Paul Cavalconte: And live from the Naumburg Bandshell, the Times Square Brass Band.

And kicking off the Naumburg Orchestral Concerts here at this 100-year-old historic bandshell. And what you just heard was a world premiere by the New York based composer, Martin Kennedy, written as part of this centennial celebration. This beautiful bandshell, by the way, was built in 1923 and donated by Elkin Naumburg.

He placed a dedication on the front that said, presented to the city of New York, and its music lovers.

And that's you gathered here in Central Park and listening to the radio right now in this live broadcast, I'm Paul Cavalconte from WQXR, and tonight we are broadcasting live from Central Park with a concert from the early music group. Acronym.

Acronym are making their debut on this concert series. Acronym is an ensemble that the New York Times describes as playing with consummate style, grace and unity of spirit. Their mission is to bring new life to this century's old music. And these works shed a light on the history and culture of Europe in the mid 17th century.

And this is the music that would later influence the Baroque composers like Bach, Vivaldi, and Handel. So we're going on a ride tonight. We're gonna hear from composers whose names you may have never heard of, and a few that may sound familiar, music that may open your ears and transport you to a time several centuries ago.

They're gonna start with a work from an anonymous composer, and it has the title Sonata Jucunda, which tells the story of a battle between the European forces of the Holy Roman Empire and the Ottoman Turkish forces. This occurred during Ottoman attempts to expand its empire into Eastern Europe. The music imaginatively depicts the mustering of armies and the chaos of battle and features an Ottoman melody played in unison by the entire ensemble. One from the battlefront. Here they are. Here is Acronym!

MUSIC - Sonata Jucunda a5 in D minor by Anonymous

We're broadcasting live in Central Park on WQXR. We've just heard music by the early music group, Acronym.

Doug Balliett: Everybody, welcome. Thank you so very much for being here with us tonight. What an honor it is to be here on this series. Uh, it's a real, um, uh, testament to, uh, the work we've been putting into this 17th century music.

First of all, a bit of housekeeping. Our leader for this first piece, Edwin Huizinga, was inadvertently left off the program and he's amazing. So let's just give him a round of applause...

So in that wonderful introduction, you heard that we as a group, we specialize in 17th century music. And, uh, why 17th century music? Because it's a wild, crazy, bizarre, insane decade, um, decades— century of music making. And there's just three things that I wanna mention about it that you can think about over the first half of this concert.

And they all start with I: instruments, improvisation, and imagination. So first of all, you can see some crazy instruments. The 17th century was a time of wild experimentation with instruments. And just to give you a frame of reference, the violin and the cello at this time of the music that we're playing was as new to them as the electric guitar is to us.

It was a new instrument, it was louder, it was faster, and it was crazier. And those were the things that they wanted in this music. Uh, which brings me to improvisation. If you're a member of the New York Philharmonic looking at our scores, the first thing you're probably gonna say is, where are the dynamics? Where are the phrasing marks? Where are the articulations? Where are the keyboard parts? Where's the guitar part? The fact is, these composers, they pretty much wrote like 80% of the piece and they expected the musicians to layer on that last 20% of musical personality. So that's part of the work we do is learning how to improvise in that style, what might have sounded familiar to them, and what can we do to, uh, expand those boundaries.

And that's the last, uh, “i”, which is imagination. This is a century that produced Hieronymus Bosch, and his crazy heaven and hell -scapes. And, uh, that's sort of what this music is. It's, it's asking the question, can we make a painting with sound? And what would it look like and what would we represent? So I'd love for you all to paint your own pictures as we play these next pieces.

And I'll be back in a few, uh, uh, pieces to give you the sort of petting zoo of instruments that we have up here. So for now, enjoy, uh, Capricornus, is next.

Paul Cavalconte: The composer once again is Samuel Capricornus, who lived in the 17th century. We'll hear a Sonata in A minor. He was born in an area of Europe that is now the Czech Republic. A scholar of philosophy, theology, and languages before he concentrated on music, he moved to Vienna and uh, then went on to Stuttgart where he held a position as a Kapellmeister. And he had a feud with a local organist who was jealous of his abilities. The two wrote letters to each other fighting over musical styles, and Capricornus also told him that his brother, a local coronetist, sounded like a cow horn. Well, we don't hear one of those tuning.

