Across a Crowded Room (3/28/26)

A few words about this New York Public Library program. A group of writers and composers get together, meet and greet, and then determine who they’d like to work with. The goal is to create a 20-minute musical. This could be a standalone or something they would like to expand further after presenting their short works. Saturday was the first public performance of five of these from this season. There are also two industry people giving feedback after each performance. On to the shows! 

Man of My Dreams had three actors and a pianist (who, in this case was also the composer). The score was vaguely pop rock, and our protagonist was a gal who was meeting with her boyfriend who happened to be a blue haired girl—actually a character from a video game. The gal and the ‘boyfriend’ go on actual dates that are both contracted and scripted. Oh, the gal also has a husband. A real-life flesh and blood husband. The romantic triangle that ensues is pretty much left hanging at the end of the 20 minutes. The score and lyrics were pretty good, the performances were good, and the plot was relatively easy to follow. 

Elizabeth & Essex had four actors, a fifth person off to one side reading the stage directions, and a pianist/music director (who was not the composer this time). The score, at least parts of it, had a ’20s vibe. The plot was somewhat convoluted and involved a piece of missing mail, a Postal Warden condemning the mailboxes in the lobby of an apartment building, an underground pneumatic tube system for delivering mail from condemned mailboxes, and a Postal Pigeon. I’m not making this up, you know. Oh, the portal to enter the underground place was supposed to be at the corner of Elizabeth and Essex Streets in NYC, which run parallel to each other. (Did I mention a convoluted plot?) The Postal Worker’s song was swell. The title song slightly missed the mark. The Postal Pigeon’s song was hilarious. The minimal staging was witty. All in all, this was my favorite of the five. 

Up next was Joybot, the story of an Artificial Intelligence superintendent of a building on the Upper West Side of Manhattan. The five actors did a very good job of fleshing out the story, which revolved around getting some of the neighbors out of their insular, me-machine lives, and leading to them being real people relating with other as real people again. The music was pleasant enough, though one number dragged on a bit, and there was some nice harmony singing. A pleasant show with pleasant characters and pleasant music. 

The Atomic Age – A New Musical followed. The score was vaguely 1950s with some angular harmonies thrown in. The plot involved women in the workplace (punch card operators), two of whom end up hinting at a lesbian friendship/relationship that pretty much destroys the first woman’s marriage. There were references to the beginning of coding and a new, changing world. As one of the panelists noted, the piece sort of couldn’t make up its mind as to whether it had a ’50s vibe or a ’70s vibe. 

Dynamo was set in 1929 and dealt with creating new type of energy—hydropower—and the inevitable progress involved. The music wasn’t tremendously of the period, but the plot was interesting and the staging was very interesting. I wasn’t blown away by the music though I wasn’t turned off by it either. And all three actors did very good jobs. 

In fact, all of the performers in all five pieces were very good. From a musical standpoint, I found that some of the vocal writing, especially in the high ranges (both female and male) was a bit difficult and made the lyrics a little hard to understand. All told, it was a very enjoyable day letting me experience new theater. Will any of these shows have legs? Only time will tell. There is one more group of plays to be presented toward the end of May. I will be there. 

ConcertMeister

Brooklyn Wind Symphony (3/14/26)

Saxophone Spring Showcase 

Danse Macabre – Camille Saint Saëns, arr. Dannel Espinoza 
Comets – Jun Nagao 
The Planets, Op. 32: Jupiter – Gustav Holst, arr. Jared Waters 
Give Me Hunger – Stacy Garrop 
Serenade No. 2 Op. 44 – Antonin Dvorak, arr. Frederick R. Heyburn 

I. Moderato quasi marcia; II. Minuetto; III. Andante con moto; IV. Finale 

First, the players. Eleven saxophonists – three soprano, three alto, two tenor, two baritone, one bass. The first piece was played by all eleven. All the pieces except the second included all eleven, making an interesting, imposing sound. This was a fun piece with the melody tossed around to the different ranges of the saxophones. There was also the same melody slightly altered in a middle section before returning to the original and ending the piece. 

