A Historic Performance of Epic Orchestral and Organ Music Tomorrow in Midtown
For those who gravitate toward towering, majestic sonics, it’s hard to imagine anything more exciting than the Spectrum Symphony‘s upcoming concert tomorrow, Nov 4 at 7:30 PM at St. Peter’s Church at Lexington Ave. and 54th St, where they’ll be playing the first program devoted exclusively to music for organ and orchestra staged in this city this year. In fact, this might be the first concert of its kind staged in this city in this CENTURY. Admittedly, beyond the famous Saint-Saens Organ Symphony, symphonic repertoire that also incorporates organ is hard to find. Whatever the case, history will be made when conductor David Grunberg leads the enterprising ensemble through Poulenc’s Concerto for Organ and Orchestra along with the world premiere of Hungarian composer Balint Karosi‘s new Concerto with organ soloist János Pálúr. Suggested donation is $25/$15 stud/srs.
Since 2016 is the Ginastera centenary, it was no surprise that the orchestra would conclude their spring 2016 season on the Upper West Side with a concert highlighted by a meticulously dynamic, uneasily thrilling performance of Ginastera’s Variaciones Concertantes, with special guest harpist Melanie Genin. A sort of synthesis of the early neoromantic Ginastera and his chilling, Messiaenesque later works, it’s a surrealistically riveting mashup of eras and idioms, making it hard to shift gears between them. Grunberg and the orchestra pulled it off with an impressive seamlessness.
They opened quietly with uneasily terse, moonlit glimmer from the harp and strings. The suite grew to a somber, meticulously lowlit lustre that gave way to a sudden, striking trumpet cadenza and then a swirling ballet theme of sorts. There was both precision and irresistible fun as the spiraling woodwinds wound up the opening movement.
From there, austere strings rose with eerie close harmonies to a warmly lush nocturnal, neoromantic interlude. The orchestra followed a spare, brooding oboe solo over a richly misty backdrop More of those uneasy close harmonies shifted to the brass as the fourth movement built, followed by vividly acidic violin. Slowly looming horns in counterpoint with the winds and a hushed passage with strings and harp gave not the slightest hint of how triumpantly pulsing the piece’s triumphantly Stravinskyian coda would be, with its shivery strings and stilletto brass. If this performance is any indication, the energy will be through the roof (or the pavement – the space is below ground) tomorrow night.
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