PROTESTRA (7/28/22)

 Music in Action
A concert against gun violence 

A worthy cause. This was a benefit concert with a portion of the ticket proceeds donated to Save Our Streets and Everytown for Gun Safety. I was comped but I did make a modest donation. Now, to the music. 

dis[armed] – Yaz Lancaster, featuring Tamika Gorski and Tyler Hefferon, percussion
Soul of Remembrance – Mary D. Watkins
Kindertotenlieder – Gustav Mahler, featuring Alice Chung, mezzo-soprano

All of these works were new hearings for me. The first was for vibraphone and metallophone, with a foot-pedal drum involved, as well as paper to be crinkled. It began with audio clips of text, re guns, violence, protection, and the Second Amendment. There were also electronic squeaks and squawks, though I'm not sure how much any of those added. The percussionists played rhythmic and angular sounds. At one point, the metallophone was repositioned. It didn't seem to affect the sound at all. In addition to mallets, the players also used their bare fingertips directly on the bars of their instruments. Each also used a bow (cello/bass?) along the edge of the bars. I have actually seen and heard this technique before. Additionally, the metallophone player used a mallet on the bowed bars of the vibraphone at one point, to further distort the sound. All in all, an interesting sounding piece. 

As announced from the stage, Soul of Remembrance was one movement of a larger work. During the playing of it, there was a video display of school and mass shootings dating from Columbine in 1999 up to the present day. While effectively making its point, it was a bit heavy handed. The music itself was slow, with bowed violins and violas, and plucked strings from the basses. When the entire orchestra (brasses and woodwinds) joined in, the music was serene yet deeply rich, somewhat sad but not sorrowful, and effective. 

The Mahler is a five-song cycle with texts on the deaths of children. Though not specifically gun related, it was a good candidate to pair with the two earlier pieces. The text of all five songs was displayed visually, in both German and English, which was quite helpful. The first had an introduction from the woodwinds before the mezzo joined in. It was heartfelt, if a touch sad, with vocal lines that were clear and unadorned. The verse of text was repeated, adding drama in both the orchestral sound and the vocal lines. The next song had a somber orchestral introduction and, once again, a straightforward layout of the text in the vocal lines. A more dramatic section followed before ending with sadness that was tinged with hope. In the third song, the tone of the orchestra and the mezzo brought out the intensity of feelings of loss, while the text and tone of the music in the fourth song captured the yearning for what can never be again. The final song in the cycle had a very dramatic orchestral opening, and the text and vocal lines got right to the heart of raw rage and pain. A calmer section followed that was still incredibly sad. It ended with a section proving that even a quiet rage is also effective. 

Throughout the evening, all of the performers were quite good, with special kudos to the percussionists and the vocal soloist. Food for thought on the political/social aspects of the concert, and food for the ears on the musical aspect.

ConcertMeister

Naumburg Orchestral Concerts (7/26/22)

 The Knights and Lara St. John, violin

Keeping On – World Premiere

Nigunim (Violin Concerto No. 2), (2017), Lara St. John, violin – Avner Dorman, (1975–) – New York City Premiere
(i) Adagio Religioso; (ii) Scherzo; (iii) Adagio; (iv) Presto

Symphony No. 3 in A minor, Op.56, “Scottish”, (1829 to 42) – Felix Mendelssohn, (1809–47)
(i) Andante con moto; (ii) Vivace non troppo; (iii) Adagio; (iv) Allegro vivacissimo

Keeping On, written for this chamber orchestra, was a riff on the opening theme of Beethoven’s Fifth Symphony—bum-bum-bum-bum-bum! The piece was fairly modern sounding but pretty much tonal. There was an expanded section, still riffing on the aforementioned theme, that reminded me of a film score with a very American feel. At one point, I’m fairly sure that I heard a celesta—a keyboard instrument that sounds, well, heavenly. We went back to variations on the riff, and then two of the orchestra members (Alex Sopp, flute, and Christina Courtin, violin) provided minimal vocals with a folk-song vibe. That led to a rather abrupt ending. A nice enough piece as a curtain raiser. 

