Naumburg Orchestral Concerts (7/25/23)

Nosky’s Baroque Band (featuring Aisslinn Nosky, violin)

Opening Fanfare: Fanfare for a New Era
Brian Raphael Nabors – World Premiere (2023)

Francesco Geminiani – (1687–1762), Concerto Grosso no. 10 in F major, (after Corelli Op. 5), (1726)
Preludio, Allemanda, Sarabanda, Gavotta, Giga

Antonio Vivaldi – (1678–1741), Concerto for two violins in A minor, RV 522, (1711)
Allegro, Larghetto e spritoso [sic], Allegro 

George Frideric Handel – (1685–1759), Concerto Grosso Op. 6, no. 1 in G major, (1739)
Tempo Giusto, Allegro, Adagio, Allegro, Allegro 

Antonio Vivaldi – (1678–1741), Concerto for cello in D minor, RV 405, 
Allegro, Adagio, Allegro

Arcangelo Corelli – (1653–1713), Concerto Grosso Op. 6, no. 8, (1714)
Vivace, Grave, Allegro, Adagio, Vivace, Allegro, Pastorale

Henry Purcell – (1659–1695), Suite from Fairy Queen, (1692)
Preludio, Hornpipe, Rondeau, Jigg, Chaconne

Johann Sebastian Bach – (1685–1750), Concerto for violin in A minor, BWV 1041, (1730)
Allegro, Andante, Allegro Assai 

As usual for this season, a brass fanfare opened the concert. Fanfare for a New Era was a brass quintet (two trumpets, two trombones, and French horn), and it was definitely a fanfare, with a few twisting harmonies plus some softer, lyrical phrases. Modern, but listenable.

Because a harpsichord was used throughout, the strings all tuned to it. The simple, gentle opening of the Geminiani segued directly into the second movement, which had a pleasant dance feel. As a side note, all of the movements of all of the pieces were played with little to no breaks between them (with the exception of some that had tuning before a new movement). The third movement was gentler and pleasant, while the fourth was lively, but not too brisk. The word jaunty popped into my head. The final movement was also jaunty, providing a nice cap to the ending.

The Vivaldi was brisk from the get-go, and jolly. The second movement was sedate but not somber, with very spare writing—almost chamber writing within a chamber orchestra—then the full ensemble, in a much brisker section, rounded out the piece.

The third work was solid and full, with a theorbo (that’s that lute on steroids) added into the mix. The Allegro was very familiar and fun, and would probably be recognized by most of you, while the third movement was slower and almost somber. The fourth had fugal entries, until the full ensemble was in gear, with a few phrases that seemed to mimic the second movement. The piece finished with a dance-like movement.

The second Vivaldi piece, also including the theorbo, was quick and a lot of fun, though I wasn't particularly aware of the cello being featured. The second movement was more somber and almost haunting. The third was brisk and solid, with sort of a grounding depth.

The fifth work opened sedately, then quickly turned brisk. The second movement, calmer, deep and rich, was followed with a third that was bright, though still having a grounded, deep feeling. The fourth was pleasantly dance-like, and then the next three movements pretty much blended together, but were also pleasant.

The Purcell began with a bright and full feeling, followed by a second movement that had slightly repetitive phrases. The third was gentler, with a fairly full sound, and the fourth was a jolly Jigg. The fifth was dance-like, in triple meter—like a quick waltz, with a more sedate middle section—before ending with a mild bang.

The last work on the program opened with a very full sound in a very familiar piece. The solo violin was featured nicely in the lively and fun movement. The second movement was calm and gentle, once again with the violin front and center, and then an almost sad feel and sound. The third was pretty much off to the races, but not in a frantic way at all. What a happy way to end a concert.

ConcertMeister

Rite of Summer Festival (7/22/23)

Dublin Guitar Quartet

Bryce Desner: Ahey
Marc Mellits: Titan – (Selected Movements TBC)
Wojciech Kilar: Orawa
Gyorgy Ligeti: Inaktelki nóták
Philip Glass: Piano Etudes No. 2, 9 & 20

OK, I knew going in that this would not be in my wheelhouse. I’m not big on guitar music. I’m not that big on modern classical music, either. That said, I liked it better than I thought I would. I’m also not sure that I heard the works listed above in that order, since (even though they announced most of them from the stage), there was not a printed program, and I didn’t have access to the QR code version. I wish this would change.

