OK, this is slightly offbeat. As an obvious “take” on Stravinsky’s Rite of Spring, this is a concert series that stretches boundaries. In fact, I did not attend the previous concert because I chose a more mainstream piano recital, as opposed to experimental cello music (I’m not making this up, you know). That said, I really enjoyed hearing Kara Sainz, mezzo soprano, and Peter Dugan, piano, on Governors Island this past Saturday.
In an “aw, shucks” world, the two were recently married (to each other) in May of this year. It was an eclectic program.
Summertime – George Gershwin
Seven Popular Songs (selections) – Manuel de Falla
Danza del Gaucho Matrero – Albert Ginastero
Noël des Enfants – Claude Debussy
“I have dreamt” from Wuthering Heights – Bernard Herrmann
It’s Not Me, It’s You – Leonardo Dugan
If Music Be the Food of Love – Henry Purcell
Widmung – Robert Schumann
Liebst du um Schönheit – Clara Schumann
Die Mainacht (announced from the stage) – Johannes Brahms
I’m Glad There Is You – T. Dorsey/Madeira
My Romance – Richard Rodgers
Embraceable You – G. Gershwin
How It Felt to Love You – Sainz/Dugan
Did I mention eclectic? I think that the duo did themselves a big plus by starting with less-than-classical fare. Summertime opened with a jazzy piano intro that morphed into a song stylist’s rendition of the song. The de Falla bridged us into a classical mode, though not knowing how many of the seven songs would be performed, the audience was left in flux. Do we applaud each song? The end of the set? When did the set end? Bad programming.
The Ginastera was a nice 1930s piano solo. The Herrmann was from an opera version of Wuthering Heights. Who knew? It was pleasant enough. The Dugan (brother of pianist) was also from an opera—very contemporary. One lyric got a chuckle from me and the folks on their picnic blanket near me (oh, did I not mention this was an al fresco concert series on Governors Island?). “You’re much more like a nightmare / than the man of my dreams.”
Returning to the classical vein, the Purcell was very interesting, though performing out of doors with necessarily needed amplified sound made some of the delicate filigree efforts a bit hard to appreciate. The three-group segment that followed did not quite work as a segment. Still, the overarching theme of love was evident and Ms. Sainz acquitted herself quite well, ably assisted by her husband.
A torch-ish version of I’m Glad There Is You followed, with a piano solo version of My Romance right behind (see the theme here?). Embraceable You was enjoyable.
Not so much the country-tinged downer of a song from the pens of our two star performers. It wasn’t a bad song but it was a bad way to end a concert celebrating love. Really? Written and performed by newlyweds?
ConcertMeister
Thursday, July 28, 2016
Wednesday, July 27, 2016
Naumburg Orchestral Concerts (IV of V) – (7/19/16)
Four for four! (I hope I don’t jinx myself.) Weather cooperated and the music was fun. This was the second concert, all chamber pieces, from The Knights. The program:
Suite Paysanne Hongroise for flute and string orchestra (1914–1918),
(arr. Paul Arma) – Chantes populaires tristes, nos. I–IV; Scherzo; Vielles danses, nos. I–IX – Béla Bartók (1881–1945)
Berceuse élégiaque (1909) (arr. Arnold Schoenberg) – Ferruccio Busoni (1866–1924)
Bagatelles, Op. 47 (1878) – I. Allegretto scherzando; II. Tempo di minuetto, Grazioso; III. Allegretto scherzando; IV. Canon, Andante con moto; V. Poco allegro – Antonin Dvŏrak (1841–1904)
Quintet for flute and strings in G minor, Op. 19 (1774) – Luigi Boccherini (1743–1805)
Yann’s Flight (2013) – Shawn Conley (1983–)
Kaiser-Walzer (1889), (arr. Arnold Schoenberg) – Johann Strauss II (1825–1899)
A Stork Crosses the Danube, in the Company of a Raven, (arr. Ljova, 2016) – Taraf de Haïdouks (Est. 1991)
Eclectic, as you can see. The opening work was folk based, with a modern but not jarring sound. The second movement had a nice pizzicato quality, leading into an upbeat finale, though it was hard to distinguish nine separate dances. The Busoni was a nonette, taken from a much larger orchestral work. It opened with low strings and a very subdued piano ostinato that was tuneful but that also included some harmonic Schoenberg twists. The middle section featured a harmonium (sort of a parlor pump organ) while the whole piece was very grounded toward the end. As a nice visual, the Naumburg banner was set a-fluttering at one point—one more plus to an al fresco concert.
