Pianist Thomas Nickell in Review

Pianist Thomas Nickell in Review

Thomas Nickell, piano/composer

Tenri Cultural Center, New York, NY

February 16, 2024

An overflowing crowd was on hand at the Tenri Cultural Center on February 16, 2024, for a recital given by the talented young pianist/composer Thomas Nickell. The program consisted of three Philip Glass Etudes (Nos. 2, 6, and 8), Scottish Triptych by Ronald Stevenson, and two sonatas composed by Mr. Nickell. I’m going to forgo the usual linear path and group the works by each composer, regardless of the order in which they appeared in the program.

Let’s start with the Glass Etudes. Philip Glass wrote twenty etudes over a two-decade period, and divided them into two groups, Book 1 (1-10) and Book 2 (11-20). Glass writes (about Book 1) that his objective was to explore tempi, textures, and technique, with the goal of serving as a pedagogical tool by which he (Glass) would improve his piano playing. They are by no means “virtuosic” in the conventional sense, but they are much more challenging than they appear – with two of the most obvious examples being the need to play evenly without being robotic and the demand for balance of touch in the repetitions (a hallmark of Glass). Mr. Nickell dealt with these issues with a sure technique, never letting the energy flag while maintaining a musical sense throughout. It’s not an easy task, and it’s also something of a high-risk, low-reward proposition that many pianists would not take on in performance. If I had any qualms, it was that Mr. Nickell was overemphasizing the “loud” sections of Etude 6 (as it is never marked louder than forte) – that made it feel a bit more hectic than was necessary.

The Scottish composer Ronald Stevenson (1928-2015) is hardly unknown, but not a household name either. I suspect this was the first time many in the audience encountered his work (this listener was already acquainted with his two piano concerti). The three-movement Scottish Triptych (1959-1967) celebrates three eminent Scottish artists, song composer Francis George Scott, poet and polemicist Hugh MacDiamind, and poet Sorley MacLean. The writing is eclectic, reflecting the diverse talents of the artists profiled. For example, there is a name-initial motif (F, G, Eb(S), for Francis George Scott, a la DSCH), the influence of traditional Celtic music, and some “modern” percussive patterns and clusters. It is a challenging work for player and listener alike. It often dances on the edges of tonality without ever falling completely off, and there are quicksilver changes in mood and style (e.g., a stately funeral march suddenly gives way to a rapid-fire figuration ending in an angry outburst).  In addition, there is use of extended techniques (playing inside the piano, strumming, and pizzicato). While Mr. Nickell has the requisite technique to deal with the difficulties that abound, it was the slower sections (especially the second movement), with his sensitive and poetic playing, that showed his artistry to its fullest extent. This work was the highlight of the evening for this listener.

Now, on to Mr. Nickell’s two compositions, Piano Sonatas Nos. 1 and 2. The Piano Sonata No.1 was “completed” in 2024, or rather the individual movements composed earlier were joined together in 2024. Mr. Nickell writes in his notes that each movement can be played as a stand-alone work (with a different title as well). This modular approach is interesting, but I’m still not convinced that these movements “go together” as a cohesive work. Each movement on its own is appealing and evocative, showing Mr. Nickell’s talent for composition, even if there were strong hints of Cowell, Crumb, Messiaen, and even Liszt’s B minor Sonata mixed in. The audience did not share my reservations, giving Mr. Nickell a hearty ovation.

The Sonata No. 2, Impressions after Gray’s Lanark, takes as its inspiration Scottish author Alasdair Gray’s 1981 novel Lanark. This novel, with strong Kafkaesque and Orwellian undertones, has become something of a cult classic. My first thought was that this was a modern attempt to copy Liszt’s Après une lecture du Dante: Fantasia quasi Sonata, but I quickly discarded that incorrect and unfair idea. In contrast to the First, this Sonata holds together very well! The three movements, Book 3, Oracle, and Epilogue: Prelude-Chorale-Fugue, all convey ideas and episodes from Lanark with remarkable skill. I could easily imagine hearing this music while reading the book. Bravo!

Mr. Nickell has undoubted talent, and as his talent continues to flourish, I expect his compositions to take on more of a distinctive voice that is less indebted to the influences of his role models. I look forward to hearing what the future holds for him.

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Vocal Artists Management Services (VAMS) presents Fifteenth Season Opera Scenes Showcase in Review

Vocal Artists Management Services (VAMS) presents Fifteenth Season Opera Scenes Showcase in Review

Vocal Artists Management Services

James Greening-Valenzuela, manager

Gretchen Greenfield, artistic consultant

Opera America National Opera Center, Marc A. Scorca Hall, New York, NY

February 1, 2024

Vocal Artists Management Services (VAMS) presented their Fifteenth Season Artist Showcase on February 1, 2024, in the Marc A. Scorca Hall at the Opera America National Opera Center. Scenes from Mozart’s Le nozze di Figaro, Handel’s Rodelinda, Bizet’s Carmen, and the musical Les Misérables (music by Claude-Michel Schönberg) formed the program. A brief synopsis of each scene was included in the program notes. Thirteen artists were scheduled to perform the twenty-two selections, both solos and duets. James Greening-Valenzuela, Manager of VAMS, greeted the audience and announced that two artists were ill and unable to perform.

As I have noted in previous reviews at this venue, the Marc A. Scorca Hall has an intimate feel with very live acoustics. One thing that I especially like about VAMS events is that the performers who have completed their selections join the audience to support their colleagues.

These types of concerts are a delight for opera lovers, but they are a challenge for the performers, who must be ready to go after a long wait. It is difficult to be at one’s best under these circumstances, and that might not give the listener a fair demonstration of their abilities.

