Naumburg Orchestral Concerts (7/21/26)

Orchestra of St. Luke’s
Brad Lubman, Conductor
Erin Wagner, Mezzo-Soprano (Walter W. Naumburg Int’l Competition  Winner, 2021)

ALL-MOZART!

Wolfgang Amadeus Mozart (1756–1791), Divertimento in D major, K 136, (1772)
     I. Allegro, II. Andante, III. Presto 

W. A. Mozart, Adagio and Fugue in C minor, K. 546, (1788)
     I. Adagio, II. Fuga 

W. A. Mozart, Selection of Arias:
     Alma grande e nobil core, K.578, (1789)
     Vado, ma dove?, K. 583, (1789)
     Voi che sapete from Le nozze di Figaro, K. 492, (1786)
     Porgi amor, from Le nozze di Figaro, K. 492, (1786)
     Tutte nel cor vi sento, from Idomeneo, K. 366, (1781)

     Erin Wagner, mezzo-soprano

W. A. Mozart, Symphony No. 21 in A major, K. 134, (1772)
     I. Allegro, II. Andante, III. Menuetto & Trio, IV. Allegro 

W. A. Mozart, Eine Kleine Nachtmusik, K. 525, (1787)
     I. Allegro, II. Romance: Andante, III. Menuetto: Allegretto, IV. Finale: Rondo Allegro

In a first for me, this concert took place indoors at the church of St. Mary the Virgin. The Orchestra of St. Luke's played an All Mozart program. First off, I am not a huge Mozart fan. That said, the variety of this program worked in its favor. 

The opening Allegro of the Divertimento was cheerful and somewhat familiar to me and had a nice airy ending. The Andante was calming while also having some heft and solidity. It also had a calm ending. The Presto was sprightly and energetic in a controlled way. Not bad for a 16-year-old (his age when he wrote it)! 

After retuning, the second work opened in a solid and grave manner without being somber. Moving into the fugue, it was dramatic but not overtly, with most of the drama being driven by the lower strings that, oddly, added a bit of charm to the drama. But the drama won out. 

The five arias (two, I think, were concert arias, two were from Le nozze di Figaro, while one was from Idomeneo) suffered a little from the reverb in the large church. Quick passages from the mezzo and the strings were a bit garbled and less clear than they could have been. The flutes and horns featured more prominently than in the earlier two works, and I enjoyed that. Voi che sapete was very familiar to me, though not any of the others. The Idomeneo aria was the most dramatic and heavy of the five. Ms. Wagner sang very well throughout. An encore (though I don't know what it was) ended the set and the first half of the concert.

The first movement of the symphony that opened the second half of the concert was bright and showed a youthful exuberance. The symphony was also written when Mozart was 16. It was playful at times, with a sort of false ending for each section. The second movement was slow but with a solid rhythmic energy, as well (both movements were surprisingly lengthy). The third movement was also bright in a slightly subdued fashion. It wasn't energy just for energy's sake. The fourth was rather thin at the beginning but soon bulked up. There were distinct sections throughout. 

I'm pretty sure you all know some of the tunes in Eine Kleine Nachtmusik. This was my first time hearing it live, and I was quite taken with its weight and heft (and length). I'm usually used to hearing a movement excerpted from time to time. The first movement was off to the races. The second was gentle and pleasant though rhythmic at times. The different sections seemed as if they're not going to go together, but they do. The third was bright and cheery—definitely dance-like. (Um, 'Meister, it's a menuetto!) The finale closed out the work in a very brisk and pleasant way. 

Did the concert make me a Mozart convert? It did not, but as mentioned above, the variety of the works swayed me a little bit more in that direction. 

ConcertMeister

Naumburg Orchestral Concerts (7/7/26)

 

DELIRIUM MUSICUM 
ETIENNE GARA, Music Director & Violin Soloist

ZOLTÁN KODÁLY (1882–1967)
Háry János Suite: Intermezzo, (1927)

CAMILLE SAINT-SAËNS (1835–1921)
Danse Macabre, (1874)

GABRIELLA SMITH (B. 1991)
Desert Ecology: V. Cactus-Yucca Scrub, (2023)

ERIK SATIE (1866–1925)
Gnossienne N.1, (1893)

MAX RICHTER (B. 1966)
The Four Season Seasons Recomposed: Summer, (2012)
I. Summer 1, II. Summer 2, III. Summer 3

