The Northern Dutchess Symphony at The Stissing Center this past Friday opened with Concerto for Violin and Oboe in C minor, BWV 1060 (1736)by J.S. Bach. The orchestra captured the exuberant joy and tenderness of the work in the three movements with tight, unified sound. Special guest soloists Rachael Handman on violin and Keve Wilson on oboe played with velvet sonority while exchanging leads. Arpeggiated figuration for the violin part are absent in the oboe part, since it is not idiomatic for the oboe, yet the composition is suited to both violin and oboe with a happy interchange of lead solo runs from both instruments.
A Cabaret Quartet of five short musical songs appeared on the menu: “Only You” by YAZ; Brasilherinho by Waldorf Acevedo; “Si Bheag” by Si Mor, traditional; “Moon River” by Henry Mancini; and “Indifference” by Leo Rondon.
The orchestra left the stage, and a quartet appeared to play two Argentine tangos, the second one based upon a tune of the Irish blind harpist Turlough O’Carolan, a friend of Arcangelo Corelli. While Rachael and Keve dominated, Justin Rothberg on the guitar provided astounding riffs, while Lou Pappas on bass delivered subterranean support.
Rachel then performed two solo movements from a recent composition by Wynton Marsalis. This was an exciting fusion work that blended traditional Irish music with African-inflected influences. The first movement was based upon the Irish jig, while the following movement, called “Side-Step Reel,” was so dynamic in changing chords and textures, I look forward to hearing a complete recording of the work! This offered an amazing performance of dazzling difficulty….
The orchestra returned to perform three works by Astor Piazzolla. (1921-1992). Milonga, considered to be a precursor of the tango, originated in Argentina and Uruguay. In Milonga, all four notes are tuned strongly with a doubled tempo. The strength of the first beat weakens the fourth beat, providing an almost waltz-like feel to milonga: one-two-three (four), one-two-three (four). Violin soloist Olivia Moadde played with contagious fervor. Libertango (1974) announced a new direction in his work: moving from classic tango to tango nuevo. (There are over a hundred various recordings of this popular work.) Here, violoncello soloist Choi Fairbanks excelled. Oblivion, where Keve dominated with subtlety, remains the most famous composition by Piazzolla, which the orchestra performed to suave perfection.
Air for oboe and strings by Alec Wilder (1907-1980), who wrote popular songs, as well as classical works, opera, musicals, and film scores, featured Keve as lead oboe with mellow finesse. This work was conducted by Frank Sinatra with Mitch Miller, the President of Columbia Records, on oboe, and recorded in 1945.
For Finale, the orchestra performed “Saint Ann’s Reel” with Rachel as lead violinist and Keve as lead oboe. This was a powerful, full-tilt conclusion to an eclectic mix of traditional, pop, and new compositions.
One might say that this was a memorable “third stream” concert with exciting and unpredictable fizz!
The whole concert was conceived and conducted by Music Director Kathleen Beckman.
P.S. Some of their performances are available on YouTube.
