... with a concert. This was a group I know, New York Repertory Orchestra, in a venue that I didn’t know, Church of St. Paul the Apostle. It's a pretty church—just not well suited, acoustically, for orchestral/choral music.
The program:
Water Music, Suite No. 2 in D Major (George Frideric Handel)
“Let the Bright Seraphim...” from Samson (Handel)
Gloria in D Major (Antonio Vivaldi)
Water Music, Suite No. 3 in G Major (Handel)
Magnificat in D Major (J.S. Bach)
The opening Handel was played nicely—including the famous Hornpipe movement (Da-da-da-DA-da, da-da-dada-DA-DA). The conductor kept the tempos going, even with the reverberation in the church. There were some slight intonation discrepancies between the winds and the strings in the Minuet, but really very slight.
The soprano, Jennifer Grimaldi, sounded very good in the next piece. Unfortunately, she was placed behind the orchestra, so her sound was a little bit lost. Alas, that was more the room's fault than hers or her placement.
The same was tremendously evident in the choral sections and vocal solos/duets in the Vivaldi. Text was incomprehensible (a key component of vocal music, in my book), choral sound was lost behind the orchestra, etc. In that space, I’m not sure there was a solution.
The second half started with the second “Water Music” suite. Once again, nice playing. Knowing what was in store with the choral and solo movements of the Bach, I packed it in. Listening to vowel sounds à la Rachmaninoff’s Vocalise is not my cup of tea.
I’m glad I went; I’ll continue blogging in the new year.
ConcertMeister
Saturday, December 31, 2011
Monday, December 19, 2011
Holiday Cheer
Yesterday (12/18/11) had artists from Harwood Management presenting ‘‘Deck the Halls,’’ a performance of holiday music broken down into Classical and Broadway (at least as listed in the brief artists’ bios). First off, one of the vocalists was down for the count due to the flu—stay healthy out there, kids.
The afternoon began with solos from Händel’s Messiah—Every Valley, O Thou that Tellest Good Tidings to Zion, Rejoice Greatly, The Trumpet Shall Sound, and But Thou Didst Not Leave His Soul in Hell. These were delivered with varying degrees of success, as Harwood’s roster includes established performers and some just arriving here in NYC as recent college graduates. Also included in the Classical half of the program were Noël (Gabriel Fauré), a duet from Hansel and Gretel (Humperdinck), and Domine Deus from Gloria (Vivaldi).
The second half featured lighter fare and (in a general sense) lighter voices. Highlights included Santa Baby, You're a Mean One, Mr. Grinch, White Christmas, The Man with the Bag, What Are You Doing New Year’s Eve?, and Have Yourself a Merry Little Christmas. There was also a spirited version of Go Tell It on the Mountain that encouraged and included audience participation. The program ended with a Christmas medley, signing off with Auld Lang Syne.
There was a bit of a ‘‘Hey, gang, let’s put on a show’’ feeling—not that there’s anything wrong with that. I’m glad I went and I experienced a bit of holiday cheer.
ConcertMeister
The afternoon began with solos from Händel’s Messiah—Every Valley, O Thou that Tellest Good Tidings to Zion, Rejoice Greatly, The Trumpet Shall Sound, and But Thou Didst Not Leave His Soul in Hell. These were delivered with varying degrees of success, as Harwood’s roster includes established performers and some just arriving here in NYC as recent college graduates. Also included in the Classical half of the program were Noël (Gabriel Fauré), a duet from Hansel and Gretel (Humperdinck), and Domine Deus from Gloria (Vivaldi).
The second half featured lighter fare and (in a general sense) lighter voices. Highlights included Santa Baby, You're a Mean One, Mr. Grinch, White Christmas, The Man with the Bag, What Are You Doing New Year’s Eve?, and Have Yourself a Merry Little Christmas. There was also a spirited version of Go Tell It on the Mountain that encouraged and included audience participation. The program ended with a Christmas medley, signing off with Auld Lang Syne.