The second was a quartet. If memory serves, it was soprano, two altos, and a tenor. The music was relatively modern but still fairly melodic, though it was also a little harsh at times. 

The Holst was very familiar to me and probably would be to you, too. It was nicely jolly (its subtitle is the Bringer of Jollity). It also had tricky rhythms that were executed very well. 

The fourth work was originally written for the all-male vocal group Chanticleer. As a vocal piece, it had text from a Carl Sandburg poem that dealt with angst tempered with joy and tenderness, and the poem was read onstage before we got into the saxophone version. It was modern—a few more dissonances than the Nagao, above. A tender section followed that began very sweetly while still including the dissonances. Parts of the chordal section (I could easily envision this part being sung) were quite pretty, bordering on the majestic. 

The Serenade was also familiar to me; it’s nice greeting old friends again. The first movement was solid and straightforward with a gentle second section. Then it built in volume and intensity before returning to the opening march but ending quietly. The second had a pleasant dance-like feel that then turned into a more energetic dance. It was rather long, but it held my interest just fine. The third movement had pretty themes and was lovely to listen to. It started out with nice rhythms and tunes—quite soothing even though the sound was full. The intensity was upped before being drawn back just a bit, ending quietly. The final movement had an energetic opening, then became pretty rollicking before calming down. This was followed by a return to the opening theme of the movement and building to a bang-up ending. 

It took a little getting used to the idea of a saxophone ensemble, but if you ever get the chance to hear one, grab on to it! 

ConcertMeister

The Orchestra Now (3/8/26)

William Tell Overture – Gioachino Rossini (1792–1868)

Faust Ballet Music – Charles Gounod (1818–1893)
The Nubian Women; Adagio; Antique Dance; Cleopatra Variations; The Trojan Women; Mirror Variations; Dance of Phryné

Symphony in D Minor – César Franck (1822–1890)
Lento–Allegro non troppo; Allegretto; Allegro non troppo

(N.B. Fewer observations than usual because the house was so dark that I couldn't scribble notes. Not that there's anything wrong with that. Also, it's rare to hear a live, full orchestra concert for free in NYC. I'm a lucky fellow.)

This was a first for me, hearing the William Tell Overture live. There are several distinct sections to the overture, but almost everyone is familiar with the last one. I was surprised, in a sense, that I was so much more aware of the different sections. And I think that’s because I’m used to hearing engineered recordings—no real breaks, no hearing pages being turned, no chairs/feet scraping, etc. So, while the work seemed a bit choppy to me, I guess hearing the real deal is worth it, giving me a little more insight to both the music and my listening habits. 

The Gounod Faust Ballet Music was also familiar to me, though I’m not sure I’ve heard all seven sections at one time. It was fittingly Romantic (of that compositional era) and brought to mind swirling movements and pretty stage pictures. The seven sections worked well for me, whereas the Rossini didn’t quite flow as a through composed piece. It was lovely all around. 

The Franck symphony was also very enjoyable with broad grand themes and a sense of urgency at times. 

And we were treated to an encore (the first time I’ve heard this orchestra play one)—Dance of the Hours, from La Giocanda by Amilcare Ponchielli. Believe me, you’d recognize it. Probably as “Hello, Muddah, hello Faddah!”  