After the announcement of program modifications, eleven singers and eighteen selections awaited. To comment on each selection would turn this review into a book report, so with this in mind, I will limit myself to commenting on each artist’s highlight. I apologize in advance for shortchanging some who deserved multiple mentions. Also, the stalwart pianist Eric Malson must be recognized – not all heroes wear capes.

Let’s start with the sopranos: Erin Hannon (who appeared in three selections, the most of any one performer) solidified my earlier favorable impression of her (from a 2021 review). Her Susanna from Le nozze di Figaro, particularly in the Deh vieni non tardar, was enchanting. Our alternating Countesses (also from Le nozze di Figaro) Alexandia Crichlow in Porgi amor, and Rebecca Kidnie in Dove sono, displayed the radiant vocal qualities that both have in abundance. Dawna Rae Warren as Rodelinda was stunning – her Morrai si l’empia tua testa was dispatched with what seemed to the greatest ease, making the vocal gymnastics sound like child’s play. Without wishing to take anything away from the other performers, this was the highlight of the evening for this listener.

On to the Mezzo-sopranos: Kaitlyn Tierney offered an impassioned I Dreamed a Dream from Les Misérables. Caroline Tye was a saucy Carmen, complete with a rose in her hair. Her Habanera was subtly provocative, with an understatement that this listener appreciated.

Countertenor Andrew Egbuchiem’s vocal acrobatics in Vivi tiranno from Rodelinda were absolutely breathtaking.

Tenors:  Bradley King wrenched every ounce of torment from Grimaldo’s Fatto inferno from Rodelinda. Sang Bum Cho’s rendition of Don José’s La fleur que tu m’avais jetée, in which he tries to convince Carmen of his feelings for her, was palpable in its sincerity.

Baritones: Tom Sitzler as the bullfighter Escamillo (Carmen) offered a Votre toast, je peux vous le render (better known as the “Toreador Song”) full of swagger and self-importance (complete with taking off his jacket to wave in Toreador fashion), dramatics that were brought to life with his powerful voice. Jin Uk Lee, as Marius (in duet with Ms. Tierney) in A Little Fall of Rain from Les Misérables, was heartbreaking as he pleaded with the mortally wounded Éponine not to die in his arms.

All the singers joined together on stage for a programmed encore of Do You Hear the People Sing? from Les Misérables to the delight of the audience.

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Daniel Saidenberg Faculty Recital Series: Charles Neidich & Robert Levin in Review

Daniel Saidenberg Faculty Recital Series: Charles Neidich & Robert Levin in Review

Charles Neidich, clarinets

Robert Levin, piano, fortepiano

Morse Recital Hall, Juilliard School, New York, NY

January 31, 2024

As part of the Daniel Saidenberg Faculty Recital Series, clarinetist Charles Neidich and pianist Robert Levin joined forces at Morse Recital Hall at The Juilliard School on January 31, 2024. The pairing of two such noted and scholarly musicians promised not only technically masterful performances, but deeply informed musical ones as well. In addition to some of the favorites of the clarinet repertoire, the program included two premieres: the world premiere of Mr. Neidich’s own composition, Lament for basset clarinet in A and piano, and a U.S. premiere of Landscape by the Light of the Moon by Russian composer Edison Denisov.

I must make mention of the program notes. Filled with historical background, musical analysis that does not require advanced knowledge, and personal observations and anecdotes, these notes were the “gold standard” that I always hope for (and almost never get). Educating the listener is an important aspect of performing that is often overlooked or dismissed.

Mr. Neidich and Mr. Levin took the stage to open with the Grand Duo Concertant, Op. 48, by Carl Maria von Weber. One could say that Weber and the clarinet enjoyed a mutually beneficial relationship – his many clarinet works are staples of the repertoire. Probably the most popular clarinet and piano duo, the Grand Duo Concertant has a rich performance history, with both Mendelssohn and Liszt as pianists. That should suggest the virtuosic nature of the piano part (which it of course it is!) – one could never imagine Liszt ever being “the hack in the back”!

Mr. Neidich and Mr. Levin used period instruments (or at least copies of them), a Grenser clarinet (circa 1800) and a Graf piano (circa 1820) for this work (and this work only). I’m not going to tread on the period instrument debate, but the idea of a historically authentic performance does hold a certain charm. As for the instruments themselves, the clarinet has a slightly more mellow sound than its modern counterpart. As for any technical issues, I would be hard pressed to make any claims of definite inferiority. How much of that is due to Mr. Neidich’s virtuosity is arguable, but I suspect it is a large factor. The fortepiano of course lacks the power and resonance of the modern instrument, but in this work, that was a non-issue. If anything, it was an asset.

This is a work that tests both clarinet and pianist to the utmost. Its popularity with performers and listeners alike is easily understood, it is a showpiece par excellence. Mr. Neidich gave what amounted to a masterclass. I hope that the many students in attendance paid close attention. It’s not just the virtuosity that matters, it is what you do with it. The shaping of phrases and rich tone of the slower, more mournful sections (especially the middle movement) were every bit as impressive as the flash. Let’s not forget Mr. Levin – he was an equal partner in all ways, and the ensemble of the two players was perfection. This was a great start!

After the Weber we heard Edison Denisov’s Landscape by the Light of the Moon (U.S. premiere). Denisov was a leading avant-garde composer in the Soviet Union, who committed the “sin” of international success, and as punishment was blacklisted in 1979 at the 6th Congress of the Union of Soviet Composers by its president, Tikhon Khrennikov. Apparently the infamous 1948 Zhdanov decree had taught them nothing. To Denisov’s credit, he did not let this shameful action deter him from continued composing.

