Sugar Hill Music Festival (9/25/21)

 Burnt Sugar the Arkestra Chamber, Duane Eubanks (trumpet), Abiodun Oyewole (poet, author, teacher), Sugar Hill Quartet, Charenee Wade (jazz vocalist)

Sort of. I didn’t hear all of the above-mentioned performers. The entire program was presented by While We Are Still Here, an organization dedicated to preserving Harlem’s history. The afternoon began a little late, as they had some sound system problems. We sang the first verse of Lift Every Voice and Sing, but we really couldn’t hear the song leader, so it didn’t quite kick off the event on the right note. Also, the artists listed above did not perform in the order listed above. So, here’s what I saw/heard.

Mr. Oyewole did an interview session with a professor (I didn’t get the name, as it was not listed in the program). One of his set pieces referred back to a time in his life when he decided not to participate in the Pledge of Allegiance. When asked about it (back then), he decided to create his own pledge, which he explained to us and then had us be the responders in a call-and-response pledge, from years ago. It was an effective set piece. After another brief sound system failure/fix, he also recounted remembrances from his years as one of The Last Poets. They’re worth a rabbit-hole look, if you’re so inclined. We then heard from Gabrielle David, of 2LeafPress – A Black/Brown Female-Led Press, whose new book, Trailblazers, Black Women Who Helped Make America Great, Americans First/American Icons, will be released on October 1, 2021.

Then (after another sound system problem), we got to some music. The Sugar Hill Quartet was a trio (piano, bass, drums) joined by guest saxophonist James Carter. They led off with a swinging rendition of Lester Leaps In, with Mr. Carter on tenor sax. It showed the familiar jazz tinges—all playing together, throwing the spotlight (as it were) to individuals, then rounding out the piece with all players again. Their second piece was mellower, though still powerful (Mr. Carter was on soprano sax for this one). At one point, the sound system crapped out again, but they played gamely on. I actually enjoyed the unamplified sound. Third up was The Minor Mode, an up tempo number with tenor sax. It was playful but almost borderline frantic for me. The fourth and final piece seemed somewhat improvisational. It began with solo sax riffs. As this was an outdoor venue, at one point a car horn honked and Mr. Carter matched it exactly from the stage. After the three others chimed in quietly, the sax stepped to the side and let the other three shine before joining back in and bringing the set to a close.

A bit of fundraising followed: (text ‘xxxxx’ to ‘xxx’, or scan the QR code, or go to various websites to donate) while they reconfigured the stage, and then we got to hear Charenee Wade, with a trio of a different pianist, different bassist, and different drummer. Ms. Wade started out with some light scatting and then eased into a bit of jazz-blues. Up next was Song of the Wind, which opened with a drum solo, added bass, added piano, and then added vocals, all in a slower tempo and with slightly Latin rhythms. Ms. Wade followed that with a version of I’ve Known Rivers (Gary Bartz, music/Langston Hughes/lyrics (poem)). It was a pleasant, straightforward setting of the text. I rather enjoyed it.

By this time, the afternoon had begun to enter early evening, so I withdrew. I was still able to hear the end of Ms. Wade’s set while waiting for my MTA bus. (Note to self—if/when you visit this festival again, plan on staying longer than you thought you would.)

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Alarm Will Sound (9/18/21)

 Ten Thousand Birds – John Luther Adams (2014)

Thanks to the Rite of Summer concert series on Governors Island, I heard this very interesting concert. A bit of history—the work was premiered by Alarm Will Sound in St. Louis in 2014, if my online search is correct. I only bring this up because there was no printed program. One had to scan a QR code or go to one of several websites Not good for me.

As a result, my writings will be catch-as-catch-can. As explained in the venue (Nolan Park, on Governors Island) the performers would be moving about, sometimes of their own volition, and sometimes as ‘suggested’ in programming notes.