The next piece was the winner of the 2018 Azrieli Prize for Jewish Music. The first movement had a very brief solo by the violinist before being joined by the orchestra. This format was repeated two more times. A section followed that was somber, then very full, orchestrally, with an interesting mix of solo violin and orchestra. The next movement was slightly raucous, but in a restrained way, with a lot of fast, fancy finger work from the violinist in a perpetual motion style that led to a clever ending. The third movement had mysterious opening sounds that were a little disjointed, still they hung in there together. It was eerie yet pretty. There was a tuneful solo violin ‘song’ in the middle section that included touches of drama. This led directly (attacca) into the fourth movement with driving rhythms, approaching perpetual motion again. It was interesting and almost compelling. I wanted more interesting and, toward the end, we did get more of that. Quite enjoyable. There was an unannounced encore for solo violin, solo cello, and solo double bass. My notes say—Hungarian? Gypsy?—we may never know. 

Mendelssohn’s third symphony was written when he was twenty years old. Let that sink in. The opening movement was sedate but full, then the violins take us on a little journey. Again, I was really enjoying the fullness/richness of the sound. There was a dramatic increase of volume and tempo that was then balanced by relaxation before closing out with a reprise of the sedate opening. The second movement was bright and cheerful with a bit of mystery of its own. But the bubbling energy won out, including a charming ending. The third movement had a solid opening, bordering on majestic—subdued majestic—then not so subdued after all. It was a bit lengthy but it held my interest. The fourth movement was off to the races! with some restraint, though it was boisterous in its own way. (In fact, I think it’s the first time I’ve ever come across the word vivacissimo.) A calmer section followed, even though it too had chugging rhythms. A buildup in volume, tempered by a relatively quiet section, brought us back to a full orchestra section and a rousing finish. A great way to end a great concert. 

Knock wood, we’ve been four for four in terms of music and weather for Naumburg’s season. One more on Tues., August 2—keep your fingers crossed.

ConcertMeister

Rite of Summer Music Festival (7/16/22)

Curtis Stewart, violin

I wanted to like this better than I did. Mr. Stewart plays a fine violin. It was paired, however, with recorded text, recorded violin (and other instruments?) all of which were electronically modified (reverb, etc.).

The first two pieces were taken from his Grammy-nominated pandemic recording, Of Power. First was Stevie Wonder’s Isn’t She Lovely. It was a nice layout of the tune with some jazz embellishments. Interesting, but a little went a long way. The second piece was Lift Every Voice and Sing, aka the Black National Anthem. The tune was broken up more than in the previous piece, and the harmonies added a feeling of angst, which made a strong piece even stronger. The addition of spoken text was fairly effective.

The next pieces were from an upcoming project—Of Love. OK, I rarely do this. The project is definitely a labor of love, as Mr. Stewart was the caregiver for his mother, who died recently. As a result, all of the pieces that followed were pretty much colored by that, and were, by and large, very similar in style and effectiveness.

The mix of live violin with recorded text, recorded violin, and live/recorded text with live/recorded violin/vocals made it somewhat difficult to follow. The pieces were very personal and very powerful. The writing was fine. The playing was fine. For me, the result was a little lacking.

I’m glad I heard what I did, and I’m glad that such an accomplished musician is using this platform to get his message across.

The Rite of Summer Music Festival takes place on Governors Island. There are two more concerts scheduled (I missed the first; this was the second). The next two are August 20 (The Westerlies) and Sept. 10 (Sybarite5). There are two of each, one at 1pm and one at 3pm. It’s a fun way to spend a Saturday afternoon, and there are usually art exhibits to take in around the island, as well. Free in NYC works for me!

Minor quibble, there was no printed program. (One could, of course, scan the QR code. That would not include me.) I also was unable to find the program listed on RoS’ website. As I said, minor quibble. 