Tonight was the United States premiere. Interestingly enough, Mr. Levin was the pianist of the world premiere, and Ayako Oshima (Mr. Neidich’s wife) premiered the work in Japan.

Hearing Landscape by the Light of the Moon one feels the strong sensation of a foggy night, with the moonlight shining through in such a way that highlights the shadowy forms of a dark night without completely illuminating them. It would not be out of place to imagine this music finding use in film noir. In the hands of musicians of lesser sensitivities and ability, it could end up being rendered as a random mishmash of trills and trite effects. Mr. Neidich and Mr. Levin, who both knew Denisov, avoided these pitfalls in what was a mesmerizing performance.

The Sonata for Violin and Piano in D Minor, Op. 121 by Robert Schumann (as transcribed by Charles Neidich for clarinet), was the final work on the first half. Transcription is a tricky business – there are myriad issues to consider, such as register and range, tonal quality difference between the original instrument and the one being transcribed for, and techniques that cannot be duplicated, i.e., pizzicato. I have heard other violin works transcribed for the clarinet that I found problematic, and not because of the player.

Mr. Neidich’s judgment was superb, and if anything this sonata seems possibly even better suited for the clarinet than the violin in this transcription. As Mr. Neidich stated, violinists find it awkward because of the writing being in the low range, but that range suits the clarinet well. Other than making a few small changes (accounting for double stops and pizzicato), there was little alteration needed. The outer movements possess as Mr. Neidich’s notes state, “a passionate intensity and rhythmic relentlessness that is extreme even for Schumann” – and this was projected well in their performance. The middle movement was gorgeous. Played with élan, it is a wonderful addition to the repertoire.

The second half opened with two pieces for solo bass clarinet by György Kurtág, Capriccio for Solo Bass Clarinet and Words Have Become Unfaithful to Me. Like much of Kurtág’s music, these pieces have quicksilver changes of mood and short motifs of an episodic nature, all the while exploring the intrinsic qualities of the instrument (in this case, the clarinet overtones). Mr. Neidich gave a probing reading, negotiating with assurance the mood swings from serene to troubled, all the while demonstrating both the rich tonal quality of the extreme lower range and the less explored melodic agility of the bass clarinet in an impressive fashion.

Stimmungen Eines Fauns (Moods of a Faun), op. 11, by Ilsa Fromm Michaels (1888-1986) followed the Kurtág pieces. Almost completely unknown today, Michaels is another sad example of a promising career being destroyed by the Third Reich. She survived the Second World War but stopped composing altogether after 1945. Mr. Neidich wrote in his notes that he knew her son Jost Michaels (also a clarinetist) but had not known of her and therefore had never inquired about her.

There are three short movements for clarinet solo (Klage, Schalkslaune, Schermut) which roughly translate as Lament, Mischievousness, and Melancholy. As Mr. Neidich played, two dancers, one male and one female (probably Juilliard dance students), took the part of fauns in a choreographed routine. I’m not qualified to speak critically about dance, but it was visually striking and the movements were executed with precision. I’m not sure if the music informed the dance, or the dance informed the music, but it was fascinating to see and hear.

Equally fascinating was our brief glimpse of Mr. Neidich as a composer, in the world premiere of his Lament for Basset Clarinet and Piano. Completed on New Year’s Day 2024, this is a welcome and much-needed addition to the nearly non-existent Basset Clarinet repertoire. The Basset is basically a clarinet with the addition of extended lower range to C below the standard low E of the standard clarinet.

What exactly is being lamented is not entirely clear, as Mr. Neidich does not give specifics in his program notes, but does allude to world events and his reaction to them as being significant factors. The piano simulated the tolling of bells, and much of the lament takes the form of anger and indignation as opposed to sadness and resignation. It was played by both Mr. Neidich and Mr. Levin with passion and power. There is a lot to process, and I feel that subsequent listenings will help shape reactions and understanding.

Now, saving the best for last – Johannes Brahms’s Sonata for Clarinet and Piano in F minor, Op. 120, No. 1, closed the evening. This work needs no introduction save for the fact that it is an undisputed masterpiece. It was a perfect bookend to the Weber. Open the night with a masterclass, close the night with a masterclass. Thank you, Mr. Neidich and Mr. Levin for giving me the luxury of taking off my “critic” hat and putting on my “music lover” hat. It was easily the highlight of the night for me. The audience knew it was something special as well, and gave the duo the proper respect of a loud ovation.

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The Dwight and Ursula Mamlok Foundation Presents The 2023 Mamlok Prize for Interpreters of Contemporary Music Award Concert in Review

The Dwight and Ursula Mamlok Foundation Presents The 2023 Mamlok Prize for Interpreters of Contemporary Music Award Concert in Review

Noise Catalogue: Madeline Hocking, violin; Daniel Matei, percussion; Jonathan Collazo, percussion

The Rhythm Method: Leah Asher, violin; Marina Kifferstein, violin; Carrie Frey, viola; Meaghan Burke, cello

Tenri Cultural Center, New York, New York

January 26, 2024

On January 26, 2024, the Tenri Cultural Center was the venue for the presentation of the 2023 Mamlok Prize for Interpreters of Contemporary Music. The featured performers were Noise Catalogue (Madeline Hocking, violin; Daniel Matei, percussion; Jonathan Collazo, percussion), winner of The Dwight and Ursula Mamlok Advancement Award for Interpreters of Contemporary Music Junior Prize, and The Rhythm Method (Leah Asher, violin, Marina Kifferstein, violin; Carrie Frey, viola; Meaghan Burke, cello), winner of The Dwight and Ursula Mamlok Prize for Interpreters of Contemporary Music Senior Prize. Along with two works of Ursula Mamlok, there were works from four other composers, some of whom were among the performers.