All of these pieces were composed for groups that were not a guitar quartet—choral, symphony, string quartet, etc. And I don’t know who arranged them.

They were all very similar in structure and form. Lots of frantic strumming interspersed with a few (very few) quieter and more lyrical sections. The frantic strumming meant that there were multiple re-tunings (both between works and between movements within a work). From the website, I learned that I would be hearing eight-stringed and twelve-stringed guitars, but that was never addressed nor explained from the stage.

Am I glad I went? Yes. It’s important for me to expand my horizons. Will I choose more carefully next time? Possibly.

There’s one more concert scheduled for this season, and I hope to be there. I was wearing my Rite of Summer t-shirt (as I always do), was recognized by a co-founder, and was gifted a new t-shirt with an updated logo. I’ll wear the new one to the next concert.

ConcertMeister

Naumburg Orchestral Concerts (7/11/23)

A Far Cry 

Opening Fanfare: eGALitarian Brass, World Premiere (2023) – Anthony Davis
Un día Bom (2021) III. Arum dem Fayer, arr. Alex Fortes (2023) – Osvaldo Golijov (b. 1960)
Banner (2014) – Jessie Montgomery (b. 1981)
The Glittering World (2023) – Juantio Becenti (b. 1983)
String Quartet no.12, Op.96, “American” (1893) – Antonín Dvořák (1841–1904), arr. by Sarah Darling (2017)

Fun fact. If a Fish Kept His Mouth Shut, He Wouldn’t Get Caught! is the subtitle of the opening fanfare.

A Far Cry is a Boston-based chamber orchestra.

The fanfare was for a brass quintet – eGALitarian Brass, all female players, trumpet, French horn and three (3!) trombones. It was modern jazz and quite enjoyable. As usual for this season, it was a world premiere celebrating the centenary of the Naumburg bandshell.

The next three pieces were all by American composers. The Golijov had a folk-song feel, based on Jewish themes. It was calm and comforting, then picked up in tempo, feeling like a brief dance before returning to the opening, both in style and musical phrases.

With slightly smaller forces, the Montgomery (second time I’ve heard one of her works in this season’s Naumburg concerts) was a paraphrase of the Francis Scott Key Banner, but sort of deconstructed, then snippets of other countries’ anthems (per remarks from the stage) that were mostly lost on me. It seemed to meander a bit, without really capturing my attention too well before moving quickly back to the Star-Spangled Banner, possibly to reel us back in.

The Becenti had a bright and brisk opening, then low strings introduced a second section that was slightly sedate, then switching to something a little more energetic and more interesting—then went into full meandering mode. The piece was interesting but not compelling.

I love the Dvořák; it’s very familiar to me, and one of my favorites. The first movement was brisk but a little subdued, tuneful, sweeping and lovely. Not surprisingly, this entire piece is much more structured (in terms of linked phrases and sections) than the three works that preceded it. The second movement was calmer, yet still tuneful, easily listenable, and ending with a very nice solo cello line. The third was bright and jolly, though with a touch of solemnity and density. It ended with a feathery quietude. The fourth was rollicking, with an underlying perpetual motion feel. While including a brief legato interlude or two, the effervescence could not be quashed. A great way to end a fun outdoor concert. Weather permitting, I’ll be going back on July 25th.

 ConcertMeister

Fond Farewells (6/29/23)

Marc Bellassai 

This was a fun concert and, indeed, a fond farewell to the Gotham Early Music Scene Midtown Concerts season. Mr. Bellassai is a harpsichordist and sometime actor. Here’s the program. 

From the Fitzwilliam Virginal Book: Præmbulum, [Antiphon], In Nomine – John Bull (1562–1628)

Loth to Depart, Fantasia – Giles Farnaby (ca. 1563–1640)

From My Ladye Nevells Booke: The Battell
The souldiers sommons ~ The marche of footemen ~ The marche of horsmen ~ The Irishe marche ~ The bagpipe and the drone ~ The battells be joined ~ [Spoken interlude] – The retreat/The buriing of the dead – William Byrd (ca.1540–1623)

Suite in C minor – Allemande ~ Gigue ~ Courante ~ Sarabande – Johann Jakob Froberger (1616–1667)

Capriccio B-dur sopra la londananza del fratello dilettissimo (BWV 992) – Arioso: Adagio ~ Ist eine Vostellung unterschiedlich Casuum ~ Adagiosissimo ~ Allhier kommen die Freunde ~ Aria di Postilione: Allegro Poco ~ Fuga – Johann Sebastian Bach (1685–1750)

Well, that’s a lot of word salad. But several of the pieces were about bidding a fond farewell—to a brother, to soldiers on the battlefield, to … well, people. We all have them. 