PHILIP GLASS (B. 1937)
Echorus, (2008)

FRANZ SCHUBERT (1797–1828)
Erlkönig, (1815)

JESSIE MONTGOMERY (B. 1981)
Banner for Solo String Quartet & String Orchestra, (2014)

ANTONIO VIVALDI (1678–1741)
The Four Seasons, Violin Concerto in F Minor “Winter”, Op 8 No.4, RV 297, (1725)
I. Allegro non molto, II. Largo, III. Allegro

Delirium Musicum. Well, if that name doesn’t grab you ... What a fun concert. This spunky, funky LA-based chamber orchestra was making its Naumburg Orchestral Concerts début. In fact, it was their NYC début, as well. The first work (Kodály) was rollicking but not too much so. And it was a great way to start a concert. There were nice violin solos throughout, and the piece was a series of small vignettes strung together. 

Almost all of the works were fairly short. Up next, the Saint-Saëns began with twelve gongs (most likely from an electronic keyboard) signaling midnight. Let the dance begin! Indeed, we were off to the races in a spooky waltz. It was lots of fun. 

The Smith piece was written for this group and, while I didn’t actually see them, the composer called for paper clips to be attached to the violin strings. It was modern sounding but listenable, tended to wander, and ended rather abruptly. 

The Satie was calm and almost hypnotic, in that Satie-esque way. The Richter, as the title implied, was recomposed Vivaldi, seemingly as an homage. A little static at times, it was hard to decipher the ends of movements, but the third Summer was very brisk. 

The Glass, which opened the second half of the concert, was typical Glass—fairly repetitive and, in this case, relatively calm. And that’s that for Glass. 

The reworking of the Schubert was familiar to me, as I know it as an art song. There was nice fleshing out for the string orchestra, and it captured both the tunefulness and the drama. 

The Montgomery was a patriotic pastiche without being saccharine. The string bass was used to good effect as a percussion instrument creating an omnipresent drumbeat. Even though it was described as being for solo string quartet and string orchestra, I never quite got the sense of the string quartet. 

The concert closed (sort of) with the real McCoy—Vivaldi. After somewhat shamelessly begging for an encore, the first movement ended with a fine flourish. The audience responded very enthusiastically. The director/violin soloist then explained that there were two more movements. The second movement—Largo—was lovely, while the third Allegro was also strong and bright. We got our encore. Even though it was described from the stage, Misirlou (used in Pulp Fiction) meant bupkes to me. It was pleasant enough, and the entire concert was oh, so much more than pleasant. I hope Delirium Musicum makes repeat performances in future Naumburg concerts. 

Just prior to the concert, I had a bit of a fun situation. The WQXR host, Jeff Spurgeon, was in a small broadcast tent. When he had a small break, I went up to him and introduced myself. I used the name that I post comments with on WQXR—DuckDeadeye—and he knew exactly who I was.

ConcertMeister

Naumburg Orchestral Concerts (6/23/26)

The Knights
Colin & Eric Jacobsen, Artistic Directors
Tessa Lark, Violin, (Walter W. Naumburg Int’l Competition Winner, 2012)

Christina Courtin (b. 1984), rhapsody on being giant proof, (2025)
     Christina Courtin, violin & vocals

Lisa Bielawa (b. 1968), Violin Concerto No. 2: Pulse, (2025)
     I. Tin Pan Alley, II. The Shapes, III. Old Time 
     Tessa Lark, violin

Samuel Barber (1910–1981), Adagio for Strings, (1936)

Caroline Shaw (b. 1982), The Mountain that Loved a Bird, (2017)
     Jamie Bernstein, narrator

Paul Simon (b. 1941), arr. Colin Jacobsen (b. 1978), American Tune, (2020)
     Christina Courtin, violin & vocals

The first work on the concert began with solo violin and had a slight folk feel. Then vocals were added and it turned into sort of classical music meets pop—not my favorite. 

Next up was a three-movement violin concerto. The first was jaunty and then sweetly calm combined with some old-fashioned fiddling. [phone! really?] The second movement meandered a bit. After changing to a different violin for the third movement, Ms. Lark was back to fiddling again, followed by a (pretty much planned) fiddling encore. 