I heard bird sounds presented by: French horn, clarinet, viola, trombone, double bass, flute, violin, cello (who played standing up), trumpet, bassoon, xylophone (on the porch of a building), piccolo, percussion blocks, piano, (somehow I don’t think the helicopters were in the score), some percussion-like bongos, tympani, (at one point, three string players flitted through the performance space, like birds flitting through a meadow), marimbas (plural), metallophone, oboe, piano, electronic keyboard … well ... you get my drift. And their drift. They drifted throughout the performance space and showed up in very strange spaces. As in, in your face spaces. For the record, my guesses were pretty darned good.

As for the music itself, it was repetitive, as would be expected for bird sounds. Toward the end, some new sounds were introduced, and they were a welcome addition. But for the most part, the sounds just washed over the audience, from odd areas, odd distances, and odd places. At one point a violinist was in a tree (I’m not making this up, you know!). Toward the end, a live bird started chirping. There were many smiles. One instrument that I asked about after the performance was called a bullroarer. It’s wooden, on a string, but like that plastic tube thing-y you swung around your head to make a woo-woo-woo sound. This was more refined.

I’m pretty sure I will never hear this piece again. But if I have the chance, I’ll jump at it. If you get the chance, jump!

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A Celebration of the Life and Work of Harry T. Burleigh (9/12/21)

Deep River – Steven Kirby, baritone; There Is a Balm in Gilead – Melisa Bonetti, Shaina Martinez, Laura Jobin-Acosta; My Lord What a Morning – Calvary-St. George’s Choir
Burleigh at Temple Emanu-El – Dr. Andrew Henderson; Jack Coen
A Jubilee – Kamel Boutrous
You Ask Me If I Love You – Laura Jobin- Acosta; One Year – Steven Kirby; He Sent Me You – Shaina Martinez
Go Tell It on the Mountain – Calvary-St. George’s Choir

A first for me, I attended a co-naming ceremony for a street on Sept. 12, 2021—HARRY T BURLEIGH PL (that’s the way street signs work in NYC).

After the ceremony, there was (gasp!) an indoor concert. Since it was in a church (a new one for me) and since every other pew was roped off (but most people, including me, wore masks), it was pretty safe for an indoor concert.

The first piece was slow and very moving. Stately. This would be a major theme. The second started with ethereal humming (also a recognizable motif).

I should probably do a mini-history lesson here. Burleigh integrated St. George’s choir in the early 1900s and, as a soloist, he also integrated Temple Emanu-El’s choir. Along the way, he arranged many spirituals, introducing them to mainstream America. (Plantation music as well, but that needs more exploration by me.)

Back to the music. My Lord What a Morning was a fairly straightforward setting, with a stronger second section that then scaled back down, ending quietly.

A video from Temple Emanu-El  followed, with a solemn organ meditation by Dr. Andrew Henderson. He also found, buried in the archives, a setting of May the Words (a Jewish/Hebrew text) set to the tune of Deep River, by Harry Burleigh. We heard it on video sung by the Temple Emanu-El choir.

The piano solo, A Jubilee, was composed in the style of a spiritual while incorporating touches of jazz.
Three Art Songs followed, probably trying to set his fate as a legitimate composer (though I don’t think that was necessary). You Ask Me If I Love You, One Year, and He Sent Me You were early–20th-century examples of art songs, no matter the skin color of the composer.

The final piece, sung by the Calvary-St George’s Choir was Go Tell It on the Mountain. While it was spiritual, I wish it had been more boisterous. Maybe I needed a William Dawson arrangement.

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Summer Streets 2021 — Bindlestiff Family Cirkus (8/7/21)

I started my Summer Streets walk at the Brooklyn Bridge (the Manhattan side).

OK, I got caught up in this rather silly, but fun, circus. They bill themselves as the Flatbed Follies, since all of the acts take place on three flatbed trailers (we never saw the tractor part).

There was silliness from clowns (including a somewhat lengthy bit about building a sandwich, with a ‘special’ ingredient—pepper!). A rhythmic trope of “Pepper, pepper pep-PER” was repeated four times. Think conga line. The entire four-time trope was repeated four times. Did I mention that this was geared toward kids? Of course, all that pepper led to a great big Ah-Choo! that dismantled the entire sandwich.

