Rite of Summer Music Festival (8/26/23)

PUBLIQuartet – Curtis Stewart, violin; Jannina Norpoth, violin; Nick Revel, viola; Hamilton Berry, cello

No printed program, so I did my best with note taking.

Four-song medley (I didn’t know any of them) that included Wild Women Don’t Get the Blues
Prelude for Piano – Julia Perry – 1946
At the Purchaser’s Option – Rhiannon Giddens – 2016
Sixfivetwo – Henry Threadgill – 2018
Space Hero – Nick Revel (World premiere)
Tokyo 6.1 – Hamilton Berry (World premiere)
American Quartet (final movement) – Antonin Dvorak

The stated goal of this string quartet was to expand the horizons of the string quartet repertoire. They succeeded. I liked some of it—emphasis on some.

The first medley had tapping of/on the instruments followed by bowing from cello, viola, and two violins, in that order. Also pizzicato playing (plucked strings). It sounded like down-on-the-farm folk music that also included spoken text and singing of lyrics.

Prelude for Piano had previously been expanded for orchestra, if memory serves. Here, it was reimagined for string quartet. It had a slow opening, sonorous and calm. Per an announcement from the stage as an introduction, it also included an improvised section. I couldn’t tell where or when.

At the Purchaser’s Option included whispered and sung text in a piece that had a feeling of folk music plus the blues. Not surprising, since the impetus behind the piece involved a woman who could be sold as a slave. The purchaser could choose the woman, or her daughter, or both. Sadful folk music/blues, indeed.

Sixfivetwo flipped the two violinists. Not a biggie. The first violinist played second violin part; the second, the first. I just thought I’d note it. It often happens in string quartets. Who knew? Now you do. This piece was written for the Kronos Quartet. The quartet I heard attended a symposium with the Kronos Quartet. This quartet was thrilled. It’s always great to experience living legends. The piece had a pizzicato opening and also featured improvisation (where?/when?), with few real tunes (to my ear), seeming like a lot of rambling. At least there were varied tempos and volumes.

Space Hero was very experimental, including an electronic track that the quartet had to sync with. There was a boisterous section in the middle that I really liked, though I felt as though I was on a rambling journey. But from where to where?

Tokyo 6.1 referenced an earthquake that the cellist experienced there. The piece was also modern/experimental. And that’s all I’m saying.

OK, I liked the repurposed Dvorak. It had tunes I recognized. It was a jazzed-up version of that last movement of his American Quartet. Dvorak had a strong connection to the USofA, in New York City and in Iowa (look it up). I liked this as the ending for the concert and the Rite of Summer’s two-concert series. I’m planning on attending next summer’s Rite of Summer Festival.

ConcertMeister

US Open Fan Week (8/23/23)

Well, that’s misleading, on several levels. Not a concert but definitely free. In my previous, previous job, proofreading for Barclays, I was often called upon to review press publications for the US Tennis Open, in Queens. Maps, schedules, etc. Barclays was a major supporter. I never dealt with Fan Week.

This year, being fully retired, I gave Fan Week a try. I enjoyed myself. Officially, Fan Week is 8/22–27. I went on 8/23 and had a great time. I saw many top-notch players: David Goffin, Dennis Novak, Vasek Popisil, Paul Martinez, Ons Jabeur, Marketa Vondrousova, Gael Monfils, Stan Wawrinka, Gauthier Onclin, and Marco Trungelitti. I’m not making this up, you know.

The weather was glorious, though I probably should have used a bit more sunscreen than I did. The campus is massive, and I only saw a small part of it. I saw medium-sized courts (though even those were more intimate than what I’m used to seeing on TV). I saw really small-audience courts (obviously, all of the courts are the same size). I even saw the Louis Armstrong Stadium court which was massive and offered much-needed shade.

I only saw the ends of various sets of various matches, since I wanted to experience as much of the experience as I could.

As expected, food options were very expensive, but I got a great artichoke spread with cannellini beans and chickpeas for lunch. Reasonable price and very filling. I skipped the beer options. Way overpriced.

Am I glad I went? Yes. Will I do it again? Most likely not. That said, it continues through Sunday, 8/27. Be forewarned that Saturday, 8/26, is Kids’ Day (not that there’s anything wrong with that). If you like tennis and would like to see some pros up close and personal for free, give it your consideration.

ConcertMeister (aka NoncertMeister)

 

Naumburg Orchestral Concerts (8/1/23)

East Coast Chamber Orchestra (ECCO)

Opening fanfare – Tiha Voda Breg Roni, ‘Quiet water wears down a shore’, world premiere (2023) – Milica Paranosic; performed by The Westerlies

Divertimento for String Orchestra in D major, K.136, “Salzburg Symphony No. 1” (1772) – I. Allegro, II. Andante, III. Presto – Wolfgang Amadeus Mozart (1756–91)

Danzas de Panama, (1948) – I. Tamborito, II. Mejorana y Socavón, III. Punto – Allegretto con grazia, IV. Cumbia y Congo – William Grant Still (1895–1978)

Remember (2000/arr. 2023), world premiere – Eleanor Alberga (b. 1949)

Serenade for Strings in E flat major, Op. 6, (1892) – I. Andante con moto, II. Allegro ma non troppo e grazioso, III. Adagio, IV. Allegro giocoso, ma non troppo presto – Josef Suk (1874–1935) 

This was the fifth and final concert of the 2023 Naumburg Orchestral Concerts series this year. I was lucky enough to attend all five—even luckier was that there was no rain! ECCO is a string ensemble that performs with various ensemble members assuming the leader role in each different piece. They make it work very well. 

As usual this season (the 100th anniversary of the Naumburg bandshell in NYC’s Central Park), the concert began with a brass fanfare (two trumpets and two trombones, plus bells, played by one of the brass players). This was my least favorite of this season’s fanfares. It was modern, only slightly fanfare-esque, and long. Fortunately, the rest of the concert was more enjoyable for me. 

The first movement of the Mozart was bright and chipper (and familiar), with a mix of phrases—minor key/major key and fairly predictable. The second was calmer and also predictable, though it had a little more depth than I usually associate with Mozart. The third was reminiscent of the first—interesting, if yet again familiar—finishing with a bright button. 

The first movement of the second piece was rhythmic and fun, with a slower section that followed before going back to the fun, then ending quietly. The second was sedately dance-like (hello! see the title of the work) with a gentle forward motion that quickened rhythmically before going back but finishing on an up note. The third movement was quiet and enjoyable, sometimes slightly sweeping us along, and building in depth and intensity at times. Well! The fourth was a quick, bright fun romp with touches of humor and a mad dash to the finish. 

Ms. Alberga’s work was essentially a song without words—a string quartet reimagined for a string orchestra. It was a somber remembrance without being maudlin. Easily listenable even though it used modern harmonies and phrasing. 

OK, I’m a sucker for a string serenade (think Dvorak, think Tchaikovsky). The first movement of the Suk was sweet, full, gentle, and well constructed, in a good way. [Totally irrelevant side note: I saw my first firefly of the summer!] The movement was lovely. The second was quiet but jolly, smileful but with deeply felt phrases that didn’t lose their lovely lilt. The third movement was slower, calmer, and somehow richer but airier. I know, I’m all over the map, but that’s what I heard and experienced. It was soulful, and the cellos had a wonderful singing line in the middle. I can easily see this as being a standalone movement. The final movement was bright and cheerful but still with some heft and depth. 

I’m already looking forward to next season.

ConcertMeister