There was a bit of a ‘‘Hey, gang, let’s put on a show’’ feeling—not that there’s anything wrong with that. I’m glad I went and I experienced a bit of holiday cheer.
ConcertMeister
Sunday, December 11, 2011
Holiday Songbook!
I'm so glad I went today. There's another performance tomorrow, but I need to work 'til 6 p.m. and it starts at 6 p.m. But enough about me.
There were 17 compositions, with various combinations of composers, lyricists and vocalists, so there will NOT be mention of everyone. One composer, who chose to be introduced as Santa, was the weakest link. 'Nuff said.
Very strong included "Christmas Bender" (music: Jacob Yandura, lyrics/performance, Rebekah Melocik). This was a bluesy take on "just get drunk and get through this," but with attendant humor.
Some pieces were from the scores of (hopefully) new musicals and some were stand-alone Christmas/holiday songs by aspiring theater composers. From the former, there were two songs from Christmas Carolyn, a re-telling of Dickens with a been-to-the-top-but-now-back-down diva doing headlining in way, way, way regional theaters. In one, the powerful Janet Dickinson was practically a female Grinch, trying to convince her theater cohorts that Christmas Day should not be a day off, in "What a Waste." This was followed by "A Little Christmas Ain't Gonna Kill Ya," with the ghost of Ethel Merman (Sarah Pesek), as the ghost of Christmas Past, treating Carolyn to words of wisdom. Very funny! (Though I could have done without the cunnilingus reference—but I digress.) From the latter, there was a crooner-style, standard-style stand-alone ballad.
Two "but we're different" songs were included, one involving religion; one involving "my" traditions vs. "your" traditions (they decided to start new traditions).
"Moon in Times Square" featured a Karen Carpenter–esque-turned-belter in a nicely romantic New Year's Eve–themed song. Kudos, also, to "Santa Ain't Black" (darkly ironic, no pun intended) and "Another Tremendous Year" (a commentary on some of the gosh-how-great-the-year-was-my-family-is-perfect letters included in many a Christmas card).
No clunkers, compositionally or performance-wise. The closer was "Blizzard of Peace," by Steven Marzullo and Jennifer Allen*. It was a sentimental anthem-style ballad/belt (that seems to be what the "new" Broadway style is now) revealing how snow—even a blizzard—can make us slow down, relax, and enjoy the season and each other.
A fitting ending to a great concert; a fitting image for you and me this holiday season.
ConcertMeister
*I was fortunate enough to work with Ms. Allen in a touring production of Brigadoon.
There were 17 compositions, with various combinations of composers, lyricists and vocalists, so there will NOT be mention of everyone. One composer, who chose to be introduced as Santa, was the weakest link. 'Nuff said.
Very strong included "Christmas Bender" (music: Jacob Yandura, lyrics/performance, Rebekah Melocik). This was a bluesy take on "just get drunk and get through this," but with attendant humor.
Some pieces were from the scores of (hopefully) new musicals and some were stand-alone Christmas/holiday songs by aspiring theater composers. From the former, there were two songs from Christmas Carolyn, a re-telling of Dickens with a been-to-the-top-but-now-back-down diva doing headlining in way, way, way regional theaters. In one, the powerful Janet Dickinson was practically a female Grinch, trying to convince her theater cohorts that Christmas Day should not be a day off, in "What a Waste." This was followed by "A Little Christmas Ain't Gonna Kill Ya," with the ghost of Ethel Merman (Sarah Pesek), as the ghost of Christmas Past, treating Carolyn to words of wisdom. Very funny! (Though I could have done without the cunnilingus reference—but I digress.) From the latter, there was a crooner-style, standard-style stand-alone ballad.
Two "but we're different" songs were included, one involving religion; one involving "my" traditions vs. "your" traditions (they decided to start new traditions).
