. Adagio, 3. Allegro

Joseph Haydn (1732–1809), Concerto for Organ and Violin in F major, Hob. XVIII:6, (1766)  1. Allegro Moderato, 2. Largo, 3. Presto

Antonio Vivaldi (1678–1741), Concerto in D minor, Op. 3, No. 11, RV 565, (1711)
1. Allegro, 2. Adagio e Spiccato, 3. Allegro, Largo e Spiccato, 4. Allegro

Joseph Haydn (1732–1809), Violin Concerto in G major, Hob. VIIa:4, (1769)  1. Allegro Moderato, 2. Adagio, 3. Allegro Encore – Antonio Vivaldi (1678–1741), Concerto per Violino in Bb, RV 372a, (1716 to 1740) 1. Andante

The audience was quite large, probably because of the picture-perfect weather. The first movement of the Handel concerto grosso was a rather stately Allegro that got a little more energetic (but not too much) followed by a lightly brisk Presto (second movement). The third movement was calm, subdued, and almost haunting that led into a pseudo-segue fourth movement, a bright, cheerful Allegro that was a lot of fun. Fittingly, to match the first movement, there was a stately Minuet to finish.

After tuning, which happened often at the beginning of works, the Handel sonata had a solid opening, workmanlike, but not in a bad way. The second movement was also solid, almost-but-not-quite somber. The third was brisk and lively – a baroque version of off to the races, especially for the concertmaster (Ms. Nosky).

While the organ played in all of the pieces, it was prominent in the Haydn concerto. The first movement was cheerful, nicely featuring the organ and then the solo violin. It was a rather extensive movement, with a bit of an organ/violin cadenza. The second was gentle and calm, though still full bodied. There were fun violin and organ solos with the rest of the band providing pizzicato accompaniment, and there was another duet cadenza. My notes for the third were simple – bright, happy Haydn.

The Vivaldi concerto pitted two violins and one cello versus the rest of the band (I'm using band since the total number of players was ten). The first movement was almost perpetual motion, which is sort of a Vivaldi hallmark. Take a look at the names of movements two and three – I had to look up spiccato. Here's what Wikipedia has to say: spiccato [spik'ka:to] is a bowing technique for string instruments in which the bow appears to bounce lightly upon the string. The term comes from the past participle of the Italian verb spiccare, meaning "to separate". Now, back to the music. The second movement was slower but with a dance-like feel, while the third was still subdued, even though it was a bit quicker in tempo. It segued nicely into the fourth movement which was pleasant all the way around.

The second Haydn piece's first movement was bright, both in key and in tempo, a little lengthy (Haydn expanding the baroque?) including a violin cadenza that was more full than the others and not at the end of the movement. The second movement was slow and solid and really featured the solo violin, including another interior cadenza. The third was jaunty and fun, just the way this concert should have ended.

But wait, there's more! We got an encore. I didn't take any notes, as I had already started packing up. It was brief and enjoyable, and I think it's the first encore I've experienced at a Naumbug bandshell concert. 

ConcertMeister

Naumburg Orchestral Concerts (7/8/25)

Orchestra of St. Luke's

Felix Mendelssohn (1809–1847) String Symphony no. 10 in B minor, MWV N 10, (1823) 1. Adagio – Allegro – più presto 

Wolfgang Amadeus Mozart (1756–1791), Divertimento in D major, K 136, (1772) 1. Allegro, 2. Andante, 3. Presto 

Antonín Dvořák (1841–1904), Serenade for Strings in E major, Op. 22, (1875) 1. Moderato, 2. Menuetto, 3. Scherzo, 4. Larghetto, 5. Finale

Felix Mendelssohn (1809–1847) String Symphony No.12 in G minor, MWV N 12, (1823)
1. Fuga (Grave), 2. Andante, 3. Allegro molto – più allegro

Wolfgang Amadeus Mozart (1756–1791), Eine Kleine Nachtmusik, K 525, (1787) 1. Allegro, 2. Romance: Andante, 3. Menuetto: Allegretto, 4. Finale: Rondo Allegro 

The program looked good on paper, and I was really looking forward the Dvořák.  It's a piece I danced to when I was in college, paired with a Tchaikovsky Serenade for Strings. (Oh, the things that are stuck in these old gray cells.) Alas, the weather did not cooperate. We heard the first Mendelssohn work and the first movement of the Mozart as well as a portion of the second movement.

Even though there were a few sprinkles, the concert began as scheduled. Sort of. The program listed above was not the order of the works in the printed program. The Naumburg website was updated, so I did a copy/paste.

The Mendelssohn began in a slightly foreboding way, neither dour nor dire, just pensive. A quick tempo change followed that was pleasant and upbeat. And then it was off to the races for the finish.

I'm not a key person per se (some people have visceral reactions to the key a piece is in), but after the B minor Mendelssohn, the D major Mozart was definitely bright from the get-go, bright and fun. The second movement was gentle and almost song-like. Then the rain came down harder. Then there was lightning, which is always a no-no. The concert was paused and then canceled. And I've still never heard the Dvořák live. I'll have to keep my eyes and ears on the lookout for other live performances.

Fortunately, the Naumburg concert on July 22 had perfect weather, so you'll hear more about that one later.

ConcertMeister

Naumburg Orchestral Concerts (6/24/25)

 A Far Cry

A Far Cry is a Boston-based collective of musicians—there is no director, each musician has equal input. That's their story and I'm sticking with it.

