Stella Chen, violin; Andrew Hsu, piano
Chaconne from the Partita in D minor – Bach
Fantasie in C major, D. 960 – Schubert
Abendlied, arr. Joachim – Schumann
Alas, another fine season has ended. These free, live concerts featuring students from The Juilliard School will resume in September. I’ll try to give a heads up for their return. Wednesday’s concert began with the Bach. Though there was no printed program, I was able to grab the listing from WQXR’s website. So even though my notes for the first piece referred to the slightly sad sounding, but lovely (Sarabande?) solo violin composition, it was indeed a Chaconne. The extended solo section—no chords or double stops—then added some of those and increased in intensity, volume and liveliness. It was quite lengthy and very impressive.
Ms. Chen was then joined by Mr. Hsu for the Schubert. After playing the first piece from memory, both played from scores here, old-fashioned for her and new-fashioned (tablet) for him. It began with a soft piano section joined by a simple violin tune that was very sweet, in a slightly haunting way, set against a rippling accompaniment. Next was a switch to a dance section, possibly folk tune based, that was fun to listen to, with a few humorous passages thrown in. There was a little bit of everything—a piano interlude leading into what seemed to be a song/vocalise with three little verses, a pizzicato variation set to a running accompaniment with lots of scales for both piano and violin—in short, lots and lots of musical ideas explored. A nice work nicely performed.
Schumann’s Abendlied was gentle and lovely, relatively simple and straightforward. And touching. It was the perfect send-off to a wonderful season. Thank you, Juilliard and WQXR.
ConcertMeister
Hmm, a double-posting. Which one do you like best?!?
Tuesday, July 3, 2018
Naumburg Orchestral Concerts (Times Two) – (6/12/18; 6/26/18)
June 12 was the opening concert of Naumburg’s 113th season, and it was a perfect evening for an al fresco performance by Ensemble LPR, Ankush Bahl, conductor; Tessa Lark, violin.
Fanfare & Fugue (for a Fish) (2018) World Premiere – David Handler (1980–)
Aurora (1999) East Coast Premiere – Thea Musgrave (1928–)
The Red Violin: Suite for Violin and Orchestra (1999) East Coast Premiere – John Corigliano (1938–)
Serenade for Strings in C Major, Op. 48 (1880) – Pytor Ilyich Tchaikovsky (1840–1893)
Clair de Lune (1890), L. 75, (arr. Lipton) – Claude Debussy (1862–1918)
The first piece was a sort of atonal throwback to an American band concert piece. It was interesting music with a touch of whimsy (a nice harp/marimba duet) leading into a rather hefty pizzicato section for all of the strings. A good opener. The second piece was for strings only—well, the birds joined in from time to time—and was also fairly modern/atonal and somewhat static, although there was a build of intensity, rhythm, and volume before retreating to a subdued ending. I know very little about the film that Mr. Corigliano wrote the score for, which won the Academy Award for Best Original Score. In the suite performed here, the solo violin sections set against an orchestral backup were some of the best parts. Also very effective was pairing the violin and harp with string accompaniment. The interruption of the percussion was both startling and energizing. The piece was enjoyable and Ms. Lark did a fine job.
After intermission, the Tchaikovsky, one of my favorite pieces, was unabashed romantic fun. In four movements, the first had a haunting grandeur in the opening theme that then transformed into bubbling joy. The second movement was pleasant and lilting from the very beginning. The movement chugs along and it’s just right, even with touches of rubato (where the tempo is stretched and adjusted ever so slightly). The third movement sets out to tug at your heartstrings and succeeds. The segue into the fourth movement was a thing of beauty, a slow build into a cheerful (almost relentlessly so) section and then bam! a return to that grand opening theme brought us full circle. I loved it and the audience did too.
In a rather clever bit of programming, Clair de Lune was almost a programmed encore. It was a lovely way to end a lovely evening.
Two weeks later, same venue but with a different orchestra, Orpheus Chamber Orchestra.