ConcertMeister

Gotham Early Music Scene (2/26/26)

Lazzuli Baroque – New York Début
Viaggio d’Amore 

Luce Burrell ~ lute & theorbo; Rocky Duval ~ mezzo-soprano; Roseline Lambert ~ soprano; Caroline Nicolas ~ viola da gamba   

Hope 
Io son pur vezzosetta – Claudio Monteverdi (1567−1643) 
Soccorretemi per pietà – Giovanni Felice Sances (1600−1679)  

Infatuation
Godere e tacere – Barbara Strozzi (1619−1677)
Non è di gentil core – Claudio Monteverdi (1567−1643)  

Fighting 
Mentita – Barbara Strozzi (1619−1677)
Dialogo in Partenza – Strozzi   

Breakup
Che si può fare – Strozzi
La vita solitaria – Nicolò Fontei (?−1647)
Ohimè dovè il mio ben – Claudio Monteverdi (1567−1643)  

Happy ending 
Bella mia questo core ~ Amante – Felice Giovanni Stefani (17th century) 
Su su prendi la cetra o pastore – Sigismondo D’India (1582−1629)  

The first work was a vocal duet accompanied by viola da gamba and theorbo. (Do we all remember the theorbo—the lute on steroids?) The piece was fairly lively, with a slower section followed by back to jolly. The second was similar if a little more subdued. There were lots of runs up and down and quite a few melismas—one syllable sung to many, many notes. The piece ended with a slower section. 

The third work was, once again, very similar, which was a bit of a problem. I found myself not quite figuring out where one song ended and the next began, though I did manage to figure out where the fourth started. I lost track of the fifth song altogether. 

The sixth had a short theorbo solo that led into a lament performed by all four.  The seventh was for soprano accompanied by the gamba and theorbo, with the gamba featured quite prominently. 

Beginning with the eighth piece, the lute replaced the theorbo. Oddly, it seemed to have more of a presence than the larger instrument. This work was also a bit of a lament that was both sadder and more subdued. The ninth had a few dissonances that brought to mind some of the music of Carlo Gesualdo, a composer who stretched the ideas of harmony a little. And it captured the sadness quite well. 

The tenth had a lute opening that was a bright beginning to the “Happy ending” section of the program. It featured the mezzo along with the lute and gamba. A repeated rhythm from the lute added, and in fact caused, the drive of the piece. 

The final work brought back the theorbo, and it continued the rhythm driving the vocal duet. The gamba didn’t enter until after the extended opening and then it was time for it to shine. There was a nice build in volume and tempo to bring it to its conclusion. 

I liked the way the program was laid out—on paper. The execution did not quite work as planned, though. At first, I thought that the audience would hold applause until the end of each of the five sections, but that didn’t happen. As a result, each section did not seem to achieve its goal in the arc that looked so nice on paper. And I think that also contributed to not quite knowing where one song/section ended and the next began. Just a minor quibble, though. It was a nice program and exposed me to four composers I’d never heard of—Sances, Fontei, Stefani and D’India. I’m glad I went.

ConcertMeister

Gotham Early Music Scene (2/19/26)

An Das Klavier
Alissa Duryee ~ clavichord 

Preludium and Fuga in G minor BUX 163 – Dietrich Buxtehude (1637−1707) 

Sonata II in D minor – Anonymous, Moravian (notebook dated from 1753)*
Adagio ~ Allegro ~ Largo ~ Allegro 

Suonata Seconda: Saul malinconico e trastullato per mezzo della Musica – Johann Kuhnau (1660−1722)
La tristezza ed il furore del Ré
La Canzona refrigerativa dell' arpa di Davide
L'animo tranquillo e contento di Saulo 

Sonata X in E Major – Anonymous, Moravian (notebook dated from 1753)*
Adagio ~ Allegro 

Sonata in A Major – Marianna Martinez (1744−1812)
Allegro ~ Rondo – Adagio ~ Tempo di Minuetto 

Variations on a Suabian Theme – Peter K. Moran (1767−1831)* 

*Music taken from sources in the Moravian Archives of Bethlehem, PA. Thanks to the archivists who facilitated access to them.

**I'm not sure I really got the Moravian connection, but it was interesting to hear those compositions juxtaposed with the European compositions. (Too much book larnin'?)