The Dwight and Ursula Mamlok Prize for Interpreters of Contemporary Music is awarded annually, alternating in Berlin and New York. In New York, it is awarded through the Contemporary Music Performance graduate program of Manhattan School of Music, where Ursula Mamlok taught for many years. To learn more, click the following link: The Dwight and Ursula Mamlok Foundation.

Some general observations: The overflowing crowd, with at least ten people left standing for the entirety of the concert, was vociferously supportive of the composers and artists. This made a favorable impression on this listener. It was quite obvious that this was also an audience well-versed in contemporary music that needed minimal “help” to appreciate what they were hearing. However, if there were any “newbies” in attendance, this was a good introduction to contemporary music, as the works were (mostly) easily accessible to all listeners. In any case, the excellence of the performances was not in doubt. These are exceptional musicians who are wholly committed to advancing the cause of contemporary music.

After a brief introduction and welcome by Reiko Füting, Vice-Chairman of the Dwight and Ursula Mamlok Foundation and chair of the composition department at the Manhattan School of Music, Noise Catalogue took the stage for the first half. Noise Catalogue consists of three musicians, violinist Madeline Hocking and percussionists Daniel Matei and Jonathan Collazo. Ms. Hocking and Mr. Matei opened with Firmwood and Monroe by James Warner Duquette. Mr. Duquette offers this statement as his credo: “I have dedicated my life to writing music. I am always interested in discussing music. If you have any thoughts or ideas or feedback or criticism, my telephone number is (redacted).” That is walking the walk! I’m not sure that putting one’s phone number out there for all to see is the most prudent idea, but I’m speaking from the perspective of an older and (probably) more cynical person. I hope any phone calls are respectful and beneficial for his continued development as a composer.

The printed notes were perplexing – directions to a bagel shop? What did this have to do with the piece? As it turns out, nothing. As I overheard at intermission, Mr. Duquette told the person sitting next to me that he wrote down directions that he passed along, and they ended up in the program notes. My impression of Firmwood and Monroe is that there is some atmospheric uncertainty expressed by the violin punctuated by percussion thunderclaps.

I hate to be the “get off my lawn” curmudgeon, but the explosive outbursts on the bass drum (the hard end of the sticks being applied with great force) were oppressively loud for the small and acoustically live Tenri Center. A little less would have not damaged the effect (or my hearing). It’s a case of “know the hall.” That one complaint aside, it was a thought-provoking work, and I would like to hear more from this composer (and hopefully his insights sans bagel shop directions).

Ursula Mamlok ‘s From My Garden (1983) followed. This work was originally written for solo viola but has been adapted for other stringed instruments. Tonight, it was played on the violin by Ms. Hocking. As I wrote in an earlier review: One of the main features of Mamlok’s music is her emphasis on Klangfarbe to express moods and colors. This gives her music an attractive and accessible quality. From My Garden is no exception- it is definitely serialist writing, but it is not so far away from strict tonality, which makes it, to quote Mamlok herself (about this work), “very easy to listen to.” Ms. Hocking is a sensitive artist, who painted a picture of serene beauty in her playing. This is not to say that the work is without technical challenges- it is an effective piece to showcase the ability of the player and the instrument itself. Ms. Hocking showed herself to be up to the task. It was enchanting.

The collaborative work Hajnali by Daniel Matei and Madeline Hocking ended the half. They were joined by Mr. Collazo. Inspired by traditional Romanian dance as well as Hungarian folksong, it is a highly energetic piece with countless technical demands that push the performers to the utmost; the violin part is not only virtuosic in the conventional sense but requires some extended techniques, such as using a loose string instead of the bow.

There is a strong temptation to give an accounting of the “action” that would reduce this to a play-by-play reporting more appropriate for a sporting event. To be sure, it is visually interesting to watch the percussionists move from instrument to instrument, but it is the sonic effects that are most compelling. The use of suspended microphones swaying back and forth over some of the percussion was an effect that this listener found especially fascinating. My one complaint (again!) was that the percussion was overpowering at points and drowning out Ms. Hocking, even though her violin was amplified. In any case, the audience roared its approval. It was an exciting finish to the half.

After Intermission, the Senior Prize winners, The Rhythm Method (Leah Asher, violin; Marina Kifferstein, violin; Carrie Frey, viola; Meaghan Burke, cello), took the stage. What is especially striking about this ensemble is that each member is a composer with a distinct voice but with a collective vision for the future of the string quartet. We were told by cellist Meaghan Burke that a February 16, 2024, concert is to include a premiere of a work by each member(!) of the quartet. Tonight, violist Carrie Frey’s a chorus like distant screaming (2023) opened their selections.

Ms. Frey writes in her informative notes that a chorus like distant screaming is the third piece inspired by Arkady Martine’s sci-fi novel A Memory Called Empire and its sequel A Desolation Called Peace (side note: Thank you for the book recommendation!). Even without the benefit of program notes, it would be obvious to grasp the concept of multiple voices moving to become as one. There are also vocalizations inspired by the music of the Romanian region Țara Oașului.