"Moon in Times Square" featured a Karen Carpenter–esque-turned-belter in a nicely romantic New Year's Eve–themed song. Kudos, also, to "Santa Ain't Black" (darkly ironic, no pun intended) and "Another Tremendous Year" (a commentary on some of the gosh-how-great-the-year-was-my-family-is-perfect letters included in many a Christmas card).
No clunkers, compositionally or performance-wise. The closer was "Blizzard of Peace," by Steven Marzullo and Jennifer Allen*. It was a sentimental anthem-style ballad/belt (that seems to be what the "new" Broadway style is now) revealing how snow—even a blizzard—can make us slow down, relax, and enjoy the season and each other.
A fitting ending to a great concert; a fitting image for you and me this holiday season.
ConcertMeister
*I was fortunate enough to work with Ms. Allen in a touring production of Brigadoon.
Third in a Series
Yesterday (12/10/11) I attended another program of silent films—this time, four Laurel & Hardy comedies (plus a bonus short "talkie"). These were all from 1928 and 1929—a bit later than the films in the first two events in the series. Also different this time was the live accompaniment; a synthesizer/digital sampler was used, giving the effect of a theater organ instead of piano only. (As an aside, we learned that there is a working theater organ at the Loew's theater in Jersey City, NJ. Who knew?) Ben Model was once again the more-than-able accompanist.
The films were: Leave 'Em Laughing (the boys are overexposed to laughing gas at the dentist), Two Tars (sailors getting into all sorts of fine messes while driving a rental car!), Wrong Again (a mix-up involving the painting Blue Boy and a racehorse named Blue Boy), and Big Business (holiday-themed with the boys as Christmas tree salesmen).
Plenty of laughs and applause, and a great program/series put on by Silent Cinema Presentations, Inc. and supported by the New York Public Library for the Performing Arts. Thanks for such great programming!
ConcertMeister
The films were: Leave 'Em Laughing (the boys are overexposed to laughing gas at the dentist), Two Tars (sailors getting into all sorts of fine messes while driving a rental car!), Wrong Again (a mix-up involving the painting Blue Boy and a racehorse named Blue Boy), and Big Business (holiday-themed with the boys as Christmas tree salesmen).
Plenty of laughs and applause, and a great program/series put on by Silent Cinema Presentations, Inc. and supported by the New York Public Library for the Performing Arts. Thanks for such great programming!
ConcertMeister
Monday, December 5, 2011
Two Traditional Christmas Programs (Part Two)
Carl Schurz Park Christmas Tree Lighting and (I'm NOT making this up, you know) Ye Olde Annual Holiday Carol Sing Along.
Kids, strollers, dogs, Cantori New York, Orbital Brass, politicians, outdoor sound system—everything pointing toward disaster.
Still, it works.
Schurz Park means a lot to me. It's a place where Michael and I spent many a weekend walk. We watched the seasons turn (and turn and turn—well, you get my drift).
It's also a place Michael wanted to visit when he was very, very ill. We actually took a cab over (three blocks) walked around for ten or fifteen minutes, then took a cab home.
So, the tree lighting. Candles were lit. The politicians spoke. The brass played. The vocalists sang. The tree was lit—five-four-three-two-ONE!
Carols and holiday songs were sung.
I'll probably go next year, too.
ConcertMeister
(Part 2 of 2)
Kids, strollers, dogs, Cantori New York, Orbital Brass, politicians, outdoor sound system—everything pointing toward disaster.
Still, it works.
Schurz Park means a lot to me. It's a place where Michael and I spent many a weekend walk. We watched the seasons turn (and turn and turn—well, you get my drift).
It's also a place Michael wanted to visit when he was very, very ill. We actually took a cab over (three blocks) walked around for ten or fifteen minutes, then took a cab home.
So, the tree lighting. Candles were lit. The politicians spoke. The brass played. The vocalists sang. The tree was lit—five-four-three-two-ONE!
Carols and holiday songs were sung.
I'll probably go next year, too.