The Dvŏrak was really enjoyable, with a tuneful, folk flair first movement that featured the harmonium in a melodic mode, followed by a graceful, indeed, minuet. The final three movements tied everything together beautifully, even if the canon was slightly less than a canon, and the mixed mode/tonality of the final movement led to an ultimately quiet ending.
Oddly, I commented to the sound crew during intermission that the sound balance was good, for outdoor chamber music. Alas, the sound in the second half of the concert was a little overblown.
The Boccherini quintet was a pleasant piece, played well, if slightly innocuous. It sounded to me as though it was multiple movements sort of mashed together—but maybe that was Boccherini’s intent. Shawn Conley’s (bass player in Tuesday night’s concert) Yann’s Flight was a little too new age-y for me, hinting at the Mark O’Connor contemporary-classical-bluegrass style.
The Strauss, via Schoenberg, was played by a septet, with the varied six players retuning to the piano. It was fluff—fun fluff—but still fluff. Oy! So many false endings. The Romany-style last piece seemed to be akin to a roving band’s tune all gussied up. I can easily see how this could be adapted to a film score, and while not my cup of tea, it was certainly a crowd pleaser. An energetic way to end the concert, with hints of Leonard Bernstein and a great use of both the harmonium and the piano.
Fingers crossed for V of V!
ConcertMeister
Suite Paysanne Hongroise for flute and string orchestra (1914–1918),
(arr. Paul Arma) – Chantes populaires tristes, nos. I–IV; Scherzo; Vielles danses, nos. I–IX – Béla Bartók (1881–1945)
Berceuse élégiaque (1909) (arr. Arnold Schoenberg) – Ferruccio Busoni (1866–1924)
Bagatelles, Op. 47 (1878) – I. Allegretto scherzando; II. Tempo di minuetto, Grazioso; III. Allegretto scherzando; IV. Canon, Andante con moto; V. Poco allegro – Antonin Dvŏrak (1841–1904)
Quintet for flute and strings in G minor, Op. 19 (1774) – Luigi Boccherini (1743–1805)
Yann’s Flight (2013) – Shawn Conley (1983–)
Kaiser-Walzer (1889), (arr. Arnold Schoenberg) – Johann Strauss II (1825–1899)
A Stork Crosses the Danube, in the Company of a Raven, (arr. Ljova, 2016) – Taraf de Haïdouks (Est. 1991)
Eclectic, as you can see. The opening work was folk based, with a modern but not jarring sound. The second movement had a nice pizzicato quality, leading into an upbeat finale, though it was hard to distinguish nine separate dances. The Busoni was a nonette, taken from a much larger orchestral work. It opened with low strings and a very subdued piano ostinato that was tuneful but that also included some harmonic Schoenberg twists. The middle section featured a harmonium (sort of a parlor pump organ) while the whole piece was very grounded toward the end. As a nice visual, the Naumburg banner was set a-fluttering at one point—one more plus to an al fresco concert.
The Dvŏrak was really enjoyable, with a tuneful, folk flair first movement that featured the harmonium in a melodic mode, followed by a graceful, indeed, minuet. The final three movements tied everything together beautifully, even if the canon was slightly less than a canon, and the mixed mode/tonality of the final movement led to an ultimately quiet ending.
Oddly, I commented to the sound crew during intermission that the sound balance was good, for outdoor chamber music. Alas, the sound in the second half of the concert was a little overblown.
The Boccherini quintet was a pleasant piece, played well, if slightly innocuous. It sounded to me as though it was multiple movements sort of mashed together—but maybe that was Boccherini’s intent. Shawn Conley’s (bass player in Tuesday night’s concert) Yann’s Flight was a little too new age-y for me, hinting at the Mark O’Connor contemporary-classical-bluegrass style.