A Midsummer Night’s Dream, Op. 21/61 (1826–1843), (arr. Andreas Tarkmann) – Felix Mendelssohn (1809–1847)
Summer Night, Pastoral Intermezzo for Strings, Op. 58 (1945) New York Premiere – Othmar Schoeck (1886–1957)
String Quartet in F Minor, Op. 95 “Serioso” (1810), (arr. Gustav Mahler) – Ludwig van Beethoven (1770–1827)
The Mendelssohn is relatively well known, at least parts of it, and this suite in ten movements led me into a sort of stream-of-consciousness note taking. It began with calm, serene writing leading into a sprightly section, then full, sweet, and charming—including a tell-tale hee-haw, hee-haw!—before returning to the opening motif. The second movement was bright and cheerful, with forward-driving rhythms (plus those chirping birds from two weeks ago, too) and then a clever ending. The third was fuller with horns, percussion, and a fuller winds presence. The fourth was like a song, mostly in the winds and some of the lower strings. The fifth continued with driving rhythms but also slightly gentler, like a little breather, and then a little dance. The sixth was calmer and legato, a chorale in the horns and lower strings, although the higher strings added a few accents leading into lovely longer phrases. And then the seventh—the Wedding March (is everybody humming along?). The eighth was a little darker, with bassoon, timpani, and clarinets and then full orchestra. The ninth had driving rhythms but was not overly loud or harsh. The tenth mirrored the calm, serene chords from the opening. It was nice to hear all of the movements together.
With all of the strings (except the cellos) standing, the Schoeck was slightly modern but still very tonal, with a mostly calm opening that built in volume a little, fairly pleasant and unassuming. That might sound like a put-down but really, it isn’t. It was a pleasant summer night diversion.
The Beethoven had a fairly aggressive opening with a mix of louder and softer dynamics and with a richness and heft associated with Beethoven and then a lovely ending. The second was calmer but with enough rhythmic energy to earn its Allegretto moniker, though it did end with a slightly introspective feel. The third was very energetic, including a dramatic section that then calmed somewhat and was straightforward, though a few playful touches were included as well. The final movement began calmly but also had rhythmic motion and accents not quite where you expected them. A brief coda rounded out the piece and the evening.
For my New York peeps, the next Naumburg concert is Tuesday, July 10, when the Boston-based chamber orchestra, A Far Cry, will be performing.
Fanfare & Fugue (for a Fish) (2018) World Premiere – David Handler (1980–)
Aurora (1999) East Coast Premiere – Thea Musgrave (1928–)
The Red Violin: Suite for Violin and Orchestra (1999) East Coast Premiere – John Corigliano (1938–)
Serenade for Strings in C Major, Op. 48 (1880) – Pytor Ilyich Tchaikovsky (1840–1893)
Clair de Lune (1890), L. 75, (arr. Lipton) – Claude Debussy (1862–1918)
The first piece was a sort of atonal throwback to an American band concert piece. It was interesting music with a touch of whimsy (a nice harp/marimba duet) leading into a rather hefty pizzicato section for all of the strings. A good opener. The second piece was for strings only—well, the birds joined in from time to time—and was also fairly modern/atonal and somewhat static, although there was a build of intensity, rhythm, and volume before retreating to a subdued ending. I know very little about the film that Mr. Corigliano wrote the score for, which won the Academy Award for Best Original Score. In the suite performed here, the solo violin sections set against an orchestral backup were some of the best parts. Also very effective was pairing the violin and harp with string accompaniment. The interruption of the percussion was both startling and energizing. The piece was enjoyable and Ms. Lark did a fine job.
After intermission, the Tchaikovsky, one of my favorite pieces, was unabashed romantic fun. In four movements, the first had a haunting grandeur in the opening theme that then transformed into bubbling joy. The second movement was pleasant and lilting from the very beginning. The movement chugs along and it’s just right, even with touches of rubato (where the tempo is stretched and adjusted ever so slightly). The third movement sets out to tug at your heartstrings and succeeds. The segue into the fourth movement was a thing of beauty, a slow build into a cheerful (almost relentlessly so) section and then bam! a return to that grand opening theme brought us full circle. I loved it and the audience did too.
