Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Awestruck, Transcendent, Epic Grandeur from the Spectrum Symphony

One of the most transcendent concerts of 2016 happened Friday night at St. Peter’s Church in midtown, where the Spectrum Symphony played not one but two rare concertos for organ and orchestra by Poulenc and Balint Karosi, the latter a world premiere. First of all, beyond the famous Saint-Saens Organ Symphony, there isn’t much organ repertoire that incorporates much of anything other than brass – simply because church organs are loud. And paradoxically, to mute the organ as a concerto instrument would make it redundant: you can get “quiet organ” with woodwinds. So this show was doubly auspicious, incorporating both the Poulenc Concerto for Orchestra, Strings and Timpani in G along with works by Bach, Mendelssohn and the exhilarating, rivetingly dynamic Karosi Concerto No. 2 for Organ, Percussion and Strings, with the composer himself in the console. Conductor David Grunberg, who is really on a roll programming obscure works that deserve to be vastly better known, was a calmly poised, assured presence and had the group on their toes – as they had to be.

Another problematic issue with music for pipe organ and other instruments, from both a compositional and performance prespective, is the sonic decay. Not only do you have to take your time with this kind of music, you have to be minutely attuned to echo effects so that the organ and ensemble aren’t stepping all over each other. The acoustics at this space happen to be on the dry side, which worked to the musicians’ advantage. The strings opened by giving a lively, Vivaldiesque flair to the overture from Bach’s Orchestral Suite No, 3, BWV 1068, a clever bit of programming since the eight-part Poulenc suite – performed as an integral whole – opens with a robust shout-out to Bach before going off in all sorts of clever directions.

Organist Janos Palur parsed the piece with a deliberate, carefully crafted approach well-suited to its innumerable shifts from one idiom to another, from the baroque, to vividly lingering Romanticism, to a robust, completely unexpected dance and more astringent tonalities. Poulenc’s genius in assembling the piece came through in how integrally the organist and ensemble played it: both were clearly audible and rewardingly supportive of each other when in unison, and when not, transitions between solo organ and the strings were confidently fluid and natural. As the piece unwound, it took on a Gil Evans-like sweep and lustre, the lowest pedals and bass paired with sonic cirrus clouds floating serenely above the dark river underneath.

Percussionist Charles Kiger got even more of a workout with the Karosi premiere than he did with the Poulenc. Switching seamlessly from one instrument to another, his vibraphone amplified uneasy pointillisms that a different composer might have arranged for glockenspiel. Otherwise, his terse kettledrum accents bolstered Karosi’s stygian pedal undercurrents, and his mighty, crescendoing washes on the gongs provided the night’s most spine-tingling, thundering crescendos.

Yet for all its towering, epic grandeur, the concerto turned out to be stunningly subtle. Seemingly modeled on the architecture if not the melodies of the Poulenc, Karosi quickly quoted from the same Bach riff that Poulenc used and then worked his way through a completely different and even more adventurously multistylistic tour de force. There were allusions to the haunted atmospherics of Jehan Alain, the austere glimmer of Naji Hakim, the macabre cascades of Louis Vierne, and finally and most conclusively, the otherworldly, awestruck terror of Messiaen. But ultimately, the suite is its own animal – and vaults Karosi into the front ranks of global composers. It’s almost embarrassing to admit not being familiar with his work prior to this concert. Not only is this guy good, he’s John Adams good. Let’s hope for vastly more from him in the years and decades to come. And the Spectrum Symphony return to their new home at St. Peter’s on January 27 at 7:30 PM with a Mozart birthday party celebration featuring his “Prague” Symphony No. 28,

November 6, 2016 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, organ music, review, Reviews | , , , , , , , , , , , , , , , , , , | Leave a comment

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.

November 3, 2016 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , | Leave a comment