The Strauss, via Schoenberg, was played by a septet, with the varied six players retuning to the piano. It was fluff—fun fluff—but still fluff. Oy! So many false endings. The Romany-style last piece seemed to be akin to a roving band’s tune all gussied up. I can easily see how this could be adapted to a film score, and while not my cup of tea, it was certainly a crowd pleaser. An energetic way to end the concert, with hints of Leonard Bernstein and a great use of both the harmonium and the piano.
Fingers crossed for V of V!
ConcertMeister
Monday, July 18, 2016
Naumburg Orchestral Concert (III of V) – (7/12/16)
The Knights
Colin Jacobsen and Eric Jacobsen, Artistic Directors; Eric Jacobsen, Conductor
This concert was the first of two by The Knights, a Brooklyn-based (or at least
-formed) orchestral collective. Their word, not mine. Tuesday evening’s program:
Symphony No. 64 in A Major, “Tempora Mutantor” (1807) – I. Allegretto con spirito; II. Largo; III. Menuetto and Trio: Allegretto; IV. Finale: Presto –
Franz Joseph Haydn (1732–1809)
Crane Palimpsest (2012) – I’m not listing the movements; if you really want to know, contact me directly – Gabriel Kahane (1981–)
Symphony No. 5 in B-flat Major (1816) – I. Allegro; II. Andante con moto;
III. Menuetto; Allegro molto; IV. Allegro vivace – Franz Schubert (1797–1828)
The Big Noise from Winnetka (1938) – Bob Haggart (1914–1998)/
Ray Baudic (1906–1988) (arr. The Knights)
The Times They Are A-Changin (1968) – Bob Dylan (1941–) (arr. The Knights)
This was an enjoyable, if a bit uneven, concert that was well played all the way around. The Haydn, performed without a conductor, was strictly classical, with a pleasant, almost sprightly opening, plenty of strings, plus a few woodwinds, and the requisite chirping birds (it was an outdoor concert, after all). The second movement was very gentle but did have some build, with the woodwinds taking center stage. This was followed by a dance-like third movement, slightly sedate and then a bit livelier. The Finale was a rather mild Presto, but it did have some spirit as well.
Mr. Kahane’s work had a modern classical introduction followed by a pseudo easy-listening pop tune. The movements all blended into one another and Mr. Kahane provided vocals, guitar playing, and piano playing (maybe eight bars of piano total?). It had grand goals but didn’t quite achieve them in my opinion.
The Schubert was my favorite of the evening. Similar to the Haydn, the symphony form had grown up and was more presentable. The opening was very familiar and gently rollicking, unless that’s an oxymoron. The second movement was also familiar but not in an “oh no, not again” mode. There was a very rich orchestral sound, especially for a small-ish orchestra. While seeing my first fireflies of the summer, I heard several distinct sections, each with its own interest. The third movement always reminds me of the darkness of Sir Arthur Sullivan’s “Ruddigore”—though it’s probably the other way around. It was also dance-like but solid without being heavy. When the final movement begins, you just know it’s a final movement. It has the same sparkle as Mendelssohn’s Midsummer Night’s Dream scherzo.
“Big Noise” had the classical players cutting loose a little, with hints of Gershwin in his later jazz-feel years. The Dylan was surprisingly Copland-esque, using a folk tune in a new way. It was somewhat, but only somewhat, effective. Okay. We had a mix of the old and the new. Not surprisingly, I liked the old (but the newer of the old) better than the new. Still, I’m glad I heard the new, if that makes sense. Concert IV of V tomorrow (7/19, also my mom’s birth anniversary!).
ConcertMeister
Colin Jacobsen and Eric Jacobsen, Artistic Directors; Eric Jacobsen, Conductor
This concert was the first of two by The Knights, a Brooklyn-based (or at least
-formed) orchestral collective. Their word, not mine. Tuesday evening’s program:
Symphony No. 64 in A Major, “Tempora Mutantor” (1807) – I. Allegretto con spirito; II. Largo; III. Menuetto and Trio: Allegretto; IV. Finale: Presto –
Franz Joseph Haydn (1732–1809)
Crane Palimpsest (2012) – I’m not listing the movements; if you really want to know, contact me directly – Gabriel Kahane (1981–)
Symphony No. 5 in B-flat Major (1816) – I. Allegro; II. Andante con moto;
III. Menuetto; Allegro molto; IV. Allegro vivace – Franz Schubert (1797–1828)
The Big Noise from Winnetka (1938) – Bob Haggart (1914–1998)/
Ray Baudic (1906–1988) (arr. The Knights)
The Times They Are A-Changin (1968) – Bob Dylan (1941–) (arr. The Knights)
This was an enjoyable, if a bit uneven, concert that was well played all the way around. The Haydn, performed without a conductor, was strictly classical, with a pleasant, almost sprightly opening, plenty of strings, plus a few woodwinds, and the requisite chirping birds (it was an outdoor concert, after all). The second movement was very gentle but did have some build, with the woodwinds taking center stage. This was followed by a dance-like third movement, slightly sedate and then a bit livelier. The Finale was a rather mild Presto, but it did have some spirit as well.
