Pasión; A Concert of Spanish and South American Music
La Oración del torero, for string orchestra, Op. 34 (1925) –
Joaquin Turina (1882–1949)
Zarabanda lejana y villancio (1930) – Joaquin Rodrigo (1901–1999)
Tangodromo 1 for bandoneon and strings (2016) – Juan Pablo Jofre –
(b. 1983)
Adiós Nonino, for bandoneon and strings (1959) – Astor Piazzolla
(1921–1992)
Bachianas Brasilieras No. 9 for string orchestra (1945) – Heitor Villa-Lobos (1887–1959)
Chasqui and Coqueteos from Leyendas: An Andean Walkabout (2001) – Gabriela Lena Frank – (b. 1972)
Estampas Nocturnas (1923) – La Noche; En tiempo del rey sol; Arrulladora; Scherzo de Puck – Manuel Ponce (1882–1948)
JP Jofre, bandoneon
The first piece was sort of a mood piece, that was reflective and sweepingly Romantic, though modern in style, in a pleasant way.
The Zarabanda opened with viola and cello that were then joined by all of the strings. This was also in a relatively gentle mood. It was pretty, but I didn’t get a feeling that a statement was being made—unless that was the statement. The second part of the piece was more like a dance, though still rather subdued. It had nice contrasting sections via volume changes (both louder and fuller) and overall, it reminded me of a folk tune, in its style.
The third piece was much more modern, with driving rhythms that also included a sweeping feeling at times. It had quite an abrupt ending. For those of you wondering, a bandoneon is a cousin to the accordion. Señor Jofre played it well here, as in the next piece, too. The fourth piece began with solo violin, then solo viola. It was subdued but quickly became much louder, fuller, and rhythmic, leading into a bandoneon solo. Señor Jofre made his instrument sound almost like a small theater organ. A bandoneon, cello, and plucked bass trio followed before all of the strings joined in for the finish. In an odd twist, an encore, Universe (by Señor Jofre), was played. It was slightly New-Age-y—not quite Philip Glass but almost. I say odd twist because I’m not used to an encore in the middle of a concert. It made sense, though, since the bandoneon was not used at all in the second half.
The Villa-Lobos also started in a subdued manner and then moved into a Bach-like fugal section that used Latin rhythms. It seemed as though there were separate movements, but they were not quite clearly defined.
The sixth piece was very modern, rhythmically, but had throwbacks to less modern techniques. It was somewhat playful and relatively easy to listen to.
The first movement of the final piece began in the lower strings, quickly joined by all of the others. It reminded me of a sultry night, but only slightly. It had rich, full harmonies and then a certain gentleness. It did go on a bit long, though. The second was a bit more upbeat and playful, with a few swooping phrases. The third movement was gentle and sedate, almost sad—actually more of a sense of sweet yearning. The final movement had a bright tempo and a real sense of fun without going overboard. It was a really pleasant ride.
A note about the bandoneon pieces. Señor Jofre composed the first and arranged the Piazzolla piece. He also composed the encore. Alas, this was the last concert of the season for the Naumburg Orchestral Concerts. I haven’t checked out Central Park lately, but perhaps next season’s concerts will be outdoors at the bandshell. Time will tell.
ConcertMeister
Saturday, August 24, 2019
Wednesday, August 21, 2019
Orchestra of St. Luke’s (7/30/19)
Tito Muñoz, Conductor
Prince of Clouds (2012) – Jesse Mills and Krista Bannion, violins –
Anna Clyne (1980–)
Songs (1930s and ’40s) – Jasmine Muhammad, soprano – Florence Price (1887–1953)
Adagio for Strings (1936) – Samuel Barber (1910–1981)
Appalachian Spring (1933–34) – Aaron Copland (1900–1990)
The first piece was strings only, with two violin soloists. It started with the soloists, with music that was atonal but gentle and not particularly harsh. When the other strings joined in, it was rapid and louder, though there were balancing legato sections. The piece held my interest well enough though it didn’t really wow me. At one point the string players used extreme pizzicato that resulted in a ‘thwack’ sound. I have no idea what that might look like in the score.
The three Price songs were titled (I think—they weren’t listed in the program) Hold Fast to Dreams, Sympathy, and My Soul Is Anchored to the Lord. The first was in a through-composed art song style and was enjoyable. The second was traditionally classical, with a straightforward setting of the text. There were contrasting verses that then ended with a return to the original setting. The third, a spiritual, had strong Latin-style rhythms. Throughout, Ms. Muhammad sang with very clear diction and a strong sense of style for all three songs.