Doug Balliett: One more tiny thing to add, uh, just so you're not wondering for the whole concert. Part of our mission is to use the original instruments and equipment from the time, so these are original or copies of instruments. But it also means we're using gut strings, really raw gut strings. I have a low raw D gut string on my base. It's as thick as a boa constrictor, so they're always going out of tune, and that's why we tune more than maybe you'll be used to. So thank you for your patience and Capricornus.

Paul Cavalconte: That is Doug Balliett giving us, uh, the inside scoop. Here we go.

MUSIC - Sonata a8 in A minor by Samuel Capricornus

Paul Cavalconte: A sonata by Samuel Capricornus, and it is Classical New York, 105.9 WQXR. Our live broadcast from the Naumburg Bandshell in Central Park. And the first one of what promises to be a wonderful summer season. Uh, the Acronym, uh, group is preparing now, uh, assembling their instruments and, and putting the final touch on tunings to hear some music by Francesco Cavalli, a Canzona in C Major.

This Venice bass composer was known for his operas. In fact, he wrote more than 40. The piece we're going to hear is from Sacred Music, a 1656 publication of masses, motets, and instrumental pieces, including this Canzona number eight.

MUSIC - Canzona a8 in C major by Francesco Cavalli

Francesco Cavalli, the composer, Canzona in C Major, the Venice based composer we mentioned, known for his operas. And from there, we're moving to music by a composer, Andreas Kirchhoff. Now, this is not the first time you've heard an announcer say this on WQXR, little is known about Andreas Kirchhoff, but we cobbled together a few facts.

He was an organist and a composer based in Copenhagen, only three known surviving sonatas, and we'll hear one of them now.

MUSIC - Sonata a6 in G minor by Andreas Kirchhoff

They are Acronym and we are live on WQXR. Music composed by Andreas Kirchhoff, a sonata in G minor, one of only three known. Clearly. It was one of the good ones. And music is coming next by an artist, perhaps, or a composer, I should say, a little better known. Alessandro Scarlatti. It's going to be the piece called Hagar and Ishmael were Exiled.

Now, Scarlatti was another composer who was helped by Queen Christina of Sweden. She had several homes through Europe, including one in Rome where she heard Scarlatti's music, and she made him the musical head of her household in Rome. This piece we're going to hear is an overture to an oratorial written by Scarlatti who lived from 1660 to 1725, this particular period, the specialty of Acronym who are performing live from the Naumburg bandshell, the historic Central Park focus of great music in summertime for the first WQXR live broadcast of the season.

MUSIC - Sinfonia a4, (from Agar et Ismaele esiliati) by Alessandro Scarlatti

Doug Balliett: Yes. Thank you again. That was a piece by Scarlatti, a new piece in our repertoire, but one I think we'll keep around. It's the overture to an opera. And hopefully someday we'll be doing lots of full operas. Who knows? Um, so as promised, uh, I do think going to a concert of early music is a little bit like going to the zoo.

Now we are a string band. All of our instruments are string instruments except for the organ, which is a wind instrument. Um, but a lot of these pieces don't specify instruments or the specifications are unusual. It might say violin or cornetto, it might say cello or trombone. Some surprising things like that.

Um, the 17th century was a time of, uh, great interest in the idea of families of instruments. They were crazy for the idea of what if we had, like the full human range of voice, but with flutes all the way from a bass flute to a little tiny piccolo? What if we had that for oboes? And the last instrument group to join that party was strings.

Until then, there wasn't really codified families, but the first family, I'm gonna start in an unusual way with the violas de gamba. This is, um, maybe the other... yes, yes. You love it.

Uh, this is a family that has, uh, a baby violin sized and, uh, Kivie has the tenor size. And Lauren is playing the bass size. And actually my instrument is part of this family too. The violone, it's tuned in fourths, just like these guys. It's the next step down that sometimes has six strings. So that's a family.

Now, uh, with the, the economic growth of the 17th century, instrument making got better, instruments got louder, you could make, uh, strings shorter, uh, and deeper. And with that ability came the violin and the cello. And that's the other string family with the viola in the middle. And you can see these are a lot like the modern instruments we have today, but there's no, uh, shoulder rests to speak of. The angle of the neck is a little better. And of course, we're all using gut strings as well. And again, the specifications might say big viola or violinetto. And you say, oh, what is that? Let's go to Praetorius and see if we can find a picture of it. Um, So that's the bowed strings right. Now, oh, let's, uh, Kivie do you have ready?

You'll see this in the second half. This instrument is specific to the 17th century. It went extinct quickly because it's so impractical, but it's so, uh, beautiful. How, how many strings is that Kivie?

