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