Mr. Kahane’s work had a modern classical introduction followed by a pseudo easy-listening pop tune. The movements all blended into one another and Mr. Kahane provided vocals, guitar playing, and piano playing (maybe eight bars of piano total?). It had grand goals but didn’t quite achieve them in my opinion.
The Schubert was my favorite of the evening. Similar to the Haydn, the symphony form had grown up and was more presentable. The opening was very familiar and gently rollicking, unless that’s an oxymoron. The second movement was also familiar but not in an “oh no, not again” mode. There was a very rich orchestral sound, especially for a small-ish orchestra. While seeing my first fireflies of the summer, I heard several distinct sections, each with its own interest. The third movement always reminds me of the darkness of Sir Arthur Sullivan’s “Ruddigore”—though it’s probably the other way around. It was also dance-like but solid without being heavy. When the final movement begins, you just know it’s a final movement. It has the same sparkle as Mendelssohn’s Midsummer Night’s Dream scherzo.
“Big Noise” had the classical players cutting loose a little, with hints of Gershwin in his later jazz-feel years. The Dylan was surprisingly Copland-esque, using a folk tune in a new way. It was somewhat, but only somewhat, effective. Okay. We had a mix of the old and the new. Not surprisingly, I liked the old (but the newer of the old) better than the new. Still, I’m glad I heard the new, if that makes sense. Concert IV of V tomorrow (7/19, also my mom’s birth anniversary!).
ConcertMeister
Thursday, July 14, 2016
Bargemusic (7/9/16)
Bargemusic is a standby for me, of sorts, but I had not visited in a while. I’m glad I went on Saturday. In a recap of a recent concert, we heard Mark Peskanov, violin, with Nina Kogan, piano, playing Beethoven. Specifically the Sonatas for Violin and Piano, although Mr. Peskanov graciously said for Piano and Violin, since the piano has so many more notes. I’m not quite sure, but I’ll defer to the professional. I got to play “New-Yorker-in-the-Know,” since the gal behind me was talking to her son and saying things like she wasn’t exactly sure whether the concert would be outdoors or indoors. I explained that it was, indeed inside on the barge but that there were large windows behind the performers, giving a great view of the NYC skyline. She promptly became a “New-Yorker-in-the-Know” when her husband arrived—but then gave me credit.
Combined with a concert from the week before, one to be played that evening and Sunday, and one more later in the month, Mr. Peskanov and Ms. Kogan are presenting all ten Beethoven Violin/Piano sonatas. Announced from the stage, we weren’t quite sure what we would hear. It turned out that we got all of Sonata No. 1, in D Major, the first two movements of Sonata No.5, in F Major, and the first movement of Sonata No. 8, in G Major. Since we didn’t know beforehand what we would be hearing, it made perfect sense to applaud after every movement (something usually frowned upon in the concert hall, when hearing a piece in its entirety). As always there are two schools of thought about that, too.
Playing first movements of works is usually a gimme, since they are almost always fresh, upbeat and have a strong finish, and that was the case with all three first movements we heard. Not so with the second movement of Sonata No. 1 and No. 5. If I hadn’t started the applause after each, we might still be sitting there!
That said, Mr. Peskanov and Ms. Kogan both play beautifully and with a very good rapport (a big plus, since they’re playing all ten sonatas together). Of note, the scheduled page turner couldn’t make it, so a volunteer popped up out of the audience and did a darned good job of it. Only in New York, kids. Also of note, I got there really early (and they don’t open the barge until fifteen minutes before the concert), so I found a nice little spot to buy and drink a $5 Montauk Driftwood Ale—not a bad way to kill some time before a concert.
