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