In a rather clever bit of programming, Clair de Lune was almost a programmed encore. It was a lovely way to end a lovely evening.
Two weeks later, same venue but with a different orchestra, Orpheus Chamber Orchestra.
A Midsummer Night’s Dream, Op. 21/61 (1826–1843), (arr. Andreas Tarkmann) – Felix Mendelssohn (1809–1847)
Summer Night, Pastoral Intermezzo for Strings, Op. 58 (1945) New York Premiere – Othmar Schoeck (1886–1957)
String Quartet in F Minor, Op. 95 “Serioso” (1810), (arr. Gustav Mahler) – Ludwig van Beethoven (1770–1827)
The Mendelssohn is relatively well known, at least parts of it, and this suite in ten movements led me into a sort of stream-of-consciousness note taking. It began with calm, serene writing leading into a sprightly section, then full, sweet, and charming—including a tell-tale hee-haw, hee-haw!—before returning to the opening motif. The second movement was bright and cheerful, with forward-driving rhythms (plus those chirping birds from two weeks ago, too) and then a clever ending. The third was fuller with horns, percussion, and a fuller winds presence. The fourth was like a song, mostly in the winds and some of the lower strings. The fifth continued with driving rhythms but also slightly gentler, like a little breather, and then a little dance. The sixth was calmer and legato, a chorale in the horns and lower strings, although the higher strings added a few accents leading into lovely longer phrases. And then the seventh—the Wedding March (is everybody humming along?). The eighth was a little darker, with bassoon, timpani, and clarinets and then full orchestra. The ninth had driving rhythms but was not overly loud or harsh. The tenth mirrored the calm, serene chords from the opening. It was nice to hear all of the movements together.
With all of the strings (except the cellos) standing, the Schoeck was slightly modern but still very tonal, with a mostly calm opening that built in volume a little, fairly pleasant and unassuming. That might sound like a put-down but really, it isn’t. It was a pleasant summer night diversion.
The Beethoven had a fairly aggressive opening with a mix of louder and softer dynamics and with a richness and heft associated with Beethoven and then a lovely ending. The second was calmer but with enough rhythmic energy to earn its Allegretto moniker, though it did end with a slightly introspective feel. The third was very energetic, including a dramatic section that then calmed somewhat and was straightforward, though a few playful touches were included as well. The final movement began calmly but also had rhythmic motion and accents not quite where you expected them. A brief coda rounded out the piece and the evening.
For my New York peeps, the next Naumburg concert is Tuesday, July 10, when the Boston-based chamber orchestra, A Far Cry, will be performing.
Sunday, June 24, 2018
The End (6/6/18)
Not me, sillies. This was the final Midday Masterpieces concert in WQXR's series for this year.
Stella Chen, violin; Andrew Hsu, piano
Bach: Chaconne from the Partita in D minor
Schubert: Fantasie in C major, D. 960
Schumann: Abendlied, arr. Joachim
Okay, for the first (unaccompanied) piece, I wrote 'sarabande?'—well. I was close. It was a chaconne. Both are relatively ancient dance forms. It was slightly sad sounding but lovely. There was an extended section without chords that then morphed into double stops and an intensity of volume and liveliness.
It was lengthy and quite impressive.
Ms. Chen played the Bach from memory but used a score for the Schubert. It had a soft opening from the piano that led to a sweet, simple violin tune that was slightly haunting, set against a rippling accompaniment. We next went to a dance section (folk song–based?) that was fun to listen to, with a few humorous passages thrown in. Then there was a little bit of everything—a piano interlude; what sounded like a three-verse song; a pizzicato variation set against a running accompaniment with lots of scales—really, lots and lots of musical ideas explored.
The Schumann was gentle and lovely. Simple and straightforward. And touching.