There were also jugglers, a contortionist, a rhythmic gymnast ? (I’m watching too much Olympics on TV), a plate spinner (in a throwback to the Ed Sullivan show), a chair strongman artist, and a wire walker/dancer. Silly? Yes. Fun? Yes. Did I enjoy it? Yes. Did I mention rubber chickens? Did I mention it was free?

That was at Foley Square. I then walked the route up Lafayette Avenue to 14th Street (where I dropped off my composting), and then up Park Avenue to Grand Central. Seeing it up close is a real treat. I continued up to 65th Street. The event ran to 72nd Street, but I ran out of time, and there’s not too much to see up there.

Did I enjoy it? Yes! Will I do it again next Saturday? Doubtful. Do I recommend it to my NYC peeps for 8/14 (7a–1p)? Definitely!

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Naumburg Orchestral Concerts (8/3/21)

ECCO (East Coast Chamber Orchestra) – ShaiWosner, piano

W.A. Mozart (1756–91) – Piano Concerto No.14 in E-flat major, K449 (1784) – (i) Allegro vivace, (ii) Andantino, (iii) Allegro ma non troppo
Hanna Benn (1988–) – Where Springs Not Fail (2016)
Osvaldo Golijov (1960–) – Last Round (1996) –
W.A. Mozart (1756–91) – Piano Concerto No.12 in A major, K.414 (1782) – (i) Allegro,
(ii) Andante (iii) Rondeau. Allegretto

The first movement of the Mozart had a nice heft at the opening, for a chamber orchestra (six violins, three violas, three cellos, and one double bass), though there was also a gentle feel. After the strings in the opening, we had solo piano (this will be a recurring scene), followed by back and forth string accompaniment. There was a touch of drama before a solo piano cadenza, leading to a bright ending. The second movement was slower and gentle (strings, then piano joining), pretty without being cloying, though a bit long. Of course, the moment I wrote that in my notes, the movement came to an end. The third movement was brighter (strings, then piano). It had a real chamber music feel before a perky section that led to a fun finish.

Ms. Benn’s work, inspired by a Gerard Manley Hopkins poem, had a very calm opening, with a sort of shimmery feel. It was modern without being harsh, with a nice contemplative feel. Though it wandered a bit, it felt to me like brief episodes that were linked together.

Last Round was based on a short story, and it was the composer’s reactions to the illness and death of the great Argentinian composer Astor Piazzolla. With a definite tango feel, it was energetic while being modern but accessible. At one point, the tempo increased to almost frenetic but was then dialed back down. Still, it couldn’t stay serene for too long. Then there was an extended slow section, sounding mournful, that eventually faded away to nothing.

The first movement of the second Mozart piano concerto had a lilting opening for the strings before getting a little fuller; then, as usual, the piano joined the party. This was the more tinkly Mozart style than the previous concerto, though there was some solidity in the strings from time to time. There was also a more extensive piano solo/cadenza toward the end of the movement than in the previous concerto. The second movement had a lovely opening from the strings followed by a sedate solo piano entry [this was probably my favorite movement of the six Mozart movements]. The final movement was jaunty, with a return to tinkly, in a pretty way, followed by a few dark hints of drama.

Here’s a brief note about the cadenzas I mentioned. I certainly didn’t have a score in front of me, but my understanding is that Mozart wrote a piano solo at the end of the movement that allowed some flexibility for the soloist to improvise and add to (in an appropriate manner) before returning to an obvious aural cue for the orchestra to rejoin, in order to finish the movement. How much improvising Mr. Wosner did, I do not know. But his returns with the orchestra were seamless and easy to understand.

Full disclosure: I am not a huge Mozart fan. I enjoyed this concert more than I thought I would, possibly because it was a lighter chamber orchestra feel. I sometimes feel bashed over the head with Mozart played by huge ensembles. Some of the evening’s tinkly stuff grated slightly, but not nearly as much as I expected.

There was a solo piano encore (not announced) which sounded slightly Slavic to me. Maybe a Tchaikovsky piano morsel? It would have been nice to know.