ConcertMeister
(Part 2 of 2)
Sunday, December 4, 2011
Two Traditional Christmas Programs (Part One)
This afternoon found me wa-a-a-y over on the lower west side—at the World Financial Center, in the Winter Garden. I'd never been there before, and it's a nice venue—really looks like a greenhouse/conservatory and has large palm trees inside. The program was traditional—traditional Irish, that is.
The group: Danú; the program: Christmas in Ireland: An Nollaig in Éirinn; the cast: Muireann Nic Amhlaoibh (Flute, Whistles), Benny McCarthy (Button Accordion, Melodeon), Donal Clancy (Guitar, Vocals), Liam Flanagan (Fiddle, Tenor Banjo), Éamon Doorley (Irish Bouzouki, Backup Vocals), and Martin O'Neill (Bodhran (Irish Drum), Piano).
No printed program, so the only titles I actually remember were Miz Fogarty's Christmas Cake (apparently fruitcake gets a bad rap in lot of cultures) and Apples in Winter. There were some of the de rigeur snippets of humour (Scots' tight-fistedness) including a wee story from Mr. McCarthy. It seems that on a Christmas shopping trip to Dublin, he found a perfect parking space but inadvertently left his accordion on the back seat. When he returned—yep, back window was busted out, and on the back seat ... two accordions.
The music included traditional reels, jigs, and other dances all played with, what seemed to these ears, extreme authenticity. Unfortunately, Ms. Amhlaoibh was suffering from bronchitis and slight laryngitis (she was also scheduled for Lead Vocals).
Not my cuppa tea, but I'm glad I broadened my Christmas/Nollaig horizons.
ConcertMeister
(Part 1 of 2)
The group: Danú; the program: Christmas in Ireland: An Nollaig in Éirinn; the cast: Muireann Nic Amhlaoibh (Flute, Whistles), Benny McCarthy (Button Accordion, Melodeon), Donal Clancy (Guitar, Vocals), Liam Flanagan (Fiddle, Tenor Banjo), Éamon Doorley (Irish Bouzouki, Backup Vocals), and Martin O'Neill (Bodhran (Irish Drum), Piano).
No printed program, so the only titles I actually remember were Miz Fogarty's Christmas Cake (apparently fruitcake gets a bad rap in lot of cultures) and Apples in Winter. There were some of the de rigeur snippets of humour (Scots' tight-fistedness) including a wee story from Mr. McCarthy. It seems that on a Christmas shopping trip to Dublin, he found a perfect parking space but inadvertently left his accordion on the back seat. When he returned—yep, back window was busted out, and on the back seat ... two accordions.
The music included traditional reels, jigs, and other dances all played with, what seemed to these ears, extreme authenticity. Unfortunately, Ms. Amhlaoibh was suffering from bronchitis and slight laryngitis (she was also scheduled for Lead Vocals).
Not my cuppa tea, but I'm glad I broadened my Christmas/Nollaig horizons.
ConcertMeister
(Part 1 of 2)
Saturday, December 3, 2011
Two Venues Revisited (Part Two)
Austrian Cultural Forum NYC (I found this one during Open House New York, remember?). Under the aegis of the Argento Performance Series, I attended a cello/piano concert—a mix of mostly new composers with some established folks thrown into the mix.
The performers: Jay Campbell (cello); Conor Hanick (piano).
The composers: Marcus Lindberg, Morton Feldman, David Hertzberg (apparently in the house), J.S. Bach, Matthias Pintscher, Anton Webern, and Charles Wuorinen.
With seven works on the program, I'll just hit the highlights (and maybe throw in an extra comment or two).
Three solo cello performances—Lindberg, Stroke, very modern, the bowing seeming to indicate the strokes; Bach, Suite No. 1 BWV 1007 (you'd recognize the theme of movement one from various luxury car commercials); and Pintscher, Figura V / Assonanza (my least favorite—sounded like cello sounds for cello sounds' sake—I understand that there is musicality, I just don't understand that version of musicality).
