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.

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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.

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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.

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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

Naumburg Orchestral Concerts (7/25/23)

Nosky’s Baroque Band (featuring Aisslinn Nosky, violin)

Opening Fanfare: Fanfare for a New Era
Brian Raphael Nabors – World Premiere (2023)

Francesco Geminiani – (1687–1762), Concerto Grosso no. 10 in F major, (after Corelli Op. 5), (1726)
Preludio, Allemanda, Sarabanda, Gavotta, Giga

Antonio Vivaldi – (1678–1741), Concerto for two violins in A minor, RV 522, (1711)
Allegro, Larghetto e spritoso [sic], Allegro 

George Frideric Handel – (1685–1759), Concerto Grosso Op. 6, no. 1 in G major, (1739)
Tempo Giusto, Allegro, Adagio, Allegro, Allegro 

Antonio Vivaldi – (1678–1741), Concerto for cello in D minor, RV 405, 
Allegro, Adagio, Allegro

Arcangelo Corelli – (1653–1713), Concerto Grosso Op. 6, no. 8, (1714)
Vivace, Grave, Allegro, Adagio, Vivace, Allegro, Pastorale

Henry Purcell – (1659–1695), Suite from Fairy Queen, (1692)
Preludio, Hornpipe, Rondeau, Jigg, Chaconne

Johann Sebastian Bach – (1685–1750), Concerto for violin in A minor, BWV 1041, (1730)
Allegro, Andante, Allegro Assai 

As usual for this season, a brass fanfare opened the concert. Fanfare for a New Era was a brass quintet (two trumpets, two trombones, and French horn), and it was definitely a fanfare, with a few twisting harmonies plus some softer, lyrical phrases. Modern, but listenable.

Because a harpsichord was used throughout, the strings all tuned to it. The simple, gentle opening of the Geminiani segued directly into the second movement, which had a pleasant dance feel. As a side note, all of the movements of all of the pieces were played with little to no breaks between them (with the exception of some that had tuning before a new movement). The third movement was gentler and pleasant, while the fourth was lively, but not too brisk. The word jaunty popped into my head. The final movement was also jaunty, providing a nice cap to the ending.

The Vivaldi was brisk from the get-go, and jolly. The second movement was sedate but not somber, with very spare writing—almost chamber writing within a chamber orchestra—then the full ensemble, in a much brisker section, rounded out the piece.

The third work was solid and full, with a theorbo (that’s that lute on steroids) added into the mix. The Allegro was very familiar and fun, and would probably be recognized by most of you, while the third movement was slower and almost somber. The fourth had fugal entries, until the full ensemble was in gear, with a few phrases that seemed to mimic the second movement. The piece finished with a dance-like movement.

The second Vivaldi piece, also including the theorbo, was quick and a lot of fun, though I wasn't particularly aware of the cello being featured. The second movement was more somber and almost haunting. The third was brisk and solid, with sort of a grounding depth.

The fifth work opened sedately, then quickly turned brisk. The second movement, calmer, deep and rich, was followed with a third that was bright, though still having a grounded, deep feeling. The fourth was pleasantly dance-like, and then the next three movements pretty much blended together, but were also pleasant.

The Purcell began with a bright and full feeling, followed by a second movement that had slightly repetitive phrases. The third was gentler, with a fairly full sound, and the fourth was a jolly Jigg. The fifth was dance-like, in triple meter—like a quick waltz, with a more sedate middle section—before ending with a mild bang.

The last work on the program opened with a very full sound in a very familiar piece. The solo violin was featured nicely in the lively and fun movement. The second movement was calm and gentle, once again with the violin front and center, and then an almost sad feel and sound. The third was pretty much off to the races, but not in a frantic way at all. What a happy way to end a concert.

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Rite of Summer Festival (7/22/23)

Dublin Guitar Quartet

Bryce Desner: Ahey
Marc Mellits: Titan – (Selected Movements TBC)
Wojciech Kilar: Orawa
Gyorgy Ligeti: Inaktelki nóták
Philip Glass: Piano Etudes No. 2, 9 & 20

OK, I knew going in that this would not be in my wheelhouse. I’m not big on guitar music. I’m not that big on modern classical music, either. That said, I liked it better than I thought I would. I’m also not sure that I heard the works listed above in that order, since (even though they announced most of them from the stage), there was not a printed program, and I didn’t have access to the QR code version. I wish this would change.

All of these pieces were composed for groups that were not a guitar quartet—choral, symphony, string quartet, etc. And I don’t know who arranged them.

They were all very similar in structure and form. Lots of frantic strumming interspersed with a few (very few) quieter and more lyrical sections. The frantic strumming meant that there were multiple re-tunings (both between works and between movements within a work). From the website, I learned that I would be hearing eight-stringed and twelve-stringed guitars, but that was never addressed nor explained from the stage.

Am I glad I went? Yes. It’s important for me to expand my horizons. Will I choose more carefully next time? Possibly.

There’s one more concert scheduled for this season, and I hope to be there. I was wearing my Rite of Summer t-shirt (as I always do), was recognized by a co-founder, and was gifted a new t-shirt with an updated logo. I’ll wear the new one to the next concert.

ConcertMeister