Lyric for Strings, (1946) – George T.
Walker (1922–2018)
America, Come featuring (and composed by) Aoife O’Donovan (1982–),
vocals (New York Premiere)
Violin Concerto in D Major, Op. 61, (1806), Ludwig
van Beethoven (1770–1827), arr. Michael P. Atkinson (b. 1978),
featuring Gil Shaham, violin
1. Allegro ma non troppo; 2. Larghetto; 3.
Rondo: Allegro
George T. Walker is a composer who is new to me. He was American and Black,
and (apparently) this piece was a favorite of his mother and/or grandmother (it
was announced from the stage but I didn’t write it down—it’s rough getting back
in the groove of taking notes at concerts!).
Oh, but first the orchestra played
a little hors d’oeuvre titled Ascending
Bird. It was rhythmic, with a hint of New Age music, and it sounded as
though it could (maybe will?) be used in a film score. An unexpected treat.
Back to Lyric for Strings.
It was slow, with a feeling of serenity, though it did pick up the tempo a bit.
It was interesting, pleasant and moody.
America, Come was written in the
spirit of celebrating the support of women’s suffrage. Using the words of
suffragettes and also elected officials of the era (1914–1920), it had an
appropriate folk music feel—Ms. O’Donovan played guitar and sang, ably
accompanied by an electric bass and the orchestra. An interesting take on a
real American style, if slightly rambling.
Leaving America behind (and performing without intermission,
probably COVID related), we moved on to the Beethoven. An odd program listing
was (arr. Michael P. Atkinson). Once again, announced from the stage, was the
information that The Knights have recorded this piece with Gil Shaham. My guess
is that this arrangement scales it down to chamber orchestra size. Mr. Shaham
seemed to be delighted to be there, and he interacted with the orchestra
throughout, even when he wasn’t playing. On to the music.
The first movement had a fun introduction by the orchestra that
was a bit playful before adding some real drama. When the solo violin entered,
it was also playful yet dramatic. There was a nice interplay back and forth
between soloist and orchestra. During the first-movement cadenza, the violinist
was sharing the outdoors aural world with a helicopter. Hey, that’s a part of
free outdoor concerts.
The second movement had a short orchestral intro followed by a
poignant theme from the solo violin, which was also energetic in its way. Then
there was a very delicate section that also provided quiet drama, leading to a
short violin cadenza that led right into …
The third movement. You’d recognize the theme. The orchestra and
soloist threw it back and forth. They varied it—major/minor, soft/loud—they took
it and ran. The third-movement violin cadenza included a whole bunch of double
stops (where the violinist plays on more than one string at a time) and very fleet finger
work that led to a bang-up finish. Why, yes, there was a standing ovation. Very
well deserved. But at the first Naumburg concert in more than a year, it was a
gimme. I’m so glad live concerts are back!
ConcertMeister
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