I found a video of this work played by The Rhythm Method on YouTube: a chorus like distant screaming by Carrie Frey (youtube.com). As captivated as I was by listening to this video, it paled in comparison to a live performance. This is a highly evocative work filled with mesmerizing sonic effects, transporting listeners to a far-away place in their imaginations. It takes a special ensemble to realize these qualities in actual performance, and The Rhythm Method nailed it! This is the work of an intelligent composer who not only knows her craft, but the ways to exploit her expert knowledge of the possibilities of the instruments to great advantage. No disrespect to any of the other composers, but this was far and away this listener’s favorite work of the evening.

Ursula Mamlok’s String Quartet No. 2 closed the evening. In contrast to her 1st String Quartet, this work is almost neoclassical in form and conception. The first and third movements are lyrical and playful, with some clever touches (i.e., themes being repeated inverted). One can conceive that a futurist Fauré could have written the second movement. There are hints of Berg’s Lyric Suite near the end of the finale as well. The Rhythm Method offered a nuanced reading that showed how well they grasped Mamlok’s conception. The audience responded enthusiastically, which was well-deserved. I think the future is bright for The Rhythm Method, and I do hope to hear them again.

At the end, Noise Catalogue joined The Rhythm Method on stage for a final bow to the cheers of the audience.

Jeffrey Williams

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MidAmerica Productions, Inc. Celebrates 40 Years in Review

MidAmerica Productions, Inc. Celebrates 40 Years in Review

Peter Tiboris, General Director and Artistic Director of MidAmerica Productions/conductor

John Rutter, CBE, conductor

New England Symphonic Ensemble

Preston Hawes, Artistic director and Concertmaster

Juliet Ariadne Papadopoulos, soprano; Courtney Johnson, soprano; Reveka Mavrovitis, mezzo-soprano; Abraham Bretón; tenor; Philip Skinner, bass

Eilana Lappalainen, reader

Stern Auditorium at Carnegie Hall, New York, NY

January 7, 2024

On January 7, 1984, Peter Tiboris created and conducted a concert at Alice Tully Hall, which became the founding date of MidAmerica Productions . January 7, 2024, forty years later to the exact date, Mr. Tiboris was to conduct Beethoven’s monumental Ninth Symphony in celebration of that anniversary. In those 40 years, MidAmerica Productions grew to boast the following numbers: This was to be the 1,480th Concert Worldwide, 1,144th in New York, and 689th in Carnegie Hall. These are mind-boggling numbers, and one can only marvel at how many careers have been launched by the indefatigable Mr. Tiboris and MidAmerica Productions.

To add to the celebration, composer John Rutter (b. 1945) was also featured as the conductor of his Magnificat, which had its world premiere in a 1990 MidAmerica concert (which Mr. Rutter conducted). Choruses from Connecticut, Florida, New Jersey, and New York joined the New England Symphonic Ensemble in what was both a musically substantial and spiritually uplifting concert.

To open this 40th anniversary concert, John Rutter took the stage to conduct his seven-movement Magnificat. J.S. Bach is the obvious precedent, but the work is pure Rutter through and through. Filled with the eclectic style that is characteristic of Rutter, joyful energy abounds with lyrical melodic material adorned with brilliant fanfares and heraldic-sounding motifs. It has definite crowd-pleasing qualities for which some have ironically taken the composer to task (including one review from a past performance that was so negative that I was astonished at the level of vitriol, as if the composer had committed a heinous crime by appealing to the masses). This listener is not one of those naysayers. As they say, “haters gonna hate.” The audience loved it, and in fact they continued to applaud at the end of each of the seven movements (even though the printed program stated, “Please kindly hold your applause until the end of the Magnificat”). This listener’s favorite movement was the Fecit potentiam, in which irregular rhythms and driving energy at times bordered on malevolence, though ultimately conveying strength. It is regrettable, however, that no text was provided.

Soprano soloist Juliet Ariadne Papadopoulos has a lovely voice, and her upper register was pure and without strain. My one quibble was she was inconsistent in projecting; there were several occasions where the chorus and orchestra were dominating her, and it was not because they were playing/singing too loudly. When she did break through, and especially in the upper register, the effect was enchanting. Mr. Rutter conducted with vigor, and the orchestra and chorus paid back that energy with a dynamic performance. The audience gave Mr. Rutter an extended ovation at the end.

After intermission, Eilana Lappalainen came to the stage to recite the An die Freude (Ode to Joy) by German poet Friedrich Schiller in both German and English as a prelude to Beethoven’s Symphony No. 9 in D minor, Op. 125. This was unusual, and I am still questioning how effective or helpful this was to the average audience member. Unless one speaks/understands German, there is little value in hearing a reading in that language. I think it is highly unlikely that anyone not already intimately familiar with the text was going to match the words to the music upon hearing it. I would have much preferred the text to be in the printed program (which it was not). Also, there was no mention of the opening lines written by Beethoven himself – O Freunde, nicht diese Töne! Sondern laßt uns angenehmere anstimmen, und freudenvollere. (Oh friends, not these sounds! Let us instead strike up more pleasing and more joyful ones!) that precede Schiller’s. These reservations are not a reflection on Ms. Lappalainen herself, she was an outstanding speaker, with a clear and pleasant-sounding voice.

After the reading, Peter Tiboris made his way to the podium to conduct this masterpiece. As announced in an article in OperaWire, Maestro Tiboris was using Leonard Bernstein’s ivory baton. One might wonder what inspiration might flow through this baton, but Maestro Tiboris exhibited none of Bernstein’s famous histrionics at the podium, nor any of his “touches” to the music itself. On the contrary, the conducting of Maestro Tiboris was taut and restrained, but I am getting ahead of myself.