The second half of the program began with the Barber—my first time hearing the Adagio for Strings live. It was a wonderful, calm welcoming. Alas, the sound mix was a little off, resulting in a cello-heavy performance to my ear. It’s tough getting the sound mix just right in outdoor concerts with large audiences. But really, I’m not complaining. And I look forward to hearing it live again. 

Based on a book, The Mountain that Loved a Bird was given a very nice musical treatment. And the narration by Jamie Bernstein worked quite well. The music evoked the story that the narration was telling. As a plus, chirping birds in Central Park added to the enjoyment. I liked all of the music, especially some of the brass writing. The narration almost veered into Pollyanna toward the end, but the entire work was fun. 

The evening ended with an arrangement of a Paul Simon American Tune—really, that’s the title. With a return to the violin and vocals that opened the concert, we were also back to classical meets pop. I wrote a note to myself that said Classical Cover. It was appropriate since the evening’s emcee was WQXR’s Paul Cavalconte who has a Saturday morning radio feature called Classical Cover. 

This was the second of five concerts in the summer series, and while the weather was iffy, we got through unscathed. The next three are 7/7, 7/21, and 8/4. They’re already penciled in on my wall calendar. 

ConcertMeister

Make Music New York (6/21/26)

A quick note about MMNY. It occurs twice a year on each solstice. Back to your regularly scheduled blogpost. 

I celebrated the solstice with Make Music New York. This year, I only scheduled three events, as I found their website a little difficult to navigate. My first stop was at the Garden Center—Park Avenue at 111th Street. It was listed as 10am through later in the day. My plan was to stay until 10:45 before traveling to my second stop. It turns out that the DJ-cum-performer began setting up at 10am, so I never heard anyone making music. I saw some nice plants, though, and a few chickens. Otherwise, it was a bust.  

I knew that my second stop would be fun, and I was right. Sousapalooza! This was easily my third attendance at this event and possibly my fourth. Here’s the deal. The band members sign up, get sent the music that will be played, study it on their own, and then show up on June 21 for the performance. No rehearsal—just a little warm-up, talking/reading about the layout of the program, and then perform. The conductor is the same person I’ve seen in the past, and he knows how to handle this. This year, the John Philip Sousa marches were played in alphabetical order—El Capitan, Fairest of the Fair, Hands Across the Sea, High School Cadets, In Memoriam, The Liberty Bell, Manhattan Beach, one I missed the name of, Semper Fidelis, The Thunderer, The Washington Post March, and (out of alpha order) Stars & Stripes, to end the performance. I had a blast listening. A guy sitting behind me asked about what was going on, as he had just stumbled across it. It turns out that he was just visiting, so I explained MMNY (twice yearly free concerts at each solstice). He had never heard of it. As it also turned out, he told me that he has two daughters who play in their school band, and he was going to tell them about it later. My good deed was done for the day. A note about In Memoriam—it was written by Sousa for President Garfield’s funeral. It was played there. It was also played at Sousa’s funeral.  

My final stop of the day was an event called Composer’s Voice. This was music (mostly very short compositions) written by living composers, some of whom were at the event. The first group was six guitar pieces ranging from one with touches of jazz, one slow but not necessarily somber, one quite modern, one that also used the body of the guitar as percussion—well, you get my drift. Solo guitar is not my favorite, but it’s good to stretch my ears sometimes. 

There was also a set of four solo guitar pieces that were written specifically for the fellow who played them. Titled Ikenobō, they represented the oldest and largest school of ikebana, the Japanese practice of giving plants and flowers invigorated new life. The name is derived from the word combination of a pond (ike) and the small hut built near the pond for subsequent priests to live in (bo). 

The rest of the hour included one-minute string quartets and a piece that concluded the performance written for string quartet, guitar, and alto saxophone. Its title was Frigid Piggy. I’m not making this up, you know! OK, this eclectic, modern compositional style was not my bag, but some of the writing was done very well. I doubt I’ll hear any of this music again, but as I said earlier, I did stretch my ears.  

I probably shouldn’t put this in writing, in case I don’t actually do it. I’m thinking of attending Sousapalooza on June 21, 2027 in a city that is not NYC. 