Per Wikipedia (hey, I take all the help I can get) – The clavichord is a stringed rectangular keyboard instrument that was used largely in the Late Middle Ages, through the Renaissance, Baroque and Classical eras. Historically, it was mostly used as a practice instrument and as an aid to composition, not being loud enough for larger performances. The clavichord produces sound by striking brass or iron strings with small metal blades called tangents. Vibrations are transmitted through the bridge(s) to the soundboard. (Class dismissed.) 

Ms. Duryee’s clavichord was built in 2011.

The Preludium began gently and quietly, partially because the clavichord is a very quiet instrument (see Wikipedia, above). The fugue had a little more energy but only slightly more actual sound because of the density of the chords. All four of the Sonata’s movements were similar except for tempo distinctions. I found the quicker movements more interesting. 

The first movement of the Kuhnau Suonata (a composer new to me) was a little darker, with a bit of substance that I enjoyed. In the second, I certainly got the feeling of a harp as referenced in its title, while the third sounded like a conversation—albeit a quiet conversation—also with a dark feeling. 

In the fourth work, it was difficult to tell where movements ended, including the second movement which ended the work. 

Marianna Martinez (I have also seen her name as Marianne Martines) was active in the Vienna music scene, somewhat rare for women in that era. Her composition seemed to be advancing the musical form and was more inventive. It was also easier to be aware of the individual movements, with the fourth being quite bright and pleasant. 

The variations alluded to in the title of the last work on the program were based on Ach, du lieber Augustin (since it’s essentially a folk tune/song, it’s alternatively known as O du lieber Augustine—take your pick). At any rate the tune was known to relatively everyone in the audience, the variations were a lot of fun, and it was a light-hearted way to end the program. 

With all of that said and enjoyed, I think a clavichord concert is a one and done for me, primarily because of the quiet sound production which led to a lot of similarities in the pieces. 

ConcertMeister

Gotham Early Music Scene (2/5/26)

Brooklyn Baroque
La Dédicataire: Music Written for Women

Melanie Williams ~ flute   Serafim Smigelskiy ~ violoncello   Rebecca Pechefsky ~ harpsichord

Sonata in D Major for Harpsichord & Flute, Op. 16, no. 5 – Johann Christian Bach (1735–1782)
Allegro con Spirito; Rondo: Allegretto

Sonata in G Major for Flute & Continuo, Op. 9, no. 7 – Jean-Marie Leclair (1697–1764)
Andante; Allegro ma non troppo; Aria: Affettuoso; Allegro moderato

Sonata in C minor, K.11 – Domenico Scarlatti (1685–1757)
Sonata in F minor, K.184 

Trio in D Major for Flute, Cello, and Continuo – Christoph Schraffrath (1700–1763)
Allegro; Adagio; Allegro

The first movement of the first work was bright and brisk. The harpsichord part had rapid fingering, the flute not so much. While most of the flute part was in its upper register, there were also some lovely low tones. The second movement had a solo harpsichord opening and then the flute joined in. It was very similar to the first movement, though the harpsichord had more solo time here. 

The first movement of the second sonata was gentle and very pleasant for all three players. The second was brisker and fuller, especially as far as volume was concerned, and had a playful use of pauses. The third was calmer but not somber in the least. It included a perkier middle section which then returned to calm, while the fourth was fuller again, bright and jaunty—not quite off to the races, but it seemed as though it wanted to be. 

The third and fourth pieces were single-movement harpsicord solo sonatas. The first was mostly bright, though there were a few contrasting sections. The second was similar and, oddly, somehow F minor sounded a little brighter than C minor. These were only two of Scarlatti’s 555(!) keyboard sonatas. 

The trio that closed out the program was by the only composer who was new to me. He fit right in with the others. After retuning (the cello) the first movement had a cello/harpsichord opening, the flute joined the fun, each of them got a moment to shine, and the movement was fleet without being too fleet. The second movement also had a cello/harpsichord opening and then the flute joined in again. While the tempo was slower, it was not maudlin or mournful at all. The brisker third movement was—wait for it—cello/harpsichord followed by the flute. It was fuller, almost as if the composer was out to prove something in order to finish the work: “Hey, Ma, look what I can do!” 