The Barber (a middle movement of one of his string quartets) is a piece that you most likely know. Do a quick online search and you’ll know exactly what I mean. It was lush but in a simple way. I think that’s all that needs to be said.
Copland’s Appalachian Spring did not start out as Appalachian Spring. When first composed, it was simply called Ballet for Martha. Here, flute, clarinet, bassoon, and piano were added to the strings. With its almost mystical opening, it then morphed into a more energetic section, followed by a mix of boisterous and lyrical, and then, of course, Simple Gifts put in a guest appearance, as it does in so many of Copland’s pieces (’Tis the gift to be simple / ’Tis the gift to be free / ’Tis the gift to come down / Where you ought be). But the words were not in the ballet score, just inside my head.
As one more in the Naumburg Orchestral Concerts series, this was another winner. World-class orchestras in NYC for free. I’m one lucky ’Meister.
ConcertMeister
Prince of Clouds (2012) – Jesse Mills and Krista Bannion, violins –
Anna Clyne (1980–)
Songs (1930s and ’40s) – Jasmine Muhammad, soprano – Florence Price (1887–1953)
Adagio for Strings (1936) – Samuel Barber (1910–1981)
Appalachian Spring (1933–34) – Aaron Copland (1900–1990)
The first piece was strings only, with two violin soloists. It started with the soloists, with music that was atonal but gentle and not particularly harsh. When the other strings joined in, it was rapid and louder, though there were balancing legato sections. The piece held my interest well enough though it didn’t really wow me. At one point the string players used extreme pizzicato that resulted in a ‘thwack’ sound. I have no idea what that might look like in the score.
The three Price songs were titled (I think—they weren’t listed in the program) Hold Fast to Dreams, Sympathy, and My Soul Is Anchored to the Lord. The first was in a through-composed art song style and was enjoyable. The second was traditionally classical, with a straightforward setting of the text. There were contrasting verses that then ended with a return to the original setting. The third, a spiritual, had strong Latin-style rhythms. Throughout, Ms. Muhammad sang with very clear diction and a strong sense of style for all three songs.
The Barber (a middle movement of one of his string quartets) is a piece that you most likely know. Do a quick online search and you’ll know exactly what I mean. It was lush but in a simple way. I think that’s all that needs to be said.
Copland’s Appalachian Spring did not start out as Appalachian Spring. When first composed, it was simply called Ballet for Martha. Here, flute, clarinet, bassoon, and piano were added to the strings. With its almost mystical opening, it then morphed into a more energetic section, followed by a mix of boisterous and lyrical, and then, of course, Simple Gifts put in a guest appearance, as it does in so many of Copland’s pieces (’Tis the gift to be simple / ’Tis the gift to be free / ’Tis the gift to come down / Where you ought be). But the words were not in the ballet score, just inside my head.
As one more in the Naumburg Orchestral Concerts series, this was another winner. World-class orchestras in NYC for free. I’m one lucky ’Meister.
ConcertMeister
Tuesday, August 6, 2019
The Venice Baroque Orchestra (7/10/19)
Yes, I’m appallingly late. (I recently lost my job. You’d think that means lots more time to post, right? You didn’t figure in depression, eh?)
Sinfonia in C Major for strings and basso continuo, from “L’Olimpiade”, RV 725 [I’m not making this up, you know] – Allegro, Andante, Allegro – Antonio Vivaldi (1678–1741)
Concerto grosso in G major, Op. 6 n.1, HWV 319 – A tempo giusto, Allegro, Adagio, Allegro, Allegro – George Frideric Handel – (1685–1759)
Concerto in G major for strings and basso continuo, Op. VII, No. 4 – Allegro, Largo, Allegro – Tomaso Albinoni (1671–1751)
… and so on, and so on, and so on, I could list them all but it wouldn’t mean a thing to most (or all) of you.
Suffice it to say that this was very well played baroque music ^^^see dates, above, by a world-class musical group. For free. In NYC. Am I lucky, or what?
In addition to the pieces listed above, there was music by Benedetto Marcello (1686–1739) and Francesco Geminiani (1687–1762).
In the first piece, all of the players were standing (except the cellists and harpsichordist). It sounded very similar to the other 500+ Vivaldi compositions I’ve heard. The second, Handel, was fuller and more refined. There was a very familiar (to me) movement followed by an attacca into an impressive finale.
The third work, by Tomaso Albinoni, was bright and pleasant, followed by a calmer section with some nice filigree from both the violin and continuo (in this case, harpsichord doubled by the cello). It then went back to brisk, but not quite off to the races.