Kivie Cahn-Lipman: 12.

Doug Balliett: 12 strings on this one. An entirely flat bridge so that he can play, uh, chords like an organ with his bow.

Uh, but the tuning is what makes it so crazy. Can you just strum across the strings?

So try keeping that in head. How do I play C Major on that again? Um, but, uh, but once you know how to play it, it makes a really beautiful sound that I guess we'll hear in the second half after we tune it. Um, that's called the lirone, the big lira. So in the middle of all of that we have our continuo group.

These guys are like our rhythm section. Though we're reading lead sheets. It's a baseline with numbers under it. And, uh, Elliot is serving on the keyboard role with both the harpsichord, which plucks the strings and the organ, which I mentioned is a wind instrument. He's reading this baseline that sometimes has numbers and sometimes not, and he has to understand them and understand the harmony for all of us really.

And so Elliot, if we were in F major and you saw an E with a six five, you would know to play. There you go. Uh, that's, that's the skill. Um, and Dan is also part of this group on the plucked instruments. He's also reading these, uh, chord symbols and realizing them on his instruments. You, you've seen his guitar perhaps, but you're probably more interested in his theorbo which is sometimes referred to as a giraffe or a giant spoon. Uh, what it is is a bass lute. It's a lute up top with these very long open bass strings that he plucks with his thumb to give some extra punch to the baseline. Can you just show us?

Theorbo sounds

Yes. That's really the sound of the 17th century. So we have one more piece for you on this half, uh, by Thieme Sonata for eight voices. And, uh, then we'll wish you a merry intermission and see you on the second half.

Paul Cavalconte: Once again, Clemens Thieme is the composer of this Sonata in C Major for very arcane instruments as we heard. Wonderful discussion by Doug Balliet, who will speak to us at intermission and we'll hear now. This music live on WQXR from the Naumburg Bandshell in Central Park.

MUSIC - Sonata a8 in C major by Clemens Thieme

That's a work by Clemens Thieme, a Sonata in C Major, performed by the early music ensemble, Acronym. And the crowd is cheering for them live at the Naumburg Bandshell here in Central Park. I’m Paul Cavalconte, and this is the first of five shows from the Naumburg Orchestral Concerts series this summer, and we couldn't have wanted for a lovelier very late spring evening.

It is cool. It is dry. The audience is now milling about for a break at intermission, and, uh, we are here at intermission in the park while the ensemble and the concert, uh, goers, uh, stretch their legs. Uh, we're gonna hear in just a moment from a member of Acronym and learn about this New York based ensemble.

Let me tell you that this is Classical New York, 105.9 FM and HD WQXR, Newark and 90.3 FM WQXW Ossining. It is exciting to be here in this 100th anniversary of the bandshell, which has been depicted so often in films including Breakfast at Tiffany's, Woody Allen's Mighty Aphrodite, When Harry Met Sally, Kramer versus Kramer, and Hair, were all films that featured the Naumburg Bandshell and a mere 50 years ago, John Lennon cavorted on the stage in footage that would be used in the video for his song Mind Games. Joining me at the mic now is Kivie Cahn Lipman, the founder of the ensemble Acronym. He plays the viola da gamba, which we've heard of, and the lirone, which I think is going to be new to a lot of us.

He's also the founding cellist of the International Contemporary Ensemble. Welcome, Kivie.

Kivie Cahn-Lipman: Hi.  Thanks for having me.

Paul Cavalconte: Now, about that “leori”.

Kivie Cahn-Lipman: Lirone.

Paul Cavalconte: Lirone! It’s delicious as an, as an appetizer for your main course of viola da gamba.

Kivie Cahn-Lipman: Yeah, it's a beautiful instrument. Uh, mine has 12 strings, some have 14 or 16. Uh, and it's designed to play, uh, all the major and minor triads.

It was used to accompany, uh, early Baroque Italian opera. Monteverde, for instance, calls for it in, uh, in all three of his operas.

So tell us about how Acronym got started. Is it true that you found old manuscripts and you got a group of friends together to play and then bang?

Kivie Cahn-Lipman: That's exactly right. Uh, this was a project for my doctoral thesis at the University of Cincinnati.

I, uh, was writing my thesis on a, a little known composer named Johann Pezel. He's most known now for brass quintets. And I found a collection of string sonatas that he'd written that no one had made a modern edition of, that no one had recorded except for one chaconne, which we'll actually hear at the start of the second half of the program.

