The Knights (6/14/22)
Naumburg Bandshell Concert (6/14/22)

Kreutzings (2020) – Colin Jacobsen (1978–)
Violin Sonata No. 9 “Kreutzer Sonata” Op. 47 (1803) – Ludwig van Beethoven, (1770–1827)
Adagio sostenuto – Presto; Andante con variazioni; Finale – Presto
Stride (2020) – Anna Clyne (1980–)
String Quartet No. 1, “Kreutzer Sonata” (1923) – Leoš Janáček (1854–1928); original concept & arr. by Eric Jacobsen, orchestration by Michael P. Atkinson
Adagio – Con moto; Con moto; Con moto – Vivo – Andante; Con moto – Adagio – Più mosso

If you’re noticing Kreutzer popping up, you’re quite right. All four pieces have a link to Kreutzer, a violinist in Beethoven’s time. The first work was a tribute to Kreutzer. The second was an arrangement of Beethoven’s Kreutzer violin/piano sonata but for orchestra (though Kreutzer never played it in public). The third was Ms. Clyne’s allusion to Beethoven’s Pathétique sonata, and the fourth work was Eric Jacobsen’s arrangement of Janáček’s work orchestrated by Michael P. Atkinson. Are you confused yet? So was I, so I concentrated on the glorious music and the glorious setting.

The first piece had a playful opening, with some mystery, then picked up tempo and was just a lot of fun. It was modern and rhythmic, but also very enjoyable to listen to.

In the second piece, after a brief violin solo, the orchestra joined in followed by a little bit of back and forth that was solemn, though not somber. Next the tempo picked up, adding some excitement. There was a bit of a folk/gypsy feel alternating with sections of smoother legato beauty. The movement had plenty of richness and grandeur, as well, and ended with a flourish. The second movement had a brief orchestral opening and then the solo violin joined in, sounding both calm and pretty. A playful section followed (and it was nice of the birds to join in!). The different variations were interesting, even if they sort of went on and on. The final variation effectively tugged at the heartstrings. And then off to the races!—in fact, it sounded as if the third movement could have been a hunting theme. The whole movement was pretty much a romp, with a few breathers thrown in for good measure. After a brief lull, see flourish, above.

This third work was a little more modern sounding than the earlier piece on the program that was also composed in 2020. While interesting, and not off-putting, it didn't actually hold my interest too well. The paraphrases from Beethoven's Pathétique sonata were fun to hear, probably only because they were recognizable to me.

This fourth was Janáček via Tolstoy via Beethoven. I’m not making this up, you know:
(Thank you, Wikipedia.) Beethoven's heroic sonata for violin and piano, Tolstoy's dark and disturbing novella, and Leos Janáček’s intensely descriptive and often frenetic first string quartet are all linked by the same name: the Kreutzer Sonata.

NB. I'm not breaking this one down movement by movement because they all seemed to blur together to me. There were intriguing sounds and interpretations from the get-go, including a lovely tune and journey (and, once again, the birds in the park added great sound to the instrumentalists, especially to the woodwinds). I liked this a lot, as it was dramatic without going overboard, and included a quiet ending. The motion part of each 'con moto' phrase was as a reply to a slower section that preceded it. That is, until it went to all motion all the time. I don't particularly like using this term, but the entire piece really was quite cinematic at times. I thoroughly enjoyed it.

There was a brief encore, actually more of a lagniappe. Since it was announced from the stage, my recollection is a bit sketchy. Brillou? (Not coming up in a rudimentary search) It featured a penny whistle as the solo instrument, and sounded to me like it was perhaps a folk song, or based on one. It was just OK in my book.

ConcertMeister