The Knights on Feb. 5 at Zankel Hall

I arrived in New York City at 9 a.m. after a 6 a.m. flight from Chicago. I spent the day working from home, attending lab meeting, and coding. In the middle of all that, I wondered when I would next hear the Mendelssohn Octet live. By coincidence, The Knights were playing it that night at Carnegie Hall’s Zankel Hall. I had to go.

Program

• Haydn: Symphony No. 8 in G Major, “Le soir”
• Osvaldo Golijov: Ever Yours (2022, New York Premiere)
• Arvo Pärt: In spe (2010)
• Mendelssohn: Octet in E-flat Major, Op. 20 (1825)

Notes & reactions

Haydn: Symphony No. 8 in G Major, “Le soir”

The concert opened with a beautifully executed Haydn symphony. The final movement, “La tempesta: Presto,” was the highlight—full of the dramatic flair that made the trip worthwhile. Despite a brief moment of suspense when the concertmaster’s bow slipped, the interpretation was crisp.

Osvaldo Golijov: Ever Yours (2022, New York Premiere)

I must admit now: prior to the concert, I did not check to see what other pieces were being performed. Golijov was not a name that I never knew about. This would be a first impression. I am an appreciator of contemprory music so i welcomed this chance. The conductor Eric Jacobsen came up to introduce the piece. He mentioned that the composer was unable to make it to the concert but left a message about the piece for the audience. The context of the piece was that it was inspired by a letter from Vincent Van Gogh to his brother. And that the piece was dedicated to the co-founder of the St. Lawrence String Quartet, Geoff Nuttall, who passed away from cancer. The composer spoke about the joy of creating music with Nuttall and how making music starts a conversation and even after nuttall passed away the conversation keeps going. The piece was a refreshing journey though the mind of the composer. I particularly enjoyed the 4th movement “Papa”, which was the nickname of Haydn. The start of the piece sounds like an intense Piazzolla from the the 21-century. I think it is worth giving a listen: Ever Yours (“Papa”) on YouTube.

Arvo Pärt: In spe (2010)

The second half opened with Pärt’s signature tintinnabuli style. While I enjoy Pärt, the placement felt a bit awkward following the high energy of Haydn and Golijov.

Mendelssohn: Octet in E-flat Major, Op. 20 (1825)

The final item on the program was the main attraction. Once again, the conductor stepped out to speak about the significance of the piece, noting its special place in his own childhood—as well as in the lives of many musicians. It is, he remarked, the kind of work people love to sight-read at home with friends. He went on to say that Mendelssohn stands at the very top of the child prodigies, largely because of this composition, and I agree. Somehow, at just sixteen years old, Mendelssohn managed to write a work of remarkable complexity, placing together eight independent voices with clarity and purpose. The energy of the performance was electric, and the individual lines blended seamlessly into a vibrant whole. It is often the case that the parts are not balanced properly but this was done well.

The last time I heard this piece live was in 2018, when I was an undergraduate at Stony Brook and it was performed as part of the Starry Nights series. Hearing it again now felt like a welcome return to one of my favorite chamber works.

Closing thoughts

It turns out I’d seen the Jacobsen brothers before with their string quartet, Brooklyn Rider, at the NY Phil. Their work with “The Knights” is nice, I’ll definitely be keeping a closer eye on their performance calendar from now on.