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.

ConcertMeister