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