by Caleb Easterly
The Knights, a youthful chamber orchestra from Brooklyn, played an innovative, exciting concert to bring in the New Year at the 92nd St. Y this past weekend, with the common thread being that all the works on the program were written in the key of C. Purcell's Fantasia upon One Note, played by a string quintet, is based around a pedal point of middle C held by the cello throughout the piece's 3 minute duration. The other parts dance around the note, which sometimes led in the foreground and at other times whispered in the background. As it ended, the tone was held, hovering in the air for what felt like a long moment.
Terry Riley's In C, one of the landmark works of minimalism, is comprised of 53 short phrases, each of which the musicians repeat as many times as they see fit. The Knights consider themselves an "orchestra of friends," and are terrific at the silent communication necessary to pull this semi-improvisatory work off. Players smiled at each other, seemingly surprised to find themselves playing the same pattern. Additional players emerged onstage as the piece progressed, adding different tones and colors. There were many nodding heads and tapping feet as the musicians embraced the percussive, rhythmic nature of the piece. After 45 minutes, I felt somewhat dazed.
There’s nothing to bring one back down to earth, however, like the famous four opening notes of Beethoven’s Fifth Symphony. Although the orchestra was small in size, they more than filled the hall, playing one of the most exciting and vivacious interpretations I have ever heard. Conductor Eric Jacobsen confidently led the orchestra with a direct and aggressive style. If tone and accuracy were occasionally compromised for the integrity of the musical moment, it didn’t much matter. As they tore through Beethoven's joyous coda at the end of the symphony, The Knights ushered in a New Year and a new way to think about classical music – both old and new.