OK, that’s a little joke. Today’s The Orchestra Now concert (free!) was as follows:
Gräfin Mariza Overture (1924) – Emmerich Kálmán (1882–1953)
Les Préludes (1853–54) – Franz Liszt (1811–1886)
Dances of Galánta (1933) – Zoltan Kodály (1882–1967) – Lento (slow); Allegretto
moderato (moderately fast); Allegro con moto (fast with motion, graceful);
Allegro (fast); Allegro vivace (lively and fast) – no pause between movements
Concerto for Orchestra (1943) – Béla Bartók (1881–1945) – Introduction; Game of
Couples; Elegy; Interrupted Intermezzo; Finale
Yes, all four composers were Hungarian (with the caveat that Bartók
was born in what is now Romania—TMI?).
I loved the first work. It was brief, playful, and almost
seemed like the entrance to a circus.
The Liszt was more familiar to me (I even think I heard it on
WQXR this past week). As announced from the stage, Liszt was trying to elevate
the classical music form. I think he succeeded. Since The Orchestra Now is a
training orchestra (supported by Bard College), they include texts about the
works in both the printed program as well as spoken information from the stage about the work we’re
getting ready to hear. Both work very well. And I loved the performance of the Liszt.
The Kodaly had moments of bright, lively playing that were
reminiscent of gypsy themes. I know that we’re not supposed to say ‘gypsy’ but
there—I did it. So did the student introducing the work. I definitely got a
feel of dances, and the performance was quite enjoyable.
The Bartók was interesting. I enjoyed parts of it but not
others. It seemed a little disjointed to me. As I mentioned to my seatmate for
this concert, I always forget that these works we’re hearing with our jaded
ears were brand new to audiences at their respective premieres—1924, 1854,
1933, and 1944. Can you imagine hearing bold new ideas for the very first time?
I cannot.
ConcertMeister
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