The Knights – Naumburg Orchestral Concerts 2025 – 6/10/25

Colin & Eric Jacobsen, Artistic Directors

Concerto Grosso from L’Estro Armonico for Two Violins, Cello, and Strings in G minor, Op. 3, No. 2 (RV 578), (1711) – Antonio Vivaldi (1678–1741)
1. Adagio e spiccato, 2. Allegro, 3. Larghetto, 4. Allegro
Colin Jacobsen and Nanae Iwata, violins, Alex Greenbaum, cello

Summerland: for Flute, Harp, and String Trio, (1935) – William Grant Still (1895–1978)
Alex Sopp, flute, Megan Conley, harp

Trio Sonata in G Major, BWV 1038, (1732–35) – Johann Sebastian Bach (1685–1750)
1. Largo, 2. Vivace, 3. Adagio, 4. Presto
Colin Jacobsen, violin, Alex Sopp, flute, Eric Jacobsen, cello, Steven Beck, harpsichord

Gran Duo for Clarinet and Double Bass – Giovanni Bottesini (1821–1889)
1. Allegro - Andante 2. Allegro vivace - Moderato
Agnes Marchione, clarinet, Zachary Cohen, double bass

Danses sacrée et profane, (1904) – Claude Debussy (1862–1918)
Megan Conley, harp

Sound of the Five (arranged for marimba and strings), (2001) – Chen Yi (b. 1953)
3. Romance of Hsiao and Ch’in, 4. Flower Drums in Dance
Joseph Gramley, marimba

Traditional, arr. Danish String Quartet (from Last Leaf)
Polska from Dorotea, Unst Boat Song, The Dromer

Alas, I ended up in Central Park without a pen. As a result, you'll be pelted with more generalizations than usual.

The four movements of the Vivaldi were a textbook example of a Concerto Grosso—a small group (three) of players versus a large (grosso) group of players. In this case, the grosso was still pretty small, but you get my drift. It was Vivaldi. It was fairly predictable. It was enjoyable. It was a great kickoff to a great season of a great concert season.

The William Grant Still work was lovely. The chamber players were tucked away in a corner of the Naumburg bandshell, but that's logistics for you. Now I'm going to be the bad guy. There is very little classical music played or broadcast written by African-American composers. I am glad The Knights took this step.

The Bach Trio Sonata was another lovely chamber work performed from the Naumburg stage. It's great to know that small works and larger works can be presented there. 

The Gran Duo for Clarinet and Double Bass was a surprise to me. I have never before heard a double bass in that high a register. I love learning new things.

Debussy and harp, what can I say? Even the profane were as lovely as the sacrée.

Believe it or not, I'd heard some of the Chen Yi music earlier this spring, at an Orchestra of St. Luke's Chamber Orchestra concert on Staten Island (yes, I do get around!). Dr. Chen was at the Staten Island concert but not at the Naumburg concert. I liked the marimba version, which was very different from what I had heard earlier. New things can be interesting.

Danish music was new to me (thank you, Greenland). The folk tunes were a lot of fun to hear. Hey, I warned you that there would be a lot of generalizations. (I have since bought four pens at Dollar Tree, so I'll keep two in my murse.)

ConcertMeister

BALAM Dance Theatre – 6/5/25

Baroque Dance Fantasies about England, France & Spain 

Dongmyung Ahn, Teresa Salomon ~ violins; Andrea Andros ~ viola; Lisa Terry ~ violoncello; Gabe Shuford ~ harpsichord; Ryan Closs ~ guitar
Yumiko Niimi, Robin Gilbert & Carlos Fittante ~ dancers    

The Olde Batchelor, Z. 607 – Henry Purcell (1659‒1695)
Overture: While the Swans Come Forward ~ “Swan Boat” Hornpipe ~ Slow Air/Sarabande ~      Hornpipe ~ Rondeau ~ Minuet ~ Bourrée ~ March ~ Jig 

Concerts Royaux No. 1 – Jean-Baptiste Lully (1632‒1687)
Prélude ~ Sarabande ~ Gigue ~ Menuet en Trio       

Harlequin Goes Bird Watching –
Chaconne des scaramouches from Trivelins et Arlequins – Lully
Gavotte & Allemande from Concerts Royaux – François Couperin (1668‒1733) 
Tambourins I & II from Les Indes Galantes – Jean-Philippe Rameau (1683‒1764) 

Première Livre de Pièces de Clavecin in D minor (Paris, 1702) – Louis Marchand (1669‒1732)
Prélude ~ Chaconne en rondeau 

La Folia (arr. Lewis Baratz of La Fiocco) – Antonio Vivaldi (1678‒1741)

This was a very balanced program. A mix of orchestral movements and pieces combined with dances accompanied by the onstage instrumentalists.

The Purcell had an instrumental overture that then led into two dancers arriving with swan heads attached at their waists. Very clever, for the “Swan Boat” Hornpipe. The other seven movements included a male dance solo, a female solo (with tambourine), a duet Minuet, and a male solo Bourée. A note on the stylized dancing. For the most part, it was courtly—genteel, small arm movements, small leg movements, only one twirling seated lift (repeated twice). There was minor use of props—a rose, a fan, a notebook, a frond of leaves, a garland of flowers, etc. Simple, yet effective.

The second work was an instrumental interlude, ostensibly allowing for costume changes for the dancers. But the music (by Lully) stood well on its own. The Prélude, Sarabande, and Gigue were scored for solo violin, guitar, harpsichord, and cello. The Sarabande (in keeping with the dance theme) was gentle, while the Gigue was livelier. The Menuet added an additional violin and was gentle, but with verve.

The next three works were pretty much taken as one group. First, a solo male masked Harlequin entertained us. The second was a masked female solo dancing as a bird. The third featured the masked Harlequin watching the masked bird through a telescope. Fanciful, it included props of flowers and a butterfly. Flights of fancy, indeed.

The Marchand composition was for harpsichord solo, allowing for additional costume changes. But the two-movement work also stood on its own very well. Calm, then livelier, then livelier still.

After retuning, and with the string players standing (except, of course, the cello), the finale was all you'd expect it to be. The guitarist seemed to disappear, but I suspect he provided drum beats and castanet sounds, while the female of the dance duet provided finger-cymbal percussion that accompanied the stylized dance movements, again including hops, arm movements, leg movements, and gentle spins.

This was an interesting change from the usual (and very good) instrumental/vocal concerts. Kudos, Gotham Early Music Scene.

ConcertMeister