Of the duos, Hertzberg's Vocalise appealed to me a great deal—melodic, rhythmic, more conventional in scope. The Wuorinen, An Orbicle of Jasp, had much more of an arc than some other pieces on the program, with a little more substance and a good mix of contrasts. The Webern, Drei kleine Stücke, were extremely kleine—like micro miniatures that were pretty much inconsequential to these ears.
A shout out to the planners—they had locally produced beer afterwards, preceding an audience/artists discussion. Props to the guys from BrewHeister (www.brewheister.com). Gotta love that name!
ConcertMeister
(Part 2 of 2)
The performers: Jay Campbell (cello); Conor Hanick (piano).
The composers: Marcus Lindberg, Morton Feldman, David Hertzberg (apparently in the house), J.S. Bach, Matthias Pintscher, Anton Webern, and Charles Wuorinen.
With seven works on the program, I'll just hit the highlights (and maybe throw in an extra comment or two).
Three solo cello performances—Lindberg, Stroke, very modern, the bowing seeming to indicate the strokes; Bach, Suite No. 1 BWV 1007 (you'd recognize the theme of movement one from various luxury car commercials); and Pintscher, Figura V / Assonanza (my least favorite—sounded like cello sounds for cello sounds' sake—I understand that there is musicality, I just don't understand that version of musicality).
Of the duos, Hertzberg's Vocalise appealed to me a great deal—melodic, rhythmic, more conventional in scope. The Wuorinen, An Orbicle of Jasp, had much more of an arc than some other pieces on the program, with a little more substance and a good mix of contrasts. The Webern, Drei kleine Stücke, were extremely kleine—like micro miniatures that were pretty much inconsequential to these ears.
A shout out to the planners—they had locally produced beer afterwards, preceding an audience/artists discussion. Props to the guys from BrewHeister (www.brewheister.com). Gotta love that name!
ConcertMeister
(Part 2 of 2)
Two Venues Revisited (Part One)
Saturday afternoon found me at Bargemusic again. Some sad news—Olga Bloom (the founder) passed away on Thanksgiving day at the age of 92. The current head of Bargemusic, who worked very closely with her for many years, Mark Peskanov, violin, played a movement of the solo Bach Sonata in g-minor (Siciliane) as a tribute. Lovely.
One of the interesting things about the Saturday Bargemusic concerts is their informality—they announce the program from the stage. As a result, unfortunately, I don't know the last name of today's pianist/composer, Natalya _____. She played one of her own compositions, a slight work reminiscent of Debussy, and then we got to the meat of the concert.
Movement one from Mozart's G-Major Sonata. (Disclaimer: I am not a huge Mozart fan.) Interesting piece, with the equivalent of a pedal point (one note, sustained, while other chords, arpeggios, etc., surround it) in the violin! Nice effect. Just not in every repetition of every section of the movement.
Then we had Grand Duo Sonata in A-Major of Schubert. Four movements that were more expansive/lush than the Mozart. Very nice playing throughout.
As a pseudo-encore, the second (final) movement of the Mozart was played. Clean lines, of course, but it seemed almost austere after the Schubert.
ConcertMeister
(Part 1 of 2)
One of the interesting things about the Saturday Bargemusic concerts is their informality—they announce the program from the stage. As a result, unfortunately, I don't know the last name of today's pianist/composer, Natalya _____. She played one of her own compositions, a slight work reminiscent of Debussy, and then we got to the meat of the concert.
Movement one from Mozart's G-Major Sonata. (Disclaimer: I am not a huge Mozart fan.) Interesting piece, with the equivalent of a pedal point (one note, sustained, while other chords, arpeggios, etc., surround it) in the violin! Nice effect. Just not in every repetition of every section of the movement.
Then we had Grand Duo Sonata in A-Major of Schubert. Four movements that were more expansive/lush than the Mozart. Very nice playing throughout.
As a pseudo-encore, the second (final) movement of the Mozart was played. Clean lines, of course, but it seemed almost austere after the Schubert.