About the Ninth itself, so much has been written that one could fill volumes just by attempting to summarize even a portion of it (the famous story of contralto Caroline Unger turning the completely deaf Beethoven around to face the cheers of the audience at the May 7. 1824 premiere is one of the most well-known). Suffice it to say that this is not only one of Beethoven’s greatest works, it is one of the greatest works in the entire history of music. A quote from the program notes says it all- “Beethoven’s Ninth Symphony stands as a testament to musical ingenuity and remains an immortal testament to human creativity.”

This is far from this listener’s “first rodeo” with the Ninth. I have heard performances ranging from abysmal to outstanding. It is one of my favorite works, and with that are some rather strong opinions. How did this performance measure up? In a nutshell, it is definitely in my top ten and possibly even in my top five. I admired Maestro Tiboris’s approach, which was almost minimalist (he often let his right hand remain at his side and let his left hand lead with small gestures). He placed his trust in the fine orchestra and it paid off handsomely. The sublime first movement, the energetic scherzo second movement (with those delightful tympani “calls”), the serene beauty of the third were all in themselves played with such ability that if the symphony ended with the third movement it would have been memorable. But there was still the epic finale – I could hear it a thousand times, and a thousand times I would be transported to a higher plane.

One thing that was both odd and distracting was the chorus rising from their seats just before measure 92, the introduction of the “Ode to Joy” theme in the celli, instead of waiting for measure 208, the restatement of the opening Presto theme, as is customary. Where the latter has any noises covered by the fortissimo tutti, the former was a cacophony of the sounds of shifting chairs that very nearly broke the spell. This was a bad decision!

Let’s talk about the soloists. Bass Philip Skinner was quite leisurely as he rose to open the choral section, in fact he barely was on his feet when he sang out O Freunde, nicht diese Töne! I cannot recall hearing such a decisive and powerful voice! It was like a cannon shot and it was amazing to hear. Soprano Courtney Johnson, mezzo-soprano Reveka Mavrovitis, and tenor Abraham Bretón also projected well into the hall and held their own with the powerhouse Mr. Skinner. The large chorus was obviously well-prepared. The final Götterfunken! that launches the exuberant Prestissimo ended the symphony and concert in triumph. The audience leapt to their feet in a thunderous ovation, and for those who had heard this work for the first time, I suspect it was a life-changing experience.

Congratulations to Peter Tiboris and MidAmerica Productions for forty years of service to music and may the next forty be every bit as impactful.

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Distinguished Concerts International New York (DCINY) presents Hope and Dreams in Review

Distinguished Concerts International New York (DCINY) presents Hope and Dreams in Review

Heather Sorenson, composer/conductor/piano

Joseph M. Martin, composer/conductor

Distinguished Concerts Orchestra

Distinguished Concerts International Singers

Heather Lake Bayes, soprano; Ryan Johnston, tenor; Sue Martin, soprano; Layke Jones, baritone

Stern Auditorium at Carnegie Hall, New York, New York

November 27. 2023

The holiday season is now in full swing, and Distinguished Concerts International New York (DCINY) is once again adding to the festivities with their holiday concerts. Yesterday, (Sunday 11/26) Handel’s Messiah kicked off the series. Tonight, it was a concert entitled Hope and Dreams, featuring Christmas Dreams, a collaboration between Heather Sorenson and Joseph M. Martin, and the New York premiere of Ms. Sorenson’s Requiem. Excitement filled the hall as the Distinguished Concerts Singers hailing from Arkansas, Colorado, Florida, Georgia, Maine, Tennessee, Texas, Virginia, and individual singers around the globe, took the stage.

Heather Sorenson took the podium to conduct the New York premiere of her Requiem. Commissioned by the Florida United Methodist of Gainesville, Florida (FUMC) in honor of those lost during the COVID-19 pandemic, her Requiem was written to bring hope and healing to all who have experienced loss. This work is a combination of traditional Latin and English, with references to Scripture and hymn texts. Clocking in at around thirty-five minutes, it is, as the program notes state, “an authentic journey of grief and peace, tension and release.”

While the concept of a requiem addressing those still living is not novel (e.g., Dan Forrest’s Requiem for the Living) and neither is the interspersing of English with Latin (e.g., Mark Hayes’s Requiem), what sets Ms. Sorenson’s Requiem apart is her own unique brand of tonal beauty. She has a gift for melody and making those melodies harmonically interesting.

I’m not going to comment about all eight movements but will focus on some of the highlights – the program notes specifically suggest the listener take particular note of the Introit, Sanctus, Pie Jesu, and Lux Aeterna with “what to listen for” explanations. Of these suggestions, I will address two. The Sanctus had a driving energy and exuberance verging on ecstasy (complete with xylophone and a “stinger” end) that one usually does not encounter in a Requiem. The call for whispered prayer in the Pie Jesu (indicated by triangle as to the beginning and ending of those prayers) was poignant – one could see the chorus engaged in this. Now, two more movements of note: the Kyrie, from the solo cello opening to the last note, was exceedingly beautiful. The Agnus Dei had a martial quality that was notable – this lamb was not meek, but strong and proud.

Let’s take a moment to recognize the two vocal soloists, soprano Heather Lake Bayes and tenor Ryan Johnston, who gave heartfelt performances. One could sense their complete devotion to the music, and this lent wings to their work. The combined forces of the chorus were excellently prepared by their respective directors and as a group projected all the beauty of the music with attention to balance, diction, and intonation. The Distinguished Concerts orchestra can always be counted on for polished, committed playing.

After the last notes of the Benedictus, the audience gave Ms. Sorenson a standing ovation. I hope to hear more from her in the future.