ConcertMeister

Gotham Early Music Scene (6/18/26)

Ampersand
Nuestra Señora: from the Mexico City Cathedral Archive 

Madeline Apple Healey ~ soprano; Timothy Parsons ~ countertenor; Jacob Perry ~ tenor; Joseph Hubbard  ~ bass

Nigra Sum – Mathieu Gascongne (fl. 1515–1517)
Kyrie from Missa Nigra sum – Gascogne
Dulcissima Maria – Francisco Guerrero (1528–1599)
Lauda Mater Ecclesia – Tomas Luis de Victoria (1548–1611)
Quasi Cedrus – Guerrero
Sancta et immaculata virginitas – Cristobal de Morales (1500–1553)
Peccantem me quotidie – Pierre de Manchicourt (1510–1564)

Remember the first Naumburg concert recently? This was the GEMS final concert of the 2025/2026 season. 

The music performed by Ampersand was all 16th-century sacred music. As a result, there will not be detailed descriptions of each piece. As always, I’m very happy to hear a cappella voices, and these four were fine musicians, quite attuned to each other in terms of blend and control. 

The first Gascongne work was soprano, countertenor and tenor. It was relatively calm and enjoyable. There were tutti sections and layered sections—each vocalist entering part by part. Wait, what? The bass entered at the very end, and the group went directly into the second Gascogne piece. Nope that was not a typo. The composer’s name appears both ways. In fact, his first name appears three different ways. The second piece was very full without feeling forced at all. 

The first Guerrero piece had soprano, countertenor, tenor and bass entries, in that order. As mentioned earlier, it was very similar in style and scope to the first two. 

The de Victoria (the composer I was most familiar with that day) was slightly different. In three sections, the first began with a solo soprano chant (also known as an incipit) that was then expanded upon by the other three. The second section had the three lower voices presenting the incipit which was then expanded upon. The final section had all four presenting a unison incipit followed by harmony. It was a nice way to mix up the pieces. 

The next two pieces were pretty much variations on the types of works heard previously, while the final piece began tutti and with a full sound. At times, it featured the lower voices a bit more prominently. This was also an added point of interest. 

I was sorry to see this season end, but the next one picks up again on Sept. 17th. I will most likely be there. 

ConcertMeister

Naumburg Orchestral Concerts (6/9/26)

BAROKLYN, CONCORA & SIMONE DINNERSTEIN, DIRECTOR & PIANO 

JOHANN SEBASTIAN BACH (1685–1750)
Herr Gott, nun schleuss den Himmel auf, BWV 617, (1716) 

PHILIP GLASS (b. 1937), (arr. Michael Riesman)
Suite from The Hours, (2002)
Movement I, Movement II, Movement III

J.S. BACH
Cantata 9, Es ist das Heil uns Kommen her, BWV 9, (1734)*
Chorus: Es ist das Heil uns kommen her; Recitative: Gott gab uns ein Gesetz; Aria: Wir waren schon zu tief gesunken; Recitative: Doch mußte das Gesetz erfüllet werden; Duet: Herr, du siehst statt guter Werke; Recitative: Wenn wir die Sünd aus dem Gesetz erkennen; Chorale: Ob sichs anließ, als wollt er nicht
Louise Fauteux, soprano, Megan Roth, mezzo-soprano, Jack A. Pott, tenor, Jermaine Woodard, Jr., baritone
*Continuo realizations by PHILIP LASSER, (b. 1963)

J.S. BACH
Three Movements from three Cantatas
Was Gott tut, das ist wohlgetan, BWV99/1 (1724); Er tödt’ uns durch dein’ Güte, BWV22/5 (1723); So lasset uns gehen in Salem der Freuden, BWV182/8 (1714)

J.S. BACH/LASSER (b. 1963)
In the Air (2025)

(Apologies for the ALL CAPS; it was easier for me to copy/paste all of that from their website than to retype everything.)

The first of five concerts in the series, this Tuesday evening in Central Park was pretty much perfect weatherwise. The opening work was for piano, strings, and oboe d’amore. It was gentle but also pretty full sounding. Brief and effective, it was a great way to begin the season. 

Movement I of the Glass opened with Ms. Dinnerstein conducting the strings in the slightly amorphous work. She then went to the piano to join the small ensemble, Baroklyn, and the music was still amorphous. While the energy increased at times, it was amorphous energy. Guess how the movement ended. Movement II began slow and amorphous. And continued that way. It was a bit longer than Movement I. Movement III began (briefly) sans piano. Soon, it was same old, same old. 