I look forward to the new series season in September. What a great showcase and performance venue for these talented Juilliard students. Thank you, WQXR.
ConcertMeister
Stella Chen, violin; Andrew Hsu, piano
Bach: Chaconne from the Partita in D minor
Schubert: Fantasie in C major, D. 960
Schumann: Abendlied, arr. Joachim
Okay, for the first (unaccompanied) piece, I wrote 'sarabande?'—well. I was close. It was a chaconne. Both are relatively ancient dance forms. It was slightly sad sounding but lovely. There was an extended section without chords that then morphed into double stops and an intensity of volume and liveliness.
It was lengthy and quite impressive.
Ms. Chen played the Bach from memory but used a score for the Schubert. It had a soft opening from the piano that led to a sweet, simple violin tune that was slightly haunting, set against a rippling accompaniment. We next went to a dance section (folk song–based?) that was fun to listen to, with a few humorous passages thrown in. Then there was a little bit of everything—a piano interlude; what sounded like a three-verse song; a pizzicato variation set against a running accompaniment with lots of scales—really, lots and lots of musical ideas explored.
The Schumann was gentle and lovely. Simple and straightforward. And touching.
I look forward to the new series season in September. What a great showcase and performance venue for these talented Juilliard students. Thank you, WQXR.
ConcertMeister
Tuesday, June 19, 2018
Songbook (5/21/18)
Preston Max Allen, composer/lyricist
A quick recap—Songbook is a series that features new voices for the theater, composers and lyricists who are just starting out, or have written new works, some of which have attained a modicum of success. As an audience, we are exposed to the works of new artists, ably assisted by performers, many of whom are currently appearing on Broadway, all volunteering their time for this worthy cause. At this particular performance, I heard cast members of Frozen, Wicked, and Hello, Dolly!
On to the music. The first four songs were from We Are the Tigers, described by Mr. Allen as a cheerleader murder mystery. Set to a lite rock feel, we meet the head cheerleader in one song and are introduced, in a second song, to the team mascot who really, really wants to be on the cheerleading squad. The third, Skype Tomorrow was a duet between best friends who are going to be spending some time apart—and are concerned that it won’t actually happen as expected. And the fourth has the girls actually dealing with the murder of one of their own. It was interesting though a bit convoluted.
A stand-alone song followed, Generic Princess Song, that was extremely funny. It was probably my favorite song of the evening.
Next were five songs from Never Better, a show about a woman dealing with living with cancer. There was a good mix of a group number, solos, and a duet. The songs were nice, in general, but it was hard to wrap my mind around the subject matter.
One song from The Legend of Carrie White had a character essentially recounting the story line of Carrie, as a younger and older version of her character, performed by two singers (older and younger) at the same time. It was a little too strange for me.
The evening ended with a pair of songs from Agent 355, the story of an unidentified female spy during the Revolutionary War, performed in a lite rock and then a heavier rock style. All in all, I liked the music from all of the shows well enough without being bowled over. Except for that Princess song!
Kudos, as always, to John Znidarsic, the man with the red hat, who has been at the helm of Arts and Artists of Tomorrow (Songbook’s official title) for the past 27 years. This was the last of this year’s series—the 28th season will kick off at the end of September. I plan to be there.
ConcertMeister
A quick recap—Songbook is a series that features new voices for the theater, composers and lyricists who are just starting out, or have written new works, some of which have attained a modicum of success. As an audience, we are exposed to the works of new artists, ably assisted by performers, many of whom are currently appearing on Broadway, all volunteering their time for this worthy cause. At this particular performance, I heard cast members of Frozen, Wicked, and Hello, Dolly!
On to the music. The first four songs were from We Are the Tigers, described by Mr. Allen as a cheerleader murder mystery. Set to a lite rock feel, we meet the head cheerleader in one song and are introduced, in a second song, to the team mascot who really, really wants to be on the cheerleading squad. The third, Skype Tomorrow was a duet between best friends who are going to be spending some time apart—and are concerned that it won’t actually happen as expected. And the fourth has the girls actually dealing with the murder of one of their own. It was interesting though a bit convoluted.
A stand-alone song followed, Generic Princess Song, that was extremely funny. It was probably my favorite song of the evening.
Next were five songs from Never Better, a show about a woman dealing with living with cancer. There was a good mix of a group number, solos, and a duet. The songs were nice, in general, but it was hard to wrap my mind around the subject matter.
One song from The Legend of Carrie White had a character essentially recounting the story line of Carrie, as a younger and older version of her character, performed by two singers (older and younger) at the same time. It was a little too strange for me.
The evening ended with a pair of songs from Agent 355, the story of an unidentified female spy during the Revolutionary War, performed in a lite rock and then a heavier rock style. All in all, I liked the music from all of the shows well enough without being bowled over. Except for that Princess song!
Kudos, as always, to John Znidarsic, the man with the red hat, who has been at the helm of Arts and Artists of Tomorrow (Songbook’s official title) for the past 27 years. This was the last of this year’s series—the 28th season will kick off at the end of September. I plan to be there.
ConcertMeister
Saturday, June 16, 2018
Charles Jones, piano (5/19/18)
Sonata in C Major, Op. 2 No. 3 – Allegro con brio; Adagio; Scherzo;
Allegro assai – Beethoven (1770–1827)
Scherzo in b flat minor, Op. 31 – Chopin (1810–1849)
Toccata in C Major, Op. 7 – Schumann (1810–1856)
Gaspard de la nuit – Ondine; Le Gibet; Scarbo – Ravel (1875–1937)
The opening of the Beethoven had a very familiar (to me) tune and had a varied range of dynamics. With a mix of simplicity and complexity, it was also charming. The second movement also started out with a relatively simple tune that was almost like a chorale or a hymn tune. It had a slightly mysterious quality and an interesting use of dynamics, especially in the left hand, and it definitely related to the opening theme of the first movement. The third movement was bright and charming, with a little bit of heft. It was playful, in a serious way, and had a pleasingly deceptive ending. The final movement also had a charming opening theme and then the same range of dynamics as the first movement, which it also referenced. It’s not usual that I use the word charming as often as I just did—but it is just the right word for this piece.
Chopin’s Scherzo’s opening also sounded very familiar to me and there were fireworks, indeed, in both form and style. The minor key, however, lends a bit of gravity to the mix of drama and serenity. The second section was definitely more serene. It was almost, but not quite, a lullaby. Not quite because it also had flights of fancy that were rather extensive, before a return to the original theme.
The Schumann had a brisk, bright opening with lots of forward motion, almost perpetual. At times it seemed that a song was embedded within the constant fleet finger work and, in fact, the piece ended with a songlike little flourish.
The first movement of the Ravel, Ondine, had a fairylike opening in the upper range of the keyboard before sounding more like a harp as more of the keyboard was used. There was the rapid movement of notes, but in a relatively subdued manner, once again with tunes just below the surface trying to break free. With the building up of dynamics as the full range of the keyboard came into play, a song did break forth, only to be swallowed up in a wash of sound. Le Gibet was a dirge that had an inherent beauty. Throughout, there was the insistent tolling of a single bell tone that was quite hypnotic and haunting—appropriate, since a gibbet is a post with a projecting arm, used for hanging the bodies of executed criminals as a warning. The final movement, Scarbo, was dark in tone and slightly ominous. A somewhat mad, stylized dance emerged, almost like a sorcerer casting a spell, before disappearing into the night.
Mr. Jones is a deliberate and expressive pianist. At times, his focus on being deliberate comes close to overwhelming the expressiveness. Having heard him play before, I always make it a point to attend when he returns to the Bruno Walter Auditorium at the Library for the Performing Arts. I look forward to hearing him again. I just don’t know when, yet.