After intermission, DCINY favorite Joseph M. Martin (his 12th appearance with DCINY) took the podium to conduct Christmas Dreams. Ms. Sorenson joined as the pianist. Christmas Dreams is credited with Ms. Sorenson and Mr. Martin as composers. It was not stated in the program notes as to the details of their collaboration (i.e., who did what). Soprano Sue Martin and baritone Layke Jones were the featured soloists.  Mr. Martin describes the nine-movement Christmas Dreams as a cantata that takes inspiration from God speaking to seekers through dreams and visions of His purpose. As he states, “Christmas is a time for dreams when we once again turn our thoughts to light, peace, love, and joy.”

I have written extensively about Mr. Martin in past reviews, so I would just like to repeat that Mr. Martin is highly skilled as a composer, with a gift for dramatic sense and an ability to express this sense harmonically. He is also an energetic conductor, whose energy is reflected back powerfully by the orchestra and chorus.

The opening instrumental Christmas Dreams Overture, with quotes from Hark! The Herald Angels Sing, and Good King Wenceslas set the tone for the work. There is something of the movie soundtrack (like a Disney spectacular) that abounds in this work, and I do not say that as an insult. It is something that most listeners can grasp and appreciate easily – indeed one could see the audience being pulled in. The urgency of A New Morning of Promise, the musical “snow globe” of the eighth movement called Christmas Dreams (with Ms. Sorenson as piano soloist), and the triumphant finale Hark! The Herald Angels Sing were highlights for this listener.

About the soloists: Ms. Martin has a pure, child-like singing tone that is enchanting. She perfectly captured the essence of the Mary’s Dream movement in heart-melting beauty. Mr. Jones was a revelation, with a voice that brought to mind Josh Groban (a singer I enjoy hearing). His singing in The Magi’s Epiphany wowed the hall. While all the soloists were stars tonight, he brought something extra to his performance that set him apart.

At the risk of repeating myself, I will say again that the chorus was well-prepared and ready to unleash a joyful performance, which they sure did! After the last joyous exclamation of Gloria! that concludes Hark! The Herald Angels Sing, the audience unleashed a loud standing ovation, ending the night in triumph. Happy Holidays to all!

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MidAmerica Productions presents Central Conservatory of Music Symphony Orchestra of Beijing, China in Review

MidAmerica Productions presents Central Conservatory of Music Symphony Orchestra of Beijing, China in Review

Central Conservatory of Music Symphony Orchestra of Beijing, China

Lin Chen, conductor

Stern Auditorium, Carnegie Hall, New York, New York

November 24, 2023

On November 24, 2023, the Central Conservatory of Music (CCOM) Symphony Orchestra made their third appearance in New York (and second at Carnegie Hall) in a concert featuring eight new works by eight living Chinese composers. Seven (!) of these works were world premieres. Led by the able Lin Chen, it was both an educational and artistically stimulating experience for this listener.

All the works had some programmatic aspect (i.e., folklore, nature, poetry) as covered by the program notes in varying degrees of detail. These descriptions gave each work some context for the listener to grasp. One composer wrote his own program note, which I will discuss later. There were also brief biographies of the soloists and composers.

Before getting into the music, I would like to make note of a few things. The wearing of matching tie and tails by orchestra members made a very favorable impression. It’s a small thing, but the attention to detail and tradition was a sign to me of a serious and reverent attitude, which is not as prevalent today as it should be. The CCOM Symphony Orchestra is filled with excellent musicians and as an ensemble has the potential to be top-tier. Conductor Lin Chen is dynamic in her approach and committed to the music.

The Faint Gingko (US Premiere) by Ye Xiaogang opened the concert. It is the latest work in a series of pieces about subtropical plants. It opens with an extended flute solo that gives the impression of being improvisatory, and the orchestra joins in with music of an Impressionistic quality. It reminded one of Debussy, but not in a derivative way. It was my favorite work of the evening.

For the sake of not repeating myself, all the rest of the works on the program were world premieres.

Chang Ping’s The Realm of Future followed. He wrote the program note for his work, and in my opinion, he mischaracterized his own piece. I am not going to replicate his entire note, but when one reads the words “extremely beautiful… the ultimate interpretation of charm … I embrace it at all costs,” it is not unreasonable to expect something ethereal, not the devastation of a post-apocalyptic scene. If Chang Ping had stated in his notes that the “future” is fraught with turbulence and the terrors of uncertainty, I would have enjoyed the power and unbridled “storm,” but as it was, I was left mystified. What I heard bore little resemblance to the written notes, and this adversely affected both my enjoyment and opinion of this work. Jiajing Wang was the violin soloist, navigating cadenza-like passages with a romantic flair that would have one think that Tchaikovsky peeked in for a moment.

Eternal River – for Guzheng, Harp, and Orchestra by Jia Guoping was next. Chang Su (Guzheng) and Guan Wang (Harp) were the soloists. This is a highly dramatic work, taking the idea of the various states of a river as inspiration – it can be a calm trickle, but it can also rage with anger. Both soloists were engaging, but Chang Su in particular was bold and assertive in her playing. It was a ten-minute journey that was well worth the trip.

The last work on the first half was Guo Wenjing’s Poem by Haizi: The Short Poem for March for Soprano and Orchestra. Yuanming Song was the soprano soloist. The opening section is strongly reminiscent of Górecki’s Third Symphony in both the orchestra and solo soprano before changing direction with an angry outburst, eventually giving way to a lively dance-like motif (which reminded one of Copland’s Rodeo). The strings swell and pull back, all leading to an enigmatic ending. Yuanmong Song’s strong, clear voice filled the hall and one felt the poignancy of Haizi’s poetry without having to know or understand the words.

