In addition to securing a good seat, the early birds were also rewarded with a particularly illuminating lecture on Brahms and Webern music and the connections between them (Quick trivia question: Who knew that Brahms was so forward-thinking?! Answer: Webern.), by young, deeply knowledgeable and naturally engaging musician and musicologist David Miller, who had made the trip down all the way from Cornell University.
I guess that’s what people mean when they say “packed to the rafters”.
#YOU TUBE PAUL ELWOOD MARTI EPSTEIN HIDDEN FLOWERS FULL#
There were loyal music lovers and curious out-of-towners, as well as the full NOVUS NY orchestra on the ground floor, and then the Choir of Trinity Wall Street and Downtown Voices in two of the upstairs balconies, and more audience members in the third one. As a hard-core uptown girl, it takes a lot for me to come downtown in the weekend, but in this case at least, I had no doubt that the trip would be worth it.Īpparently a lot of people thought so too, as even over a half hour before the concert’s starting time the little chapel was filling up quickly and steadily. Paul’s Chapel, but he obviously decided to roll with the punches, and it has clearly been working. However, little did he know at the time that Trinity Church would be closed for revocation by now, and that he would have to downsize (or not!) in St.
Heinrich Schütz: Selig Sind die Toten, SWV 391Īfter a week dedicated to the music of Anton Webern, I was bracing myself for the grand finale of Trinity Wall Street’s “Time’s Arrow - Webern 2” festival, which would include not only more Webern pieces, but also Brahms’ magnificent Requiem, as it had been expertly masterminded by Trinity Wall Street director of music and the arts Julian Wachner. 21 (arranged for 16-art choir by Clytus Gottwald)
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