ConcertMeister
(Part 1 of 2)
Friday, December 2, 2011
Poetry
To quote the Bard (and paraphrase Anna Russell—Google her, she's a funny gal): "If music be the food of love, play on—but they don't say play on WHAT!!!"
Today was a poetry reading sponsored by a very earnest group—Toward International Peace through the Arts ("TIPA"). Unfortunately, earnest does not always equate with a great experience. They included a questionnaire, and my response was (in addition to not wanting to be on their mailing list or to volunteer with them), "Very entertaining, but needs some logistics assistance." The venue was The Actors' Chapel, St. Malachy's (RC) on West 49th Street. (I'm embarrassed to say that in my 35 years in NYC, this was my first visit.) They had an acrylic podium with a standing cordless microphone. It couldn't really be placed near enough to the podium for the few who needed amplification.
The poetry readers, in order, were: Conrad Rothbaum, Tammy Grimes, John S. Major, Betsy von Furstenburg, Bess Rous, Ronald Rand, Fritz Weaver, Lee Grant, and Stan Tannen. Whew!
I'll just hit highlights. Ms. Grimes (she walks with a walker these days) read three poems by W.B. Yeats. In an aside, she mentioned that her husband introduced her to Yeats' poetry, a rather touching aside. She was subdued, yet very effective. (She also fell afoul of the logistics, with a body mic and a standing mic.)
Ms. Rous was very effective—using her natural voice and nice modulations—in poetry of Vasko Papa, Robert Penn Warren, and Boris Pasternak.
Mr. Rand's rendition of "Very Like a Whale," by Ogden Nash was also very effective—with the poet taking a crack at poets.
Mr. Weaver was quite the orator (without being over the top) in "Waiting for the Barbarians" and "Fern Hill."
Ms. Grant's readings (despite a bit of laryngitis) were very clear and natural. And she wove in a great story about being blessed by a St. Malachy's priest once, when she suffered from stage fright.
Worth seeing? Yes. Seek out again? Not so sure. And HELLO!, if you're going to a poetry reading in a church space, turn off your cell phone!
ConcertMeister
Today was a poetry reading sponsored by a very earnest group—Toward International Peace through the Arts ("TIPA"). Unfortunately, earnest does not always equate with a great experience. They included a questionnaire, and my response was (in addition to not wanting to be on their mailing list or to volunteer with them), "Very entertaining, but needs some logistics assistance." The venue was The Actors' Chapel, St. Malachy's (RC) on West 49th Street. (I'm embarrassed to say that in my 35 years in NYC, this was my first visit.) They had an acrylic podium with a standing cordless microphone. It couldn't really be placed near enough to the podium for the few who needed amplification.
The poetry readers, in order, were: Conrad Rothbaum, Tammy Grimes, John S. Major, Betsy von Furstenburg, Bess Rous, Ronald Rand, Fritz Weaver, Lee Grant, and Stan Tannen. Whew!
I'll just hit highlights. Ms. Grimes (she walks with a walker these days) read three poems by W.B. Yeats. In an aside, she mentioned that her husband introduced her to Yeats' poetry, a rather touching aside. She was subdued, yet very effective. (She also fell afoul of the logistics, with a body mic and a standing mic.)
Ms. Rous was very effective—using her natural voice and nice modulations—in poetry of Vasko Papa, Robert Penn Warren, and Boris Pasternak.
Mr. Rand's rendition of "Very Like a Whale," by Ogden Nash was also very effective—with the poet taking a crack at poets.
Mr. Weaver was quite the orator (without being over the top) in "Waiting for the Barbarians" and "Fern Hill."
Ms. Grant's readings (despite a bit of laryngitis) were very clear and natural. And she wove in a great story about being blessed by a St. Malachy's priest once, when she suffered from stage fright.
Worth seeing? Yes. Seek out again? Not so sure. And HELLO!, if you're going to a poetry reading in a church space, turn off your cell phone!
ConcertMeister
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