After Intermission, the first movement from Cang Shan Xu by Qin Wenchen opened the second half. The angular writing and liberal use of dissonance suggests the cragginess of the Chang Shan Mountain. Linfeng Fan, the bamboo flute soloist, was a dynamo. From extended techniques to quicksilver passagework, she made short work of all technical demands (and there were many!) with apparent ease.

Tang Jianping’s The Stone in Five Colors followed. The mythology here is rather involved, but basically is the story of the goddess Nüwa completing epic tasks that make Hercules’s Labors look like walking the dog and watering the plants. Wikipedia has a good article about Nüwa. This work was the most successful in conveying its source material. It was jam-packed with action, ultra-heroic themes, percussion explosions, brutal primitiveness that was relentless, and the attitude of “no quarter given or asked for.” It was thrilling!

Symphonic Poem Finché for Mezzo-Soprano and Orchestra by Hao Weiya was next. Lin Shi was the mezzo-soprano soloist. She showed a commanding stage presence and a voice to match in what was a lovely performance.

At this point, I was curious as to how much collaboration took place among the composers. The concept of sharing ideas and offering feedback with colleagues is not unusual, but many of the works had particular similarities, such as the thunderous use of percussion. That the length of each work was ten to twelve minutes also seemed curious. Perhaps it was all just a coincidence – possibly at some later date I will have the pleasure of hearing more diverse works by these composers.

Zhang Shuai’s East West III: Tao for All was the final work. Easily the most accessible work of the evening, it has a “soundtrack” sound that joins the sounds of East and West in a way that makes them equal partners. It was played with the right amount of panache, in what was a fine end to the evening.

All the soloists, and several of the composers who were in attendance, joined Lin Chen on stage for a bow. The large audience, which had been mostly restrained in giving polite applause, came to life and gave all an extended and enthusiastic standing ovation. Congratulations to all!

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Distinguished Concerts International New York (DCINY) presents Twilight Mass in Review

Distinguished Concerts International New York (DCINY) presents Twilight Mass in Review

Distinguished Concerts Singers International; Distinguished Concerts Orchestra 

Jonathan Griffith and Nancy Menk, conductors

Ola Gjeilo, composer-in-residence and piano

Diana McVey, soprano; Emily Hughes, mezzo-soprano

Stern Auditorium at Carnegie Hall, New York, New York

November 13, 2023

Distinguished Concerts International New York (DCINY) kicked off its 2023-2024 season with a concert entitled Twilight Mass, featuring the world premiere of Norwegian composer Ola Gjeilo’s work of the same name. Vivaldi’s much-loved Gloria in a version using only treble voices was the other work on the program.  The Distinguished Concerts Singers International brought performers from California, Indiana, Massachusetts, New Mexico, New York, North Carolina, Oregon, Pennsylvania, Virginia, Canada, France, Germany, Poland, and individual singers around the globe – a sign that perhaps the nightmare that began in 2020 is finally over once and for all. 

As a side note, this reviewer is glad to see the return of the Distinguished Concerts Orchestra to the stage.  Seeing concertmaster Jorge Ávila make his way to the stage was like seeing an old friend after a long absence. 

Nancy Menk took the podium to conduct Antonio Vivaldi’s Gloria. Although this work is usually performed with the standard SATB (soprano, alto, tenor, bass) setting, tonight’s performance was for treble voices only (SSAA). Ms. Menk has stated that this is possibly Vivaldi’s original version – but I will leave that question to the historians and musicologists. 

Ms. Menk is a DCINY veteran – this is her fifth appearance, and the third time this reviewer has seen her work. As I have written in the past, Ms. Menk is an accomplished choral conductor who is confident in her approach, and she “runs a tight ship.” I had every reason to believe these qualities would be present this evening, and I was not disappointed. Let’s get the very few quibbles out of the way. The orchestral opening in the Gloria in excelsis Deo was a bit too muted for my liking, so the voices completely dominated them. Thankfully adjustments were made, and this was not a recurring issue. Also, the double fugue in the Cum Sancto Spiritu was not entirely crisp and distinct. Forgive me if this seems overly critical – after all, some indistinctness is not a huge surprise when well over one hundred voices are in play.

Now for the positive side of things, the ensemble and diction were excellent throughout. The preparation of the choirs prior to this evening was readily apparent and the direction of the skillful Ms. Menk was the “icing on the cake,” in what was a fine performance. The Domine Fili unigenite had a joyful “bounce” in what was my favorite section for the chorus. Let’s not forget the soloists, soprano Diana McVey and mezzo-soprano Emily Hughes. Their duet in Laudamus Te was exquisite. As for the solo work by Ms. McVey, the Domine Deus, Rex coelestis was her highlight. The highlight for Ms. Hughes was Qui sedes ad dexteram Patris. Both have strong voices that easily reach throughout the hall without stridency or any loss of musical quality. Special mention must be made to oboist Ryan Walsh, for his solo in the Domine Deus, Rex coelestis movement. 

While the stage was being set for the second act, composer Ola Gjeilo joined Jonathan Griffith for a conversation about his work Twilight Mass. This is also Mr. Gjeilo’s fifth appearance with DCINY. The Twilight Mass is a companion work to his 2008 Sunrise Mass. It is scored for string orchestra, piano (Mr. Gjeilo was the pianist tonight), chorus, and soprano soloist. Mr. Gjeilo demonstrated some motifs from the Sanctus movement and called his work a Missa Brevis because of the omission of the Credo. The most interesting takeaway was Mr. Gjeilo’s mention of streaming and Spotify, the idea that listeