Jonathan Cohen, Artistic Director; Aisslinn Nosky, Director, Violin; Joélle Harvey, Soprano; Ian Watson, Organ; Debra Nagy, Oboe
George Frideric Handel (1685-1759), from Giulio Cesare - Piangerό la sorte mia, featuring Joélle Harvey, soprano
G. F. Handel (1685-1759), From Semele - Endless Pleasure, featuring Joélle Harvey, soprano
G. F. Handel (1685-1759), Organ Concerto in F Major, HWV 295, featuring Ian Watson, organ – 1. Larghetto, 2. Allegro, 3. Larghetto, 4. Allegro
Johann Sebastian Bach (1685-1750), Concerto for Violin and Oboe in C Minor, BWV 1060R, featuring Aisslinn Nosky, violin, Debra Nagy, oboe – 1. Allegro, 2. Adagio, 3. Allegro
G. F. Handel (1685-1759), Silete venti, HWV 242, Symphonia & Recit: Silete venti, featuring Joélle Harvey, soprano – 1. Aria: Dulcis amor, 2. Recit: O fortunata anima, 3. Aria: Date serta, 4. Aria: Alleluja
This was the fourth of five Naumburg Orchestral Concerts this season, held in Central Park. The small orchestra (strings, harpsichord/organ, oboe) played conductor-less, though the concertmaster and/or harpsichordist approximated that role quite well throughout the evening.
Corelli – (Strings and harpsichord) The first movement was slow but full, then quicker, switching back and forth. The second was similar, while also featuring two solo violins and solo cello playing along with the small orchestra. The third also featured three soloists, and was even gentler than the first two movements. The final two movements were both livelier. After retuning, the first of the three Handel works began with a harpsichord and soprano recitative with the orchestra joining in for the aria, which was a mix of calm and then dramatic quicker sections. The second piece was brisk from the very beginning, and featured English (as opposed to Italian) text. For the third, Mr. Watson moved from the harpsichord to the organ (a small reed organ), so the orchestra retuned to it. The first movement featured deeper and richer tone from the organ and the soprano, with the orchestra slightly subdued so as to not overpower the organ. The second movement sounded very familiar to me, bright and fun, and included an extended organ solo sounding like a cuckoo and other birds twittering. The third began with solo organ, subdued and calm before being joined by the orchestra, trading sections back and forth, leading directly (remember attacca?) into the fourth movement. It was lively again, but it seemed to me that the second movement was really the heart of the work. After intermission and retuning, the Bach began. The first movement was, once again, very familiar to me. I'm sure I've heard the work on the radio, but I think this was the first time I've heard it live. The interplay between the violin and oboe soloists and the orchestra was lively and fun. Bright tempo while not really being brisk. The second movement opened with solo oboe and orchestra that was then joined by the solo violin. There were lilting rhythms in a gentle not-quite-waltz followed by a slightly false ending (which also occurred in the first movement) before winding down to the end. The third movement was full, jolly, lively, charming, and familiar. Fun. The final Handel work was almost a mini-cantata. The first movement had an orchestral opening (with the harpsichord included again) followed by the soprano's recitative, setting the scene. The actual first movement was gentle, while the second movement was another brief recitative. The third movement was similar to the first, but with more vocal embellishments, including melismas (one vowel spread over many notes), in runs and scales. It was very brisk and somewhat celebratory, leading into the Alleluja, which was even more celebratory. Throughout the evening, all of the soloists were in fine form. One more Naumburg Orchestral Concert to go in this season's concert series.
ConcertMeister