And I, I called up my friend Adrian, who's on stage with me tonight of course, and, and said, help me organize the ideal ensemble.

Paul Cavalconte: So is it fair to say that this was an example of you coming across something in your research that completely surprised you and, and would it be, uh, overstating it to call it a kind of a holy grail of Baroque music that you had been looking for?

Kivie Cahn-Lipman: Absolutely. There's so much unrecorded music. From the 17th century, uh, hundreds of lifetimes worth of unrecorded music. And it's been my pet project now for about 10 years since I, uh, first sort of rediscovered these Pezel sonatas to find as many as I could and figure out what was the, the worthiest of this lifetime and, uh, organize it with the ensemble and record it.

Paul Cavalconte: So a lot of things by chance. And it seems that much of the music was born under those circumstances. Many of these composers that we're hearing tonight migrated around Europe from job to job. Was that typical at the time?

Kivie Cahn-Lipman: I think it was a lot of composers were, uh, finding jobs in whatever city they could. For instance, uh, we heard some Bertali, we’re gonna hear some, or excuse me, we're about to hear some Bertali and Valentini, uh, both of whom were Italians, but they were Hofkapellmeisters in Vienna, uh, and, uh, Vienna for more than a century had only Italian, uh, uh, chapel masters. The, the leaders of their, their royal court chapel.

Paul Cavalconte: So fast forwarding to our time, you also play with the International Contemporary Ensemble that commissions works from living composers. So I guess that makes you a musician of extremes, but how do these, how do these bookends kind of communicate to each other?

Kivie Cahn-Lipman: Well, I love working with composers, learning what the composer's intention is and, and doing my best to realize that. And I also love really old music, and of course, we'll, we'll never be able to speak to the composers, but, uh, by studying performance practice, uh, by, by researching what they wrote, how, how their music was performed in their time, we're able to sort of interact with, with these composers.

Paul Cavalconte: Now, when you pick up a modern cello. Is it a bit of a head trip at first? Is it a big switch mentally and physically? You know, when you go from Baroque to Modern.

Kivie Cahn-Lipman: Maybe for a second, uh, all of my training was on the modern cello. I, I came to Baroque music fairly late in life. I was already, uh, in graduate school when I started playing the old instruments. And so, uh, modern cello is actually where I'm most comfortable.

Paul Cavalconte: And what other, uh, instruments do you play?

Kivie Cahn-Lipman: Well, I've got all the sizes of viola da gamba. I've got the lirone. I've recently started dabbling in something called the, the tromba marina, which is a, it's a unichord string instrument, uh, with a weirdly vibrating bridge.

So it sounds like a brass instrument. I've, I've, I've got all sorts of fun instruments.

Paul Cavalconte: I love the tuning exercise with the organ before that was, and, and, and, and also the, um, the scale on which instrument was it that sounded so lost?

Kivie Cahn-Lipman: Uh, that was, that was lirone. That was 12 strings.

Paul Cavalconte: Wow. Those are interesting sounds. Now back to something maybe a little more conventional to our ear, your 2014 solo recording of J.S. Bach’s cello suites got some nice press, but you also got a personal letter of acknowledgement.

Kivie Cahn-Lipman: Yes. Uh, Ruth Bader Ginsburg actually sent me a nice letter about my,

Paul Cavalconte: No kidding!

Kivie Cahn-Lipman: About my Bach suites, which was such a treat for me. She was one of my personal heroes.

Paul Cavalconte: Wow. Well she really did feel music very deeply. Took it very seriously.

Kivie Cahn-Lipman: Absolutely.

Paul Cavalconte:  So it's a great compliment, not just for her celebrity, but the, the extent to which she felt music.

Kivie Cahn-Lipman: Yeah. I think that she was an opera lover.

Paul Cavalconte: We feel all of that tonight. Everyone here is not just here ‘cause it's a beautiful evening and it's free, but they're enrapt attention listening to these unusual sounds.

And, and, and I think that what I'm taking away from this exercise in the Baroque is that it's got swing.

Kivie Cahn-Lipman: Mm-hmm.

Paul Cavalconte:  It's got groove, it's got meaning. It's almost Grease. Baroque is the word.

Kivie Cahn-Lipman: It's, it's really fun music. Yeah. There's lots of, lots of improvisation. Lots of ornamentation. Uh, and, and there is even swing, uh, inégales they called it back in the day.

Paul Cavalconte:  Say that again.