The program:
Overture & Chorale (2020) – Andrea Casarrubios (b. 1988)

Say for String Orchestra, arr. Washington (2016) – Shelley Washington (b. 1991) 

“La Follia” Variations for String Orchestra (2011) – Francesco Geminiani (1687–1762) / Michi Wiancko (b. 1976) 

Metamorphosen (1945) – Richard Strauss (1864–1949)

It's interesting hearing new, or newer, music. Unfortunately, it's not easy knowing when to applaud. More about that later. The Casarrubios was scored for seven strings*. It had a lovely, subdued opening with three cellos, almost bordering on, but not quite getting to, somber. A short piece, it sort of left us in a lurch. [Yes, I led the applause.]

After tuning, we had the sing?/chant?/speak? features of Say for String Orchestra. There was body percussion. There were stomps/claps/singing/chanting/humming as well as actually playing the instruments. [I decided to not lead the applause. It took a little longer to begin.]

After tuning again, the Geminiani/Wiancko, with a larger group, had a fuller sound which I really liked. It was definitely my favorite piece on the first half of the concert. I also liked the shifting dynamics and tempi of the variations. The tapping of instruments (plus a tambourine), while welcome, tended to wear out the welcome.

With twenty-three strings, the Strauss was the closest we got to an orchestra. Not that there's anything wrong with that. The low strings, slightly ominous, turned a little more hopeful. But only a little. I wanted to be more moved by the work than I was. [I led the applause again.]

All in all, an enjoyable evening of music.

*plus chirping birds

ConcertMeister

Law and DISorder (6/19/25)

Marc Bellassai – Harpsichord

The Inns of Court – Orlando Gibbons (1583–1625)

Lincoln’s Inn Mask; Mask: The Fairest Nymph 

The German Virginal in a Time of Pietism  

Ein guter Wein ist lobenswerdt – Bernard Schmidt the Elder (1535–1592); Fantasia [on Rowland] from Uppsala Ihre Ms. 285 – Franz Tunder (1614–1667); Lucidor einst hüt’t der Schaf from Lynar A1 – ‘M.W.’; Præambulum (10 Jan 1637) – Heinrich Scheidemann (1595–1663); Betrubet ist zu diese Frist (1630); Christ lag in Todesbanden – Georg Böhm (1661–1733)

Dei delitti e delle pene

 from Sonata in C minor: Moderato ~ Allegretto – Baldassare Galuppi (1706–1785)

Sopra la Ribellione di Ungheria (1671) – Alessandro Polietti (d. 1683)

 Toccatina: Galop ~ Sarabande la Sentence ~ La Decapitation – avec Discretion ~ Les Kloches – Requiem eternam dona eis Domine

from Die Kunst der Fuge, BWV 1080 – J.S. Bach (1685–1750)

Contrapunktus VI in stile francese [untitled in ca. 1742–1746 holograph]  

Whew! If a lot of those names are new to you, join the club.

Mr. Bellassai played quite well. Alas, the eleven pieces were very similar, and with the slowing tempo toward the ends of the works, it was hard to tell whether one piece segued into another or whether it was actually the end of the piece.

At one point, when a musical line went all the way down to the lower end of the harpsichord keyboard, he almost fell off the bench PDQ Bach–style (or was it Victor Borge?) before dramatically turning the page. It garnered a few chuckles. Emphasis on few. 

We finally got to the Law and DISorder portion of the concert during the Polietti. In between the Sarabande la Sentence and La Decapitation – avec Discretion, we were asked to All Rise. We did. We were asked to judge – Guilty or Not Guilty?

We had no idea. He pronounced Guilty and proceeded to play the rest of the piece. Why, yes, it was slightly schlocky. But the piece was interesting, as was the Bach that ended the program.

Of course, there was the requisite cell phone that went off before the Bach. It was not mine. 

ConcertMeister

(p.s. I never learned who 'M.W.' was.)

Make Music New York, 6/21/25

Semi-successful. I decided to try for four events. Only two worked out.

I revisited Sousapalooza and had a blast again. The all-volunteer band was great, and the conductor was also very good. The marches we heard, in order, were: El Capitan (which, per the conductor, is from a Sousa operetta titled El Capitan!); Fairest of the Fair (backstory is a Boston food court, but I didn't get the whole backstory); Hands across the Sea; High School Cadets; In Memoriam: President Garfield's Funeral March (though it was also played at Sousa's funeral); Liberty Bell; Manhattan Beach; Nobles of the Mystic Shrine (written in 1923, this was the first Sousapalooza hearing, and it had a tambourine in the percussion section); Semper Fideles; The Thunderer; The Washington Post; and—wait for it—The Stars and Stripes Forever. One of the clarinetists played a shortened clarinet. I asked him about it and he said it was an E-flat clarinet. I'd heard of them (and probably have heard one before), but this was the first time I can recall ever seeing one.

My next stop was at the Museum of Reclaimed Urban Space. I had been there once before for an Open House New York tour. Alas, the Make Music performances were canceled by the police. I never really found out why.

Having time to kill, I took the M8 bus (my first time on this particular route) over to 511 LaGuardia Place to hear the Nevermind Orchestra. I found 505 LaGuardia but not 511. Well, it turns out that 511 is an outdoor garden. Sheesh! They could have put that in the description of the event. Oh, and my schedule had it as 3:30pm. It was really 4p–6p, and they started late. So I ended up deciding to skip my 5p–6p event. The Nevermind Orchestra is trumpet, trombone, tuba, saxophone (tenor, I think) and drums. They play Nirvana tunes. I lasted through four and was out of there.

As I said at the beginning, semi-successful. Oh well. There's always December 21, 2025 and next year on June 21.

ConcertMeister