ConcertMeister
Allegro assai – Beethoven (1770–1827)
Scherzo in b flat minor, Op. 31 – Chopin (1810–1849)
Toccata in C Major, Op. 7 – Schumann (1810–1856)
Gaspard de la nuit – Ondine; Le Gibet; Scarbo – Ravel (1875–1937)
The opening of the Beethoven had a very familiar (to me) tune and had a varied range of dynamics. With a mix of simplicity and complexity, it was also charming. The second movement also started out with a relatively simple tune that was almost like a chorale or a hymn tune. It had a slightly mysterious quality and an interesting use of dynamics, especially in the left hand, and it definitely related to the opening theme of the first movement. The third movement was bright and charming, with a little bit of heft. It was playful, in a serious way, and had a pleasingly deceptive ending. The final movement also had a charming opening theme and then the same range of dynamics as the first movement, which it also referenced. It’s not usual that I use the word charming as often as I just did—but it is just the right word for this piece.
Chopin’s Scherzo’s opening also sounded very familiar to me and there were fireworks, indeed, in both form and style. The minor key, however, lends a bit of gravity to the mix of drama and serenity. The second section was definitely more serene. It was almost, but not quite, a lullaby. Not quite because it also had flights of fancy that were rather extensive, before a return to the original theme.
The Schumann had a brisk, bright opening with lots of forward motion, almost perpetual. At times it seemed that a song was embedded within the constant fleet finger work and, in fact, the piece ended with a songlike little flourish.
The first movement of the Ravel, Ondine, had a fairylike opening in the upper range of the keyboard before sounding more like a harp as more of the keyboard was used. There was the rapid movement of notes, but in a relatively subdued manner, once again with tunes just below the surface trying to break free. With the building up of dynamics as the full range of the keyboard came into play, a song did break forth, only to be swallowed up in a wash of sound. Le Gibet was a dirge that had an inherent beauty. Throughout, there was the insistent tolling of a single bell tone that was quite hypnotic and haunting—appropriate, since a gibbet is a post with a projecting arm, used for hanging the bodies of executed criminals as a warning. The final movement, Scarbo, was dark in tone and slightly ominous. A somewhat mad, stylized dance emerged, almost like a sorcerer casting a spell, before disappearing into the night.
Mr. Jones is a deliberate and expressive pianist. At times, his focus on being deliberate comes close to overwhelming the expressiveness. Having heard him play before, I always make it a point to attend when he returns to the Bruno Walter Auditorium at the Library for the Performing Arts. I look forward to hearing him again. I just don’t know when, yet.
ConcertMeister
Monday, June 4, 2018
The Silent Clowns Film Series (5/12/18)
This is a great series. I love seeing these comedies with an all-new, live piano score—and all for free! That said, I’m starting to see repeats. That said, that’s not a bad thing. Saturday’s films were Feed ’Em and Weep and Steamboat Bill, Jr., both from 1928. In fact, May 12, 2018 was the exact 90th anniversary of Steamboat Bill, Jr.’s premiere. How cool is that? In a neat casting two-fer, Marion ‘Peanut’ Byron was featured in both films. And she was funny in both films.
Feed ’Em and Weep had ‘Peanut’ and Anita Garvin as completely inexperienced waitresses on their first day of work at a train-side eatery. The train arrives. The customers flock in. Food is delayed. As it’s rushed out, both waitresses sail over a table, sliding into food. The boss then takes matters into his own hands—and promptly sails over the table, sliding into food.
Much mayhem ensues as people try to go in the ‘out’ swinging door and vice versa. Except the doors are not marked ‘In’ and ‘Out’—hence the mayhem. When the train conductor arrives and announces that they’ll be leaving in just a few minutes, he is promptly trampled by the folks rushing to get back to the train. All’s well that ends—well—not quite well. But it was a funny film.