Kivie Cahn-Lipman: Inégales. Uh, and it was a, it was a Baroque swing, mostly out of France.

Paul Cavalconte:  I'm gonna pick up and use, that's gonna be my word of the summer. So, uh, Kivie Cahn-Lipman, we're gonna let you get ready for the second half of the show. You've got a lot of tuning to do. You've gotta get that catgut D just right.

But thank you so much for coming by and for, you know, giving us a little backstory.

Kivie Cahn-Lipman: Thanks so much for having me.

Paul Cavalconte:  It's just fascinating music tonight and what a treat to have it on this beautiful evening. As we wait for the second half to begin, we're gonna hear from another artist coming to the Naumburg Bandshell this summer. On July 25th, the violinist, Aisslinn Nosky is going to be here with her Baroque band. Last year, Aisslinn joined the flutist Emi Ferguson and some other friends, violist Maureen Murchie and cellist Coleman Itzkoff in our Jerome L. Greene Space for this recording of Mozart’s Flute Quartet in D major on WQXR.

MUSIC - Flute Quartet in D Major K.285

Paul Cavalconte:  Welcome back to the second half of our concert by the early music ensemble Acronym.

I'm Paul Cavalconte from WQXR, and you are all on the radio tonight!

We're gonna be broadcasting all of the Naumburg Orchestral Concerts this summer, and you can find the complete schedule on their website. By the way, the next show will be here June 27th, featuring The Knights. The Naumburg Bandshell is celebrating their 100th anniversary this year, and while that might seem like a long time, the music in this concert is several centuries older than that.

This ensemble, Acronym, is celebrating music from the 17th century, and for our second half, we're gonna start with a piece by Johann Pezel, who was a German violinist and trumpeter, in addition to being a composer. For a while, he lived in Leipzig as a working musician, and then he had a small detour. He joined an Augustinian monastery in Prague.

The monastic life was not for him, and then he continued his musical pursuits. So we're gonna hear a dance tune of Pezel’s, which is a ciacona. This is a dance piece, so feel free to do the same. Move your feet if you're so inspired. Central Park is your dance floor. And Acronym is live from the Naumburg Bandshell on WQXR.

MUSIC - Ciacona a6 in B-flat major by Johann Pezel

Doug Balliett: So just a little tiny word about this next piece by Valentini, the Sonata Enharmonisch, because it's so weird that if you know what's going on, it's really an awe moment, but if you don't, it's a little bit like what? Um, so the, the 17th century was uh, also an age of alchemy and, um, proto science that bordered on magic and the occult. And Valentini was so interested in the science of music and in particular things like what's the difference between an A sharp and a B flat, which is the same note on the piano. On his keyboard, he had different keys because he heard a very subtle difference. So with that in mind, he wrote this piece for two choirs of instruments, one in B minor and one in G minor, two sharps, two flats.

Completely unrelated keys, and it brings out that sort of, uh, harshness between what an A sharp and a B flat is. It's very weird, but very cool too. So please enjoy.

Paul Cavalconte:  We're live on WQXR from the Naumburg Bandshell. It's Acronym and music that sharp ears will be able to ascertain in the way that was, uh, just described. Composed by Giovanni Valentini, born in Italy, he worked as a music director in the Hapsburg Court in Vienna. Known for, as you just heard, groundbreaking music that featured harmonic shifts and the use of dissonant chords.

Sounding sweet. Tonight in Central Park on WQXR.

MUSIC - Sonata Enharmonisch a8 in G minor by Giovanni Valentini

Paul Cavalconte:   The mysterious and beautiful music of the Italian Baroque played on period instruments in, in a live concert performance on WQXR. The first from our summer series in Central Park’s Naumburg Bandshell. That was a sonata and an aharmonic one, as the name suggests, uh, by Giovanni Valentini. One of his students is the composer of the next work we'll be hearing by composer Antonio Bertali.

Uh, he was a composer in violin virtuoso, who was born in Verona, Italy. He promoted Italian opera and, uh, what was then the, uh, Habsburg dynasty of Europe, and he was a student of Valentini's. So from a particular time and association, here is some music that was groundbreaking in its day and wonderful to hear tonight live.

MUSIC - Sonata a6 in D minor by Antonio Bertali

Paul Cavalconte:   Antonio Bertali the composer, a violin virtuoso, who created that Sonata in D Minor. We're hearing it on a beautiful summer evening, live on WQXR from the Naumburg Bandshell. With the smoke conditions of last week now cleared out of our area, the air is sweet and just slightly scented with linden blossom. And that reminds us of Germany and Johann Philip Krieger is the composer whose music is on tap next.

