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