Antonio Vivaldi: Il Gardellino, Flute Concerto in D – flute, strings; Heitor Villa-Lobos: Song of the Black Swan – cello, harp; Joaquin Rodrigo, arr. Bridget Kibbey and The Knights: De los álamos vengo, madre – full ensemble; João Gilberto, arr. C. Jacobsen: Undiu – flute/voice, clarinet, harp, strings; Jessie Montgomery: Source Code – strings; Maurice Ravel: Introduction and Allegro – full ensemble; Paco De Lucía, arr. C. Jacobsen: Zyryab – flute, clarinet, harp, strings; Lili Boulanger: Nocturne – flute, harp; Tommy Potts, arr. C. Jacobsen: The Butterfly – full ensemble; American Traditional, arr. Jacobsen: Little Birdie – flute/vocals, clarinet, harp, strings
Yes,
this was my second hearing of The Knights in less than a week. Even though they’re
primarily a chamber orchestra, this (only seven players) was more of a chamber ensemble
than an orchestra. I know that looks like a daunting program, but some of
the pieces were fairly short (some, though, I wish had been shorter than they
were). This was an outdoor concert at Governors Island under the aegis of the
Rite of Summer Music Series. I’m a fan. I even wore my Rite of Summer t-shirt
today and was recognized by the two founders.
Enough
about me—on to the music. The first piece, in three movements, was scored here
for two violins, viola, cello, and flute. The first movement was slightly
jaunty, and it was perfect music for an outdoor setting, sounding sort of airy
(discounting the annoying helicopters). The second was slower, featuring flute,
pizzicato (plucked) violin strings, and cello. The final movement was brisk and
cheerful.
The
second work was cello and harp, a lovely combination to my mind. It was slow
and gentle—sort of mournful without being maudlin.
The
third had a gentle opening followed by a quicker, dance-like section, with
shifting moods, all of which were fun. If you’re sensing a gentle/quicker theme
here, the program was focused on birds and other fauna. Also, it was supposed
to be played last year at this time, so …
Next
up was not really a lullaby, just a gentle interlude, then a lush middle
section, with vocals, cello, and harp to round it out.
Fifth
was a string quartet as a Juneteenth tribute. Described in the composer’s words
as a single-movement dirge based on themes from American spirituals, that
pretty much summed it up.
The
Ravel is a somewhat famous work, and I was glad to be hearing it in person for my
first time ever. It had a calm opening and lovely tunes that were tossed about
from instrument to instrument. Even when the tempo was brisker, it still had a
calm feeling. Maybe the harp just does that.
The
seventh work was dance-like, based on flamenco rhythms. Nice enough, it seemed
to ramble on a bit. A little more on that later.
Maybe
you know the name Nadia Boulanger? (No, she was not a French baker.) She was a
formidable (and please pronounce that with a French accent) composer and
teacher in Paris. As it turns out, her sister was also a composer. This
Nocturne was almost a lullaby, although it had a few bursts of energy.
The
ninth and tenth pieces were fairly similar—one with an Irish lilt and one with
an American folk tune feel. The repetitive quality of both reminded me of the
rambling, as I mentioned above. Repetitive can work, with enough variation. Without
variation, I tend to zone out.
That
said, I loved hearing The Knights again; I loved hearing live music with an
audience again; and I will return for Rite of Summer’s next (and, unfortunately,
final for the season) concert in September.
ConcertMeister
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