He was born in Nuremberg, studied in Venice, but later traveled to Vienna and was known for his organ playing, a little younger than the other composers on this program. He lived until 1725. And eventually he spent most of his life based in Germany, where he was kapellmeister for 45 years. Again, the composer is Johann Philipp Krieger and his music is being tuned now, the tuning a particular process in tonight's broadcast and performance because the period instruments being used must be tempered in a very special way for each of the pieces we're about to hear. So to the key of F Major, a Sonata by Johann Philipp Krieger, with Acronym live from the Naumburg Bandshell on WQXR.

MUSIC - Sonata a4 in F major by Johann Philipp Krieger

Doug Balliett: Thank you again very much for being with us this evening. We have one more piece for you. Uh, just a couple of things before I introduce that. Uh, people sometimes ask, uh, me about Acronym’s leadership structure. And I have to answer – anarchy. It’s, uh, it’s just the truth. The only rules we have in rehearsal is we try everything and we tune all the time.

So that’s part of what makes the group so much fun. I will say Kivie, uh, on the, uh, bowed basses, he was the first one to assemble us all, and he’s found a lot of the music that we’ve done. And Kivie, how many albums have we recorded now?

Kivie Cahn-Lipman: 10.

Doug Balliett: 10. 10 albums. So yes. That’s great news to the lady who said she wanted to take us all home with her. That is possible.

Uh, so this last piece, um, this is, I, I referenced Bosch already tonight, and I think, uh, Biber is really the sonic Bosch, and this is his battalia, which is a, a sonic painting of a battle. And I really wanted to introduce it ‘cause this is one of those pieces where people sometimes say, your concert was great, but that one section sounded terrible. What happened?

He puts this scene where all the drunken soldiers are singing different songs and we're playing it really accurately. We, we really rehearsed this page. Um, but beyond that, there's also like special effects in the instruments that Biber writes in and tells you how to achieve them. So it's all 17th century that you're hearing in this piece.

Thank you again so very much for being with us this evening, and we hope to see you again soon!

Paul Cavalconte: In the process of this tuning, uh, for the music of Heinrich Ignaz Franz Biber and, uh, as Acronym tunes, we'll note that, uh, this term battalia is a one that is used when music imitates a battle. So be prepared for dissident and conflict. And ultimately musical triumph. Uh, Biber himself was known as a violin virtuoso.

He experimented with this alternate tuning system, which was known as scordatura. So the next time you're practicing at home and your loved one says, sweetheart, can you just stop that, can it for a while? But honey, I'm practicing my scordatura. You'll get away with that. The Italian word for discord allows for special effects, unusual chords, and all of that is being worked out.

Now as we tune into this Battalia in D major of Heinrich Ignatz Franz Biber.

MUSIC - Battalia a10 in D major by Heinrich Ignaz Franz Biber

From the Naumburg in Central Park. That is the early music group called Acronym, and that was the debut of Acronym as part of the Naumburg Orchestral Concert series. We just heard the Battalia in D major by Heinrich Ignaz Franz Biber. Lots of applause. Much spirited cheering for this really unique ensemble and the perfect sounds for a beautiful summer night.

Wafting out into the air. The spirit of another time coming to vibrant life and a perfect way to kick off this all-summer long series. From the Naumburg Bandshell broadcast live on WQXR. The entire ensemble has taken the stage with their very unique instruments all taking bows and soaking in the love of this crowd on this beautiful night.

So we'll be back here at Central Park for another concert of the Naumburg Orchestral Concerts series Tuesday, June 27th, a concert featuring The Knights. You can learn about these events and much more by signing up for our WQXR newsletter by texting WQXR to 70101. Once again, text WQXR to 70101.

Our great thanks to Christopher London, president of the Naumburg Orchestral Society and his staff, including stage manager extraordinaire Pati Dines. Also, thanks to L and M Sound and Light, and our friends at Summerstage. The WQXR team includes engineers, Edward Haber, George Wellington, Noriko Okabe, and Bill Sigmund, our production team, Eileen Delahunty, Laura Boyman, Max Fine, Jade Jiang. I'm Paul Cavalconte. I'm gonna send it back to our downtown studio now where my friend Elliott Forrest has been eavesdropping all night. Back to you, Elliott.

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