If you go, the concerts are approximately one hour in length, start at 4:00pm, and are family concerts—meaning that there are children there, and the audience is sometimes a little more, um, lively than usual. On the plus side, it’s really great to see children and parents attending a classical concert together. There is also a Q&A session after the concert that engages the audience—adults and children—and the performers. You’re never quite sure what you’re going to get when you go to a Bargemusic concert. And that’s part of the experience.
ConcertMeister
Combined with a concert from the week before, one to be played that evening and Sunday, and one more later in the month, Mr. Peskanov and Ms. Kogan are presenting all ten Beethoven Violin/Piano sonatas. Announced from the stage, we weren’t quite sure what we would hear. It turned out that we got all of Sonata No. 1, in D Major, the first two movements of Sonata No.5, in F Major, and the first movement of Sonata No. 8, in G Major. Since we didn’t know beforehand what we would be hearing, it made perfect sense to applaud after every movement (something usually frowned upon in the concert hall, when hearing a piece in its entirety). As always there are two schools of thought about that, too.
Playing first movements of works is usually a gimme, since they are almost always fresh, upbeat and have a strong finish, and that was the case with all three first movements we heard. Not so with the second movement of Sonata No. 1 and No. 5. If I hadn’t started the applause after each, we might still be sitting there!
That said, Mr. Peskanov and Ms. Kogan both play beautifully and with a very good rapport (a big plus, since they’re playing all ten sonatas together). Of note, the scheduled page turner couldn’t make it, so a volunteer popped up out of the audience and did a darned good job of it. Only in New York, kids. Also of note, I got there really early (and they don’t open the barge until fifteen minutes before the concert), so I found a nice little spot to buy and drink a $5 Montauk Driftwood Ale—not a bad way to kill some time before a concert.
If you go, the concerts are approximately one hour in length, start at 4:00pm, and are family concerts—meaning that there are children there, and the audience is sometimes a little more, um, lively than usual. On the plus side, it’s really great to see children and parents attending a classical concert together. There is also a Q&A session after the concert that engages the audience—adults and children—and the performers. You’re never quite sure what you’re going to get when you go to a Bargemusic concert. And that’s part of the experience.
ConcertMeister
Sunday, July 10, 2016
Emanuel Ax's Listening Party (6/30/16)
This was a very interesting event that took place at the Lincoln Center Library for the Performing Arts (sort of my home away from home). Program Director Evan Leslie had an informal discussion with world-renowned pianist Emanuel Ax and, based on an earlier phone interview with Mr. Ax, we heard excerpts from what would be Mr. Ax's personal listening list. In this case, the excerpts were culled from the library's extensive Rodgers and Hammerstein Archives of Recorded Sound of the New York Public Library (blatant plug!).
After an initial faux pas (Mr. Ax sat on his cordless microphone that was waiting for him on his chair), Mr. Leslie lobbed sort of soft ball questions that Mr. Ax volleyed with variants of, "I'm not really sure." Which was not a problem. Because when questioned about why you like what you like, and what's the best (fill in the blank), there are no easy/real answers. But the discussion was lively and, as mentioned above, punctuated with recordings from the library's extensive collection (blatant plug!). After taking copious notes, I learned that there would be a printed Listen List available upon exiting, complete with QR codes for those savvy enough to use them. The list also has hard copy info for those of us not savvy enough to use the QR codes. Thoughtful, indeed.
While the musical excerpts were enjoyable, more so was being able to listen in on an artistic discussion with a living legend via a library curator who is also a musician.
Highlights: According to Mr. Ax, Mozart is one of those composers who will last! (Emphasis, mine.) Da Ponte (Mozart's librettist) moved to New York at one point. As a surprise, Mr. Leslie played a "recording" of Mieczyslaw Münz, Mr. Ax's teacher. And there were highlights featuring Mr. Ax's collaborations with Isaac Stern, Jaime Laredo, and Yo-Yo Ma. Heady stuff. Of special note, the Münz was an aural recording of the piano roll created by the Ampico company—a company that created piano rolls played by living composers playing their own works, that could later be played back on a player piano. High tech for this 1927 recording!