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Naumburg Orchestral Concerts (7/20/21)

Philharmonia Baroque Orchestra
Richard Egarr, Conductor • Rowan Pierce, Soprano

Christopher Gibbons (1615/20–1676) – Fantasy in A minor
John Blow (1649–1708) – 3 Songs – [Ya know what? I’m not going to name every one; you’ll see why later.]
Matthew Locke (1621/23–1677) – Curtain Tune from The Tempest
Henry Purcell – (1659–1695) – 3 Songs
Purcell – Chaconne from King Arthur
Purcell – 13 selections from Fairy Queen (do you see now why I didn’t name every movement of every work?)
N.B. * = soprano soloist

A slight explanation is needed here. In this case, a baroque orchestra is played by string players using baroque-era instruments—a double bass from 1648 to violins from c. 1800. Could I hear a difference? I could not. Was more tuning necessary? It was. Was a theorbo involved? It was. (For those of you in the know, I have explained theorbos in the past. For the rest of you, Google/Yahoo! is your friend.)

On to the music. The opening work was calm, with increasing volume, though rather staid. The second work added the soprano* soloist. The first movement was jaunty, with florid writing (many notes and runs on a single syllable). After re-tuning the theorbo (^^ see more tuning, above), the second movement was slower and calmer, yet still with energy. The third movement was a sweet waltz, with an emphasis on sweet, and was my favorite of the three.

The third work had a quiet opening, then a quick build-up, then a back-and-forth section, in a changeable way—a real Tempest feel. (This compositional style is representative of the era.)

The first* Henry Purcell song was similar to the John Blow pieces (soloist* and continuo (harpsichord and theorbo/guitar)), with a narrative, story-telling feel that was dramatic at times. The second (also sung) was calmer but still very pretty; the third switched back and forth between calm and more quick sections. The Purcell Chaconne featured the entire ensemble of strings in a pleasant dance form, without being overdone.

After intermission, my notes are a hot mess. Thirteen movements? Fading light? Movements that seemed to change order? Here’s my best take.
Lively opening that was not quite an overture, but close / Pleasant dance / * Waltz song with two verses / Jaunty dance (Fairies) / Rousing dance (Haymakers) / Slightly more relaxed dance (Monkeys, though they then got frisky and cute) / * The Plaint (O Let Me Weep—properly plaintive) / Quite a jaunty dance (Hornpipe) / A gentle dance / * A song not quite as plaintive as The Plaint, but cut from the same cloth / the last three selections sort of blurred together, without quite a big finish, but it was close.

There was a well-deserved * folk song encore.

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Naumburg Orchestral Concerts (7/6/21)

A Far Cry

Edvard Grieg (1843–1907)
Holberg Suite Op. 40 (1884)
Praeludium; Sarabande; Gavotte; Air; Rigaudon
Joseph Bologne, Chevalier de Saint-Georges (I’m not making this up, you know) (1745–1799)
Sinfonia Concertante, Op. 13, No. 1 in E-flat major (1778)
Allegro, Rondeau …

As I was going to the concert site, the wind was whipping. As I left my second bus, the rain was massive. Being the Pollyanna that I am, I said, “This too shall pass.” For a while, it did. The first four (of five) movements of the Grieg were played in drizzle. The first was brisk and energetic, with a very sweet tune in the violin—cheerful and almost muscular at times. The second was calmer … I stopped writing … can’t write while holding an umbrella. The Gavotte was fun. The Air was plaintive but enjoyable. The Rigaudon … was not played.

Weather dictated a break (and the rain never really stopped).
After the weather break, they played the Rigaudon, which was energetic and fun. I packed it in after that. Too wet and dismal for me. I heard portions of the Sinfonia as I left Central Park.

I heard later, on WQXR, that the entire concert was performed, and die-hard fans stayed until the end.

It was raining (with lightning) when I left the concert. It was raining when I got on my first, of two, buses home. It was raining when I got on my second, of two, buses home. It was raining when I got home. I think I made the right choice.

p.s. A Far Cry is a great Boston-based group that I have heard before and commented on before. I urge you to Google/Yahoo! them.
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(Or should I say WetMeister?)