After intermission, Baroklyn was joined by the 20-voice choir CONCORA for J.S. Bach’s Cantata 9. There was an orchestral opening, and then the choir joined in, relatively calm and pure (i.e., limited vibrato). The sound mix† was pretty good. The first recitative was for baritone, accompanied by the piano. The aria was for piano and string (violin) and tenor. The baritone was back for the second recitative followed by a soprano/mezzo duet accompanied by flute, piano and oboe. And chirping birds! A recitative (baritone again) was followed by the final chorale for orchestra and full chorus. The movement itself was also full, ending rather sedately. 

Fourth on the program were three movements from three separate Bach cantatas. The first was sprightly, for orchestra and chorus. The second was for low strings, oboe, and chorus. It was a solid chorale, brief but very effective, while the third was for flute and strings followed by the chorus from the top down in an a cappella section. 

The last work was pretty much Air on a G String with updated additions. It was also quite effective.  

This series is one of my favorites of the summer season, and I look forward to it every year. I’m so glad it got off to such a solid start. Fingers crossed for good weather for the next four. [On demand at WQXR.org, though I'm not sure for how long.] 

†Both the chorus and instruments were electronically enhanced.  

ConcertMeister

Across a Crowded Room (5/30/26)

A brief reminder—Across a Crowded Room is a program sponsored by the Lincoln Center Library for the Performing Arts, a venue near and dear to my heart. Composers, book writers, and lyricists meet in a room, decide who they’d like to work with, and then create a 20-minute musical. It may be self-contained, or it may be the germ of what they hope will be a larger creation. At any rate, this performance was the output of that program. I saw/heard seven 20-minute performances. There was also feedback from two industry professionals after each presentation. Let the fun begin! 

Patricia’s Seven Houses was about Patricia (duh!) who had seven rental properties on a cul de sac. Everyone had problems. Patricia interacted with a couple of renters while also being on hold with the dreaded ‘help’ line of the group that managed the properties. This was very funny. It was more of a play with music than a musical, but I didn’t have a problem with that. 

Zelda (after a tech glitch, an offstage phone call that never arrived) had three versions of the same character. All of them were involved with climate control/change, just different concerns at different times in Zelda’s life. The music and lyrics were good, but it was a little unclear whether all three versions of Zelda actually realized that they were all dealing with all three versions of Zelda at the same time. Still, it was compelling. 

Prison Fan Club (Working Title) was another compelling story. I also liked the music and lyrics. For 20 minutes, it was pretty much fully formed. 

A Most Immoral Woman was the most advanced of the seven works that I saw and heard. There was a set! There were costumes! Everyone was off book! The story revolved around a beauty pageant contestant who was unfortunately incapacitated. Fortunately, her twin sister was available to replace her. Both girls were being mentored by a former beauty pageant participant who had a fix in with the judges. The crux of the story came down to the final contestant’s question. Would the imposter go with the fix or go with her own conviction? I’m not telling. Oh, and this cast also took a bow. (Note to all performers—always take a bow. We, the audience, need to know that you appreciate us appreciating you.) 

The Subway: A Musical Play in Five Memories was also a lot of fun. The setting was 1923 NYC. The actors used their bodies as sound effects (thumping their chests and screeching to imitate the sounds of the subway). It was most effective. This one also had good harmonies, and I'm a big fan of harmony. The five memories got sort of mish-mashed, but it all worked out in the end.

Enemies to Lovers was an interesting spinoff/satire (really, a character named Blake Storm?) that had fun humor but possibly too many vignettes. It was definitely a work in progress. It also had a duet that, alas, had no harmony. As with all of the works, it was enjoyable, just not one of my favorites. 

My Husband’s First Wife was intriguing. And I mean that in a good way. It opened with a female trio singing close harmony, which was a great touch. I pegged it as ’30s. I was close—the setting was 1928. It turns out that Ethel thinks she is Eugene’s second wife. It turns out that Ethel is visited (via a séance) by four of Eugene’s former wives. It turns out that Eugene poisoned all of them with an apple tart. It turns out that when Eugene is returning home, Ethel is preparing an apple tart ... 
It’s not quite Sweeney Todd, but it was very funny nonetheless. 

A note about the industry professionals—they provided great feedback to all seven groups. For one (and I forget which) they really liked the short story quality of the piece and suggested writing two more short story–esque works and then combining them into one larger work. As Arte Johnson would say, "Ver-r-ry inter-es-ting!"

Will I be attending the next Across a Crowded Room performances? You betcha!

ConcertMeister