In a (slightly contrived) "lightning round," Mr. Ax's listening list included the operas Aida, Tosca, and La Bohème, as well as jazz (Bill Charlap Live at the Village Vanguard, Ella Fitzgerald, live at Mister Kelly's, and Oscar Petersen: Exclusively for My Friends). Another "lightning round" selection was Maurice Ravel: Daphnis and Chloé; Pavane pour une infante déunte; and La valse.
The main listening list included Mozart, Chopin, Fauré, Schubert, and Tchaikovsky—you know, the usual suspects. But, oh what usual suspects, and oh what wonderful recordings from the Rodgers and Hammerstein Archives. There's a bunch of good stuff out there, folks. Seek it out.
ConcertMeister
After an initial faux pas (Mr. Ax sat on his cordless microphone that was waiting for him on his chair), Mr. Leslie lobbed sort of soft ball questions that Mr. Ax volleyed with variants of, "I'm not really sure." Which was not a problem. Because when questioned about why you like what you like, and what's the best (fill in the blank), there are no easy/real answers. But the discussion was lively and, as mentioned above, punctuated with recordings from the library's extensive collection (blatant plug!). After taking copious notes, I learned that there would be a printed Listen List available upon exiting, complete with QR codes for those savvy enough to use them. The list also has hard copy info for those of us not savvy enough to use the QR codes. Thoughtful, indeed.
While the musical excerpts were enjoyable, more so was being able to listen in on an artistic discussion with a living legend via a library curator who is also a musician.
Highlights: According to Mr. Ax, Mozart is one of those composers who will last! (Emphasis, mine.) Da Ponte (Mozart's librettist) moved to New York at one point. As a surprise, Mr. Leslie played a "recording" of Mieczyslaw Münz, Mr. Ax's teacher. And there were highlights featuring Mr. Ax's collaborations with Isaac Stern, Jaime Laredo, and Yo-Yo Ma. Heady stuff. Of special note, the Münz was an aural recording of the piano roll created by the Ampico company—a company that created piano rolls played by living composers playing their own works, that could later be played back on a player piano. High tech for this 1927 recording!
In a (slightly contrived) "lightning round," Mr. Ax's listening list included the operas Aida, Tosca, and La Bohème, as well as jazz (Bill Charlap Live at the Village Vanguard, Ella Fitzgerald, live at Mister Kelly's, and Oscar Petersen: Exclusively for My Friends). Another "lightning round" selection was Maurice Ravel: Daphnis and Chloé; Pavane pour une infante déunte; and La valse.
The main listening list included Mozart, Chopin, Fauré, Schubert, and Tchaikovsky—you know, the usual suspects. But, oh what usual suspects, and oh what wonderful recordings from the Rodgers and Hammerstein Archives. There's a bunch of good stuff out there, folks. Seek it out.
ConcertMeister
Wednesday, July 6, 2016
Naumburg Orchestral Concerts (II of V)
Orpheus Chamber Orchestra (6/28/16)
Nobuyuki Tsujii, Piano
Beautiful concert. Slightly less than perfect weather. In fact, I know of one regular listener/attendee who skipped it because of weather possibilities. That said, here’s the program:
Coriolan Overture, Opus 62 (1807) – Ludvig van Beethoven (1770–1827)
Piano Concerto No. 5 in E-flat major, “Emperor Concerto”, LvB, Opus 73 (1809–1811), I. Allegro; II. Adagio un poco mosso; III. Rondo: Allegro ma non troppo – Nobuyuki Tsujii, piano
Symphony No. 5 in C minor, “Fate”, LvB, Opus 67 (1804–1808) – I. Allegro con brio; II. Andante con moto; III. Scherzo, Allegro; IV, Allegro
Yep, an all-Beethoven program. And I enjoyed it. The Coriolan Overture actually had a false start, since this outdoor concert was being broadcast live on WQXR. The orchestra began, but then had to regroup, since the broadcast had not yet begun.
Sans conductor (an Orpheus trademark), the overture had a dramatic opening that had shifting moods, highlighted by the Naumburg banner as a visual accompaniment.