ConcertMeister

Naumburg Orchestral Concerts – A Far Cry – Circle of Life (7/12/22)

Béla Bartók (1881–1945), & others, Lullabies for Children, Sz. 42 (1908–9, rev. 1943)
Bartók, For Children, Sz. 42; I. Andante grazioso; II. Vivace; Arrorró, Traditional Lullaby (Berber / Canary Islands / Latin America); Bartók, For Children, Sz. 42; IV. Allegro Robusto; III. Moderato Sostenuto; “My Darling Isabelle,” by Emily Irons; Bartók, For Children, Sz. 42; V. Allegretto; VI. Kánon: Vivace risoluto; Nen nen korori, Traditional Japanese (Edo region); Bartók, For Children, Sz. 42; VIII. Allegro giocoso
Franghiz Ali-Zadeh (1947–), Shyshtar: Metamorphoses for String Orchestra
Ludwig van Beethoven (1770–1827), String Quartet No. 16 in F Major, Op. 135 (1826)
III. Lento assai, cantante e tranquillo
Antonín Dvořák (1841–1904), Serenade for Strings in E Major, Op. 22
Moderato; Tempo di Valse; Scherzo: Vivace; Larghetto; Finale: Allegro vivace
Karl Doty (1985–), Castles

A few words of introduction/explanation. A Far Cry is a Boston-based, conductor-free cooperative performance group. All of the members are equal, and contribute ideas about repertoire, programming, leadership for individual pieces—I guess you get my drift. Tuesday evening’s Central Park concert featured 18 string players, all of whom stood at their music stands (except for the three cellists). On to the music.

The lullabies were ten very short pieces. It was sometimes difficult to discern the different movements, but I think I nailed it. My descriptions will also be short. The first was folk-like, in a 4/4 meter. The second had a rumbling of background string sounds against a solo violin, all in a slow triple meter, then a gentle 4/4, while the third had a Latin flair. The fourth was livelier; the fifth was gentle. The sixth opened with a viola solo that was then supported by the entire group. The seventh was richer and fuller, though still gentle, and segued into the eighth which was livelier again. The ninth had low strings, then a high violin added. It was gentle, with an Asian flair, and nice pizzicato (plucked strings) playing—a little lengthier, but that’s not a bad thing in a work with so many short movements. The final Bartok movement was jolly without being raucous—it’s a lullabye after all—and ended with a nice little flourish.

The second work on the program was modern sounding, and opened with a solo cello phrase. Then the entire ensemble (a slightly smaller force than in the first work) joined in. I got a sense of wandering or a winding path. A rhythmic section followed, reminding me a bit of a film score. It included rhythmic vocal sounds added (think, “Mambo!” in the West Side Story symphonic dances), then a more serene section. Overall, the piece was pleasant but it didn’t really move me.

The Beethoven was a single movement of a string quartet, arranged for this group. It had a soft, slow opening that morphed into a pretty tune—lovely and a bit haunting. As a standalone, it was interesting. It made me wonder how well it actually fits into the string quartet as a whole.

I’m a big fan of the Dvorak serenade. The first movement was sweet and lilting, almost-but-not-quite sad—hope was there, too. A fuller, richer section followed, then ending softly. The second was a waltz from the get-go, and very pretty it was. Jaunty, with strong chords, in minor, that ended the first section. A calmer second section followed, sort of contemplative, then a classic return to the opening section, ending with strong chords in major this time. The third movement was lively, bright, and fun, with a nice slower section that followed, sweet but without being cloying. Then the tempo picked up again becoming downright jolly. After a slight lull, there was a flourish to finish the movement. The fourth was slow, bordering on sad, but with that underlying hope we’d heard in the first movement. The tempo quickened just a bit, then back to subdued. The fifth movement. Oh, my. Bright and fun with lots of forward movement. Did I mention fun? After a return to some themes from the first movement, embellished, it was off to the races for a fine finish.

Castles gave me the feeling of a folk song. Sort of a contemporary folk song, with an Irish/Scottish lilt. The score called for the instrumentalists to add some choral “ah”s that were interesting. It was a nice enough piece with some charm, and a pleasant enough way to end a fun concert.

This was the third of five Naumburg concerts for the summer season. I plan on being at the next two.