On to the music. A lot of it was very similar and repetitive. The harpsichord has limited volume variations, so the rest is done with density of chords and fast fingering (think Vivaldi’s Four seasons, but for keyboard). 

The first work was very gentle. The Antiphon was sung by the harpsichordist. He is a fine harpsichordist. The second movement was also gentle (see similar and repetitive, above). 

The second grouping was similar to the first (see above). 

The eight movements of The Battell proved a little more interesting, in that the performer announced each movement. Unfortunately, the announcements were sometimes garbled, though the music was just fine. My favorites were The marche of footemen; The Irishe marche; and The battels be joined. The buriing of the dead had a brief chant before the final dirge, which was oddly celebratory. Obviously, these were fond farewells. 

The Suite was a little slow, then a little more energetic, then had varied phrases, and finished solidly very serious. 

The Cappriccio, once again, had spoken introductions for each movement, with a little more success this time around. My favorite movements were the Adagiosissimo (is that a great word, or what?), the Aria di Postillone (mimicking a hunter’s horn), and the Fuga, which was energetic and bright—a great way to end the work, the concert, and the season. 

The new season begins on Sept. 14, 2023. Sept. 14 is very special to me, since it marks my 1989 (one and only) Broadway debut. 

See you next season, for this series.

ConcertMeister

Naumburg Orchestral Concerts (6/27/23)

Bethesda Bliss / Celebratory Fanfare – Colin Jacobsen (b. 1978) – World Premiere (2023)
L.E.S. Characters – Jessie Montgomery (b. 1981), featuring Masumi Per Rostad, viola – NYC Premiere (2021) – The Can Man; The Poet; Mosaic Man; Garbage Art; The Can Man (Reprise)
Romanian Folk Dances, (1915–17) – Béla Bartók (1881–1945), arr. Alex Fortes
Source Code for string orchestra (2013) – Jessie Montgomery (b. 1981)
Romanian Rhapsody no. 1 in A major, Op.11 (1901) – George Enescu (1881–1955), arr. Ljova

The Knights are a Brooklyn-based cooperative chamber orchestra. Alas, Colin Jacobsen (one of the co-founders of The Knights) was indisposed and not able to conduct. The assistant conductor (aka understudy) did a fine job.

The fanfare was great. Each of this summer’s concerts features a fanfare to celebrate the 100th anniversary of the Naunburg bandshell in Central Park. It featured brass, strings, harp, and winds and was calmly boisterous. I particularly liked the understated use of the snare drum.

Of the five movements included in L.E.S. Characters, the first movement was modern but accessible, with the viola featured prominently. The second was calm, while featuring fun percussion rhythms and lyrical writing for the viola. The third was quicker and more rhythmic while still being somewhat subdued—almost Debussy-like. The fourth had a garbage can instrument (I’m not making this up, you know!) introduction that certainly got our attention. It was set against lyrical viola and strings writing. The final movement was not a direct copy of the first, but it definitely had the same force and feel. This piece was an accurate portrayal of NYC’s Lower East Side.

The Bartok was rustic, hearty and very melodic (emphasis on very)—a nice mixture of folk themes, one very heartfelt, the next rhythmic and full, building into a fast tempo for the finale.

After tuning (possibly necessary for the next piece?), unison strings began Source Code. Then dissonances and harmonies were introduced, followed by a plaintive solo line for the violin, then calm, slightly lulling full strings, then finishing as it began. It was interesting but not compelling, to me.

More tuning (because of the Montgomery piece?). The Enescu was very familiar to me—pleasant, almost peasant-like, building in volume, tempo, and intensity. Then I just sat back and enjoyed the ride. Seek out an online version if you want to experience it for yourself. 

A great concert that included a world premiere and a New York City premiere. By living composers, one of whom was in the house. How lucky am I?

ConcertMeister