The first movement of the piano concerto had familiar themes that were somewhat interesting but fairly lengthy. The time- and weight-wise effect was really great. The second movement opened with strings only, then winds were added, plus a very gentle piano line. Just before the Rondo, a trio of dames traipsed in—really? You couldn’t wait for the end of the movement? Which was also the end of the first half of the concert? Despite the intrusion, the piano broke out into a strong theme that was then picked up by the orchestra, for a very strong finish.
After lengthy applause, Mr. Tsujii played two encores—a Gershwin piece and Liszt’s La Campanella. Thoroughly delightful and gratefully accepted. (As an aside, I have never experienced a solo encore at the end of the first half of a concert—but I'm thrilled that it happened.)
After intermission, we heard Beethoven’s Fifth. Ba-bum-bum-BUMMM! But so much more. The opening was played with a very brisk tempo, with the brass featured much more strongly than I remember. That said, I usually hear one movement at a time on the radio, and not the whole work in one sitting. The second movement opened with low strings, leading once again to very dense and rich passages, with a few grandiose passages midway through. The third and fourth movements blended together a little for me, but I was aware of a misterioso section followed by bolder brass, and then a quiet section (but with insistent rhythms) and a playful section. All in all—Beethoven at his best.
Once again, I know I’ve heard each individual movement from time to time on the radio, so the individual themes were familiar to me, but I usually don’t sit down to listen to a symphony all the way through on the radio. I’m glad I had the opportunity to hear a world-class chamber orchestra present it al fresco in NYC. I’m pretty sure it’s streamable (is so a word!) on WQXR.com.
ConcertMeister
Nobuyuki Tsujii, Piano
Beautiful concert. Slightly less than perfect weather. In fact, I know of one regular listener/attendee who skipped it because of weather possibilities. That said, here’s the program:
Coriolan Overture, Opus 62 (1807) – Ludvig van Beethoven (1770–1827)
Piano Concerto No. 5 in E-flat major, “Emperor Concerto”, LvB, Opus 73 (1809–1811), I. Allegro; II. Adagio un poco mosso; III. Rondo: Allegro ma non troppo – Nobuyuki Tsujii, piano
Symphony No. 5 in C minor, “Fate”, LvB, Opus 67 (1804–1808) – I. Allegro con brio; II. Andante con moto; III. Scherzo, Allegro; IV, Allegro
Yep, an all-Beethoven program. And I enjoyed it. The Coriolan Overture actually had a false start, since this outdoor concert was being broadcast live on WQXR. The orchestra began, but then had to regroup, since the broadcast had not yet begun.
Sans conductor (an Orpheus trademark), the overture had a dramatic opening that had shifting moods, highlighted by the Naumburg banner as a visual accompaniment.
The first movement of the piano concerto had familiar themes that were somewhat interesting but fairly lengthy. The time- and weight-wise effect was really great. The second movement opened with strings only, then winds were added, plus a very gentle piano line. Just before the Rondo, a trio of dames traipsed in—really? You couldn’t wait for the end of the movement? Which was also the end of the first half of the concert? Despite the intrusion, the piano broke out into a strong theme that was then picked up by the orchestra, for a very strong finish.
After lengthy applause, Mr. Tsujii played two encores—a Gershwin piece and Liszt’s La Campanella. Thoroughly delightful and gratefully accepted. (As an aside, I have never experienced a solo encore at the end of the first half of a concert—but I'm thrilled that it happened.)
After intermission, we heard Beethoven’s Fifth. Ba-bum-bum-BUMMM! But so much more. The opening was played with a very brisk tempo, with the brass featured much more strongly than I remember. That said, I usually hear one movement at a time on the radio, and not the whole work in one sitting. The second movement opened with low strings, leading once again to very dense and rich passages, with a few grandiose passages midway through. The third and fourth movements blended together a little for me, but I was aware of a misterioso section followed by bolder brass, and then a quiet section (but with insistent rhythms) and a playful section. All in all—Beethoven at his best.
Once again, I know I’ve heard each individual movement from time to time on the radio, so the individual themes were familiar to me, but I usually don’t sit down to listen to a symphony all the way through on the radio. I’m glad I had the opportunity to hear a world-class chamber orchestra present it al fresco in NYC. I’m pretty sure it’s streamable (is so a word!) on WQXR.com.
ConcertMeister
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