The fourth piece, Vivaldi again, had a second movement that had an interesting opening featuring the lute and then unison/octave strings, a plaintive violin solo with a mini-cadenza, finishing with a dancelike movement in a full but almost sedate way. Even with all of that going on, it was not one of my favorites of the evening.
The first movement of the Marcello was very similar to the Vivaldi pieces, though the second movement was rather lightweight by comparison. The next real Vivaldi piece had an interesting second movement, spearheaded by solo cello. This was followed by a cello solo with lute accompaniment that was rather lengthy. The third movement also featured solo cello in a rondo style. [Strange note here; I was admonished by a concertgoer to not start my applause so quickly at the end of a work. Um, this is not my first time at the rodeo. If the audience needs a bit of prompting, I’m going to applaud. There was no conductor here, who might have given a visual cue.]
The seventh work, by Gemignani, had twelve movements. I will not even begin to name all twelve. Suffice it to say that there were interesting and varied techniques (within the constraints of the baroque era), many based on themes and variations.
The final Vivaldi piece had virtuosic soprano recorder playing, though in a very unorthodox style. The soloist was bent over; she was upright; she was playing from side to side; it was very distracting. I normally don’t critique or comment on physical performances, but this went beyond what I’ve normally seen. Am I limited in my viewing? I don’t think so. She was also a member of the string section (second violin) when she was not the soprano recorder soloist, so she was obviously a very talented musician on more than one front. Which does not surprise me.
All in all, a very interesting and successful concert performed by a world-renowned group. For free. In NYC. I’m a lucky (unemployed) guy. Let’s hope part of that changes.
ConcertMeister
Sinfonia in C Major for strings and basso continuo, from “L’Olimpiade”, RV 725 [I’m not making this up, you know] – Allegro, Andante, Allegro – Antonio Vivaldi (1678–1741)
Concerto grosso in G major, Op. 6 n.1, HWV 319 – A tempo giusto, Allegro, Adagio, Allegro, Allegro – George Frideric Handel – (1685–1759)
Concerto in G major for strings and basso continuo, Op. VII, No. 4 – Allegro, Largo, Allegro – Tomaso Albinoni (1671–1751)
… and so on, and so on, and so on, I could list them all but it wouldn’t mean a thing to most (or all) of you.
Suffice it to say that this was very well played baroque music ^^^see dates, above, by a world-class musical group. For free. In NYC. Am I lucky, or what?
In addition to the pieces listed above, there was music by Benedetto Marcello (1686–1739) and Francesco Geminiani (1687–1762).
In the first piece, all of the players were standing (except the cellists and harpsichordist). It sounded very similar to the other 500+ Vivaldi compositions I’ve heard. The second, Handel, was fuller and more refined. There was a very familiar (to me) movement followed by an attacca into an impressive finale.
The third work, by Tomaso Albinoni, was bright and pleasant, followed by a calmer section with some nice filigree from both the violin and continuo (in this case, harpsichord doubled by the cello). It then went back to brisk, but not quite off to the races.
The fourth piece, Vivaldi again, had a second movement that had an interesting opening featuring the lute and then unison/octave strings, a plaintive violin solo with a mini-cadenza, finishing with a dancelike movement in a full but almost sedate way. Even with all of that going on, it was not one of my favorites of the evening.
The first movement of the Marcello was very similar to the Vivaldi pieces, though the second movement was rather lightweight by comparison. The next real Vivaldi piece had an interesting second movement, spearheaded by solo cello. This was followed by a cello solo with lute accompaniment that was rather lengthy. The third movement also featured solo cello in a rondo style. [Strange note here; I was admonished by a concertgoer to not start my applause so quickly at the end of a work. Um, this is not my first time at the rodeo. If the audience needs a bit of prompting, I’m going to applaud. There was no conductor here, who might have given a visual cue.]
The seventh work, by Gemignani, had twelve movements. I will not even begin to name all twelve. Suffice it to say that there were interesting and varied techniques (within the constraints of the baroque era), many based on themes and variations.
The final Vivaldi piece had virtuosic soprano recorder playing, though in a very unorthodox style. The soloist was bent over; she was upright; she was playing from side to side; it was very distracting. I normally don’t critique or comment on physical performances, but this went beyond what I’ve normally seen. Am I limited in my viewing? I don’t think so. She was also a member of the string section (second violin) when she was not the soprano recorder soloist, so she was obviously a very talented musician on more than one front. Which does not surprise me.
All in all, a very interesting and successful concert performed by a world-renowned group. For free. In NYC. I’m a lucky (unemployed) guy. Let’s hope part of that changes.
ConcertMeister
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