New York in mid-summer is like a cooler in reverse: the asphalt and concrete seal in heat and humidity and keep out any refreshing winds. Luckily, all that changes on the far West Side, where a portion of the once crumbling and disreputable piers have undergone a stunning transformation. When fully completed, Hudson River Park will hug the water   for five miles from Battery Place to 59^th Street. The reclaimed riverfront already provides a  haven for joggers, bikers, walkers, and anyone who wants to enjoy a river view and a brisk breeze. 

Last night I took in a free concert on the Christopher Street Pier. The renovated pier is gorgeous—a thick blanket of kelly green lawn (dogs off the grass, please) stretches down its length.  An undulating curve of wooden benches lines the walkway. A grey metal pavilion creates dappled shade.  The pier extends well into the Hudson, providing a stunning view of the water and all its activity: sailboats, water taxis, and ferries afloat and helicopters buzzing above. I had a great view of Jersey City’s ever-expanding skyline, and, looking farther south, saw the Statue of Liberty silhouetted against the evening sky.  

The audience consisted of a few dozen people of every stripe: buttoned up conservative types, muscled men stripped to the waist, couples of all ages, young professionals enjoying their own company.  They were seated on benches, lying on the grass, and propped up on beach blankets they had brought with them.

The performance was sponsored by the Hudson River Park Trust, part of their Wednesday evening “Stars of Tomorrow” series of up-and-coming artists. This night featured three alumni from the Mannes College at The New School for Music. The unusual brass trio was comprised of trumpet, French horn, and trombone. The young musicians looked relaxed in preppy white oxfords and light khakis. They sat on folding chairs and  pinned their music to collapsible stands with clothespins. Lacking a stage, they sat on the sidewalk. In short, there was nothing formal about this concert.

Forget John Philips Sousa, clumsy Oom-pah-ing tubas, and blaring marching bands. These brass players showed magnificent restraint and crystal clear tone as they nimbly executed a selection of baroque and renaissance chamber music. Despite the instrumentation, there was a quietness to this music. It was small and precious, like a Swarovski sculpture couched in a velvet box.  

At one point the trumpet player, who performed limited emcee duties, introduced us to his piccolo trumpet and told us we’d know the next piece, Mouret’s Rondo, as the theme from Masterpiece Theater. When the first notes sounded, the audience smiled in recognition. As the breeze ruffled our limp clothes and dried the day’s sweat from our skin, we were transported by the soothing music, the river lapping all around, the mellowing sky above.

The Stars of Tomorrow series of classical and jazz concerts continues through August 19^th .