A Far Cry (7/9/24)

Kareem Roustom (b. 1971) – Dabke (2014)
Kinan Azmeh (b. 1976) – Ibn Arabi Postlude (2005)
Dinuk Wijeratne (b. 1978) – Clarinet Concerto (2018) (co-commission by Rockport Music)
Part I – ‘Prologue: Foretelling’; Part II – ‘The Dance of Ancestral Ties’; Part III – ‘Flux’; Part IV – ‘Exile: The salt and bread of rhythm’; Part V – ‘Cadenza: Solitary Traveler’; Part VI – ‘Epilogue: Home in Motion’

Leoš Janáček (1854–1928)  – Idyll (1878)
I. Andante; II. Allegro; III. Moderato; IV. Allegro; V. Adagio; VI. Scherzo; VII. Moderato

The Roustom had an odd beginning that included stamping of feet, pizzicato strings (plucked) that then added bowing. The piece was all strings (violins, violas, cellos, and basses), rhythmic (but not in your face), and had hints of intrigue. It had a nice, punchy ending.

The Azmeh added clarinet and piano to the strings. The opening was solo piano playing calm chords. Melody was added, in a jazzy way that was almost New Age–ish. I think an electronic track was added, but I’m not quite certain. Clarinet and string bass were then added into the mix. Violins, cellos, and violas finally joined in, but they really didn’t improve the piece much, as far as I was concerned. It wasn’t bad—they played it beautifully—but it was long. And ended with a whimper.

The Wijeratne began with piano and strings, with an offstage clarinet. It seemed to be through composed, but wasn’t. That said, I couldn’t decipher the separate movements. And it sort of led me nowhere. But I did see fireflies again.

The Janacek was strings only. The first movement had a gentle opening, but with depth; a nice Neo-Romantic feel. The second was, indeed, dance-like without being excessive. The third was somber but not dismal, while the fourth was bold and almost lively. Strong and secure. The fifth was gentle and calm, but moving, then livelier without being overbearing. The sixth was bright, cheerful, and actually playful. The seventh was solid. Grounded. A lovely, full ending. This was the piece that I enjoyed the most, in an evening that also exposed me to three composers who were new to me.

I’m looking forward to the next three Naumburg Orchestral Concerts. Fingers crossed that the weather cooperates.

ConcertMeister

The Knights (6/25/24)

Eric Jacobsen, Conductor

Wolfgang Amadeus Mozart (1756-1791), Le Nozze de Figaro, K.492 (1786)
Overture – in D major, (Presto)

Louise Farrenc* (1804-1875), Symphony No. 3 in G minor, Op. 36 (1847)
Adagio-Allegro, Adagio cantabile, Scherzo. Vivace, Finale. Allegro 

Ludwig van Beethoven (1770-1827), 'Pastoral' Symphony No. 6 in F major, Op.68 (1808)
Allegro ma non troppo, Andante molto mosso, Allegro, Allegro, Allegretto

Full disclosure. As some of you may know/remember, I am not a huge Mozart fan. That said, this well-known chestnut of an overture was just the right touch to begin an open-air concert on a summer evening in New York.

This was my first live exposure to hearing the music of Louise Farrenc. The first movement had solo woodwinds to open – adding strings – then tutti (all of the instruments together). It was fairly jaunty with a bit of drama, and a fiery ending. The second movement was calm and gentle, and indeed song-like, but with its own touches of drama, before leading to a calm and quiet ending. The third movement had intrigue from the get-go. Definitely a journey—but from where to where? Almost, but not quite, perpetual motion; always forward and never static. That sense of intrigue lasted all the way through the movement. The Finale was a little darker (hello, G minor) but still with some lightness and brightness added to the mix. It definitely ended strongly.

Oh my, Beethoven's 'Pastoral' Symphony on a lovely summer evening in Central Park. The first  movement had a gentle opening, but with depth. Some forward movement followed, pleasant and easy to listen to. [Fireflies! firelies! Sorry, I got distracted a little.] The second movement was calm and charming, with a bit of grandeur. The third movement was bright, melodic, and a lot of fun, but then sort of blended in to the fourth and fifth movements, which was not really a bad thing at all. It was nice to just sit there and listen.

*Fun Farrenc facts (shamelessly stolen from Wikipedia). At the age of fifteen, she studied composition ... at the Conservatoire de Paris. However, she was taught through private lessons as women were forbidden to enroll in the traditional composition classes at that time. ... in 1842 she was appointed to the permanent position of Professor of Piano at the Paris Conservatory ... In fact, Farrenc was the only woman to hold the esteemed position and rank at the Paris Conservatory throughout the 19th century. ... Farrenc was paid less than her male counterparts for nearly a decade. ... Only after the triumphant premiere of her nonet ... did she demand and receive equal pay. [CM: You go girl!]

ConcertMeister