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