A New Season (9/14/23)

Gotham Early Music Scene (9/14/23) 

On Paganini’s Trail ~ H.W. Ernst & More
Edson Scheid ~ period violin

Six Polyphonic Studies – Heinrich Wilhelm Ernst (1812–1865)
I. Rondino Scherzo – Con spirito; II. Allegretto – Con grazie; III. Terzetto – Allegro moderato e tranquillo; IV. Allegro risoluto; V. Air de Ballet – Allegretto con giusto; VI. Variations on The Last Rose of Summer

Grand Caprice for Solo Violin (after Schubert’s Erlkönig), Op. 26 – H.W. Ernst

Rondo from Duo in G Major for Violin and Viola, KV 423 – Wolfgang Amadeus Mozart (1756–1791) Arranged for solo violin by Edson Scheid 

Heinrich Wilhelm Ernst was said to be the successor to violinmeister Niccolò Paganini. I know very little about Heinrich Wilhelm Ernst. I know even less about period violins and their gut strings. I do know that the tuning of Mr. Scheid’s strings was a little off at the beginning of his performance, but warmed up a little as he progressed. 

The first movement of the first work had a pleasant, lilting theme – spirited but not overly so, with a contrasting slower section – technically challenging (this was true of all of the pieces on the program). The second movement was, indeed, graceful and had a fun ending. The third was gentler yet still using fancy fingerwork—remember, this was solo violin, no backup support. The fourth was fancy and quite brisk, with some touches of dramatic flair. The fifth was graceful again, but not sweetly saccharine. The final movement was a recognizable tune (to me) given five variations. Yes, the tune was varied but it never got lost. 

The treatment of Erlkönig was a very dramatic rendition of the (familiar to me) Schubert song. Here, H.W. Ernst (and Mr. Scheid) managed to combine the two voices of the song into a solo violin piece. It was quite a tour-de-force. (By all means, seek out a version of Erlkönig on line.) 

The same can be said of Mr. Scheid’s treatment of Mozart’s duo. It was a bright and pleasant performance of Mozart’s repurposed music.

ConcertMeister

Musicals in Mufti

Musicals in Mufti* (9/10/23)

The Lieutenant
Book, music, and lyrics by Chuck Strand, Gene Curty, & Nitra McCauliffe

Full disclosure, I was comped for this performance (which usually runs $49–$59 a ticket).

The plot is based on the trial of Lt. William Calley from the My Lai massacre. It was essentially a rock opera (not my favorite type of show, even though I did a production of Jesus Christ Superstar; hey, an actor has to earn a living.) All eleven vocalists, as well as all five instrumentalists were amplified in a very small house. I guess that was to evoke the mid-’70s vibe from the original production. It was far too loud for me, especially in that venue.

All of the performers were great. The plot was a gimme. We knew he was found guilty before the show even began. But was he guilty? Seeds of doubt were sown. Calley even screamed, “Not guilty!” (Shades of Chicago, and both shows were from 1975.)

Am I glad I went? Yes. I have a great love for the York Theatre. I did many shows there, and they produced my one-and-only Broadway production—Sweeney Todd—which opened at Circle in the Square on Sept. 14, 1989.

Mufti (per the program I was given): In street clothes, without the trappings of a full production. That said, all were in all black. Some were off book, the staging and choreography were minimal, though most had their scores (see rock opera) in their hands at times. They had very little rehearsal time, and they did a phenomenal job.

ConcertMeister