A note about the harpsichord—it’s on loan from Ms. Pechefsky and has been used in several other GEMS concerts that I’ve attended. It was nice to put a face to the name. 

ConcertMeister

Gotham Early Music Scene (1/15/26)

Ben Katz & Friends
Hymn of Apollo 

Ben Katz ~ harpsichord    Dani Zanuttini ~ theorbo   Amanda Beranek ~ harp   
Jackie Hager & Nathan Francisco ~ violoncello

Sarabande de la Reyne – Jacques Champion de Chambonnières (ca. 1601‒1672)
Entrée d’Apollon – Jean-Baptiste Lully (1632‒1687)  

Sonata X for Violoncello and Continuo in C Major – Giuseppe Maria Jacchini (1667‒1727)  

Sonata di basso solo – Gregorio Strozzi (1615‒1687)  

Suite of partimenti (improvisations on figured bass) – Bernardo Pasquini (1637‒1707)  

Capriccio detto hermafrodito – Bellerofonte Castaldi (1580‒1649)
Canzona prima from Quarto libro d’intavolatura per il chitarone – Giovanni Girolamo Kapsberger (ca. 1580‒1651)  

Sonata VIII for Violoncello and Continuo in A minor – Giuseppe Maria Jacchini  

Contrapunctus I from The Art of Fugue, BWV 1080 – J.S. Bach (1685‒1750)
Sonata Nona, Op. 8, No. 9 – Biagio Marini (1594‒1663) 

Interestingly, and oddly, there was only bio material for Ben Katz in the program notes, and not the other four friends. I liked the layout of the performance—two works to begin, three separate works, a pairing of the Capriccio and the Canzona, the separate Sonata VIII, and the paired Contrapunctus and Sonata Nona. This gave us, the audience, an idea of when applause was appropriate (although applause is always appropriate).

Also interestingly, most of these composers were new to me. A little more info before I get to the music. In most of these early-music concerts, harp equals a hand-held small harp. Nope, this one was full sized. And do we all remember the theorbo—a lute on steroids?

The first work opened with harpsichord and harp and was gentle in both tempo and texture. It became fuller when the theorbo entered but retained its gentle quality. The second work for the trio was fuller still and more dramatic. It was also relatively gentle, adding more energetic rhythms. These two were taken as one group in the printed program, and the audience waited until the end of the second piece before applauding. This is nice programming as far as I’m concerned. 

After mild tuning, because the violoncellos were being added, the piece opened with a cello solo (slow), then the harp joined in, then there was a brisk section, with a contrasting slower section that included all five performers. There was a good mix of tempo changes in the sections—not exactly separate movements—that followed. 

The fourth work was a harpsichord/theorbo duet that was fairly gentle and subdued. Contemplative came to mind, though there was a hint of jaunty at the end.  

The fifth was a harpsichord solo that was pleasant, if a bit lengthy. 

The sixth had harpsichord and theorbo at the beginning, with one cello added to the mix. To my ear, it was rather tame for a capriccio. The seventh piece (part of one grouping) had all three players, though the theorbo was featured and then the cello was featured. Once again, this piece was gentle but it held my interest. 

The eighth had all five players and was slow to begin, before a much faster section when the second of the cellos was added. This was followed with a very full, brisk section that led to a bang-up finish. 

The ninth was a bit of a conundrum. It was simple (as in not complicated), but also not necessarily easy. The next section was expanded though not necessarily expansive. A conundrum, indeed. The last work on the program included all five players, was brisk, followed by a nice mix of tempos and contrasting sections and phrases that still did not rise to the level of actual movements.

All said, this was a really nice program that promoted all five players, though each got a moment to shine. And it was also nice to see a full-sized harp on the stage. 

ConcertMeister