ConcetMeister

Midnight Viols (6/30/22)

 Gotham Early Music Scene

Patricia Ann Neely, Charlie Reed, Arnie Tanimoto, Lisa Terry – viols; Gene Morrow, English concertina and recorder; Ruth Cunningham, soprano vocals, flute, and recorders

English Country Dances from The Dancing Master – John Playford, John Walsh, publishers
Parson Upon Dorothy (1652), John Playford; Come Let’s Be Merry (1719), John Walsh; Epsom Wells, or Wa is me (1696), Playford; Jenny Pluck Pears (1651), Playford
“Awake, sweet love” – John Dowland (1563−1626)
Three Galliards – Anthony Holborne (1545−1602)
Muy Linda ~ The Widowes Myte ~ The Faerie Round
Fantasia à 5 “Ardo” – Thomas Lupo (1571−1627)
Prima parte ~ Seconda parte
“Ye Sacred Muses” – William Byrd (c.1540–1623)
Dance Suite – Willam Brade, a.k.a. Wilhelm Brade (1560−1630)
Der ander Mascharada ~ Ein schottische Tanz ~ Der Rothschencken Tanz
“Can She Excuse My Wrongs” – Dowland
Two Pavans – Holborne – The Cradle ~ Infernum
English Country Dances from The Dancing Master, and Preston’s “24 Dances for the Year 1791”
Fair and Softly (1726), Henry Playford; Long Odds (1791), Thomas Preston; Room for Ramblers (1719), Walsh; Hole in the Wall (1698), Playford

OK, I learned a few things here. The viola da gamba (what the English call a viol) is not of the cello family, even though it looks like a cello. It’s actually in the guitar family. Who knew? Well, now I do and you do, too. The English concertina was described as a baby accordion—dubbed here as an “air viol” since it has a similar range as a treble viol, just with open reeds instead of strings. Does this make sense?

These first country dances were just that. Pieces played for entertainment for folks in the country (plus some for the Elizabethan court). But they were mostly brief and relatively simple, as will be my descriptions.

The first of the four dances was jaunty, for viols and concertina; the second added a flute to the mix, and was more subdued; the third was a gentle triple meter dance; and the fourth was quicker in tempo though it bounced back and forth between slower and quicker, ending with a slow section.

The first Dowland song featured the soprano vocalist, gentle and pleasant, featuring some shifting rhythms.

The galliards had (i) interesting rhythms, (ii) more of the same, and (iii) a jauntier tempo. As explained from the stage the galliard is based on a six-note section/phrase that can be varied between 1-2-3, 1-2-3 and 1-2, 1-2, 1-2, with mixing and matching thrown in for good measure. Those shifting rhythms were in evidence throughout the entire concert.

After a brief re-tuning (the instrumentalists were playing on period instruments that often need more re-tuning), the two sections of the Lupo Fantasia were a bit more complicated, compositionally, with the second part having more varied dynamics.

William Byrd’s piece honored his teacher, Thomas Tallis, and was a mournful dirge for soprano soloist and viols; it was very effective.

The three movements of the Dance Suite that followed were energetic, with pauses at the ends of some phrases, leading into a second movement that began with an introduction played on a soprano recorder, then one viol added, then another, until the entire ensemble was playing. Then the entire thing was essentially reversed, ending with the solo soprano recorder. The third dance featured the entire ensemble in a more subdued tempo.

“Can She Excuse My Wrongs” offered more of Dowland’s shifting rhythms, first in an instrumental rendition, then a second verse, adding the soprano vocalist.

The first of the two pavans was slow and stately, essentially three repeated sections, each of which was varied slightly. The second pavan was fuller and richer, compositionally, adding additional interest. This might have been my favorite piece on the program.

The last four country dances were similar to the dances that opened the afternoon. First up was (after a mini train wreck and a restart) a gentle and pleasant dance with the concertina added to the final section. The second began with two recorders and a tenor viol—then the full ensemble (sans concertina, as the concertina player was one of the recorder players (confused yet?)) joined the recorders. It was a lovely piece. The third was brighter in tempo, and had a little more depth as a composition. The final dance was recorder and two viols, then the full ensemble (with the concertina player back on the concertina) all in a gentle, lilting rhythm.

Alas, this was the final concert in Gotham Early Music Scene’s Midtown Concerts season. They will pick up again on Thursday, Sept. 8. I’ll probably be there.

ConcertMeister