Steamboat Bill, Jr. starred Buster Keaton in the title role, a back-east college kid sent off to the wilds of the Midwest to be with his father, who he hasn’t seen in years. The very first sight gag involves the white flower in his lapel to be used as an identifier. It seems that, due to a special function taking place in the town, every man getting off of the train is wearing a white flower in his lapel. Father and son are eventually reunited. The plot, as such, is that Bill Sr. is a steamboat captain on the Mississippi river. A newer steamboat has just steamed in, owned by a rich, non-seaworthy captain. His daughter (‘Peanut’ again) and Bill Jr. are sweethearts from back east, and both parents, as dueling steamboat captains, are dead set against the two young’uns getting together. There are lots of slips and pratfalls as Jr. tries to acclimate himself to life on a boat. But trouble is a-brewin’ as is a big storm. In an iconic storm image, the façade of a house falls down around Jr.—literally—the upstairs window, fortunately open, lands right where Jr. is standing. During the rest of the storm, Jr. finally proves his mettle (and sea legs) by rescuing the girl, rescuing her father, and rescuing a minister who then officiates the lovebirds’ wedding, with the approval of both fathers. Fade to black.
As always, Ben Model provided a lively, entertaining score that included the tune to Victor Dalhart’s “The Prisoner’s Song” at the same time Jr. is singing it to his father who’s in jail. Mr. Model clued us in ahead of time to be looking/listening for it and it was fun when we came upon it in the film. It’s the little gems like this that improve the silent film experience for me.
MovieMeister
Feed ’Em and Weep had ‘Peanut’ and Anita Garvin as completely inexperienced waitresses on their first day of work at a train-side eatery. The train arrives. The customers flock in. Food is delayed. As it’s rushed out, both waitresses sail over a table, sliding into food. The boss then takes matters into his own hands—and promptly sails over the table, sliding into food.
Much mayhem ensues as people try to go in the ‘out’ swinging door and vice versa. Except the doors are not marked ‘In’ and ‘Out’—hence the mayhem. When the train conductor arrives and announces that they’ll be leaving in just a few minutes, he is promptly trampled by the folks rushing to get back to the train. All’s well that ends—well—not quite well. But it was a funny film.
Steamboat Bill, Jr. starred Buster Keaton in the title role, a back-east college kid sent off to the wilds of the Midwest to be with his father, who he hasn’t seen in years. The very first sight gag involves the white flower in his lapel to be used as an identifier. It seems that, due to a special function taking place in the town, every man getting off of the train is wearing a white flower in his lapel. Father and son are eventually reunited. The plot, as such, is that Bill Sr. is a steamboat captain on the Mississippi river. A newer steamboat has just steamed in, owned by a rich, non-seaworthy captain. His daughter (‘Peanut’ again) and Bill Jr. are sweethearts from back east, and both parents, as dueling steamboat captains, are dead set against the two young’uns getting together. There are lots of slips and pratfalls as Jr. tries to acclimate himself to life on a boat. But trouble is a-brewin’ as is a big storm. In an iconic storm image, the façade of a house falls down around Jr.—literally—the upstairs window, fortunately open, lands right where Jr. is standing. During the rest of the storm, Jr. finally proves his mettle (and sea legs) by rescuing the girl, rescuing her father, and rescuing a minister who then officiates the lovebirds’ wedding, with the approval of both fathers. Fade to black.
As always, Ben Model provided a lively, entertaining score that included the tune to Victor Dalhart’s “The Prisoner’s Song” at the same time Jr. is singing it to his father who’s in jail. Mr. Model clued us in ahead of time to be looking/listening for it and it was fun when we came upon it in the film. It’s the little gems like this that improve the silent film experience for me.
MovieMeister
Sunday, June 3, 2018
Pre-ConcertMeister
This one is NYC-centric; sorry, out-of-towners. Naumburg Orchestral Concerts. Free Tuesday night outdoor concerts in Central Park at the bandshell. Weather permitting. June 12 (thank you, co-worker), Ensemble LPR; June 26, Orpheus Chamber Orchestra; July 10, A Far Cry; July 17, The Knights; July 31, Orchestra of St. Luke's. We're talking world-class ensembles in free performances. Will I see you there?
ConcertMeister
ConcertMeister
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