The Knights Open 2014 Naumburg Bandshell Concerts

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Tuesday, June 24, 2014

The Knights with soloist Timo Andres perform a reworking of Mozart's Piano Concerto No. 26 'Coronation' at the Naumburg Bandshell in Central Park. The Knights with soloist Timo Andres perform a reworking of Mozart's Piano Concerto No. 26 'Coronation' at the Naumburg Bandshell in Central Park. (Kim Nowacki/WQXR)

WQXR returned to Central Park for another summer of broadcasts from the Naumburg Bandshell. Listen to the archived broadcast above.

The series kicked off June 24 with The Knights, the Brooklyn-based chamber orchestra, playing works by Ives, Boccherini, Andrew Norman and Mozart. Pianist/composer Timo Andres was the soloist in his much-discussed reworking of Mozart's Piano Concerto No. 26 "Coronation." Jeff Spurgeon hosted from the newly-cleaned bandshell.


The Knights - with Timo Andres, composer/pianist:

Luigi Boccherini (1743-1805): Quintet in C major Op. 30, No. 6 “La Musica Notturna delle strade di Madrid" (arranged for string orchestra)
I. Le campane dell'Ave Maria
II. Il tamburo dei Soldati
III. Minuetto dei Ciechi
IV. Il Rosario (Largo assai, allegro, largo come prima)
V. Passa Calle (Allegro vivo)
VI. Il tamburo
VII. Ritirata (Maestoso)

Timo Andres (1985- ): Mozart "Coronation" Concerto - Re-Composition
I. Allegro
II (Larghetto)
III (Allegretto)


Andrew Norman (1979- ): Light Screens

Charles Ives
(1874-1954): Three Places in New England
I. The "St. Gaudens" in Boston Common (Col. Shaw and his Colored Regiment)
II. Putnam's Camp, Redding, Connecticut
III. The Housatonic at Stockbridge

Pictured: The initial inspiration for Andrew Norman's piece came from Frank Lloyd Wright's stained glass window designs called "light screens."

AUDIO: Timo Andres describes the inspiration for his Re-Composition:

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Kim Nowacki/WQXR
The Knights perform Boccherini's Quintet in C major Op. 30, No. 6 “La Musica Notturna delle strade di Madrid" (arranged for string orchestra).
Kim Nowacki/WQXR
WQXR's Jeff Spurgeon talks with Eric Jacobsen, conductor, co-artistic director and cellist in The Knights.
Kim Nowacki/WQXR
Pianist/composer Timo Andres and The Knights perform Mozart's "Coronation" Concerto, Re-Composition.
Kim Nowacki/WQXR
A packed crowd at the Naumburg Bandshell.
Kim Nowacki/WQXR
Members of The Knights perform Andrew Norman's "Light Screens."
Kim Nowacki/WQXR
The Knights perform Charles Ives's "Three Places in New England."

Comments [9]


But that's just what the publishers did. They took Mozart's "unfinished" score and pretended to write what Mozart would have. If God's voice said, "Unfinished is best," who are the publishers to override God's voice?

Not a valid argument.


Jun. 26 2014 10:06 PM
Helga Tse from Long Island. New York

If we could hear God's voice it would sound like the music of Mozart. Why try to change perfection?

Jun. 26 2014 09:11 PM

So, let me see if I'm getting this. We can have Leopold Stokowski bastardizing Bach and that's OK.

We can have Rachmaninoff's "Vocalise" -- just without vocals, on any number of instruments, and we can have Bach's g minor violin concerto -- but on the guitar. And in a minor, because it's easier that way.

But Mozart's (unfinished -- lots of measures for the left hand completely blank) "Coronation" concerto is sacrosanct? I think not.


Jun. 26 2014 07:33 PM
Willi from New York

Re: recomposed K. 537: One word sums it all up, ugly.

Jun. 26 2014 06:20 PM

I thoroughly enjoyed the re-composed Mozart. And, in general, I'm not a big fan of change, but this worked for me. I even called out, "Bravo!" a real rarity for me.


Jun. 25 2014 07:37 PM
valerie king from Utah

Loving the birds in the background!

Jun. 25 2014 07:10 PM
Peter O'Malley from Oakland, New Jersey

"Recomposed"? When I heard the hype for this on WQXR's announcements, I wondered what it could portend. Now I see: silliness. I agree that Mozart's piece did not need tinkering, but if it seemed necessary to fool around with it to gratify someone's ego, why couldn't the end result have had something to do with the original? The clattering and over-vigorous additions bore little if any relationship, musically, to the work onto which they were grafted. Jeff Spurgeon, of course, was fawning and couldn't get himself to ask what the additions had to do with the original.

Jun. 24 2014 09:07 PM
Peter Gross from New York City

too much of that Mozart - recomposed. Mozart on his own did quite well enough, thank you.

Jun. 24 2014 08:28 PM

I look forward to being there in person. One of my summer favorites.


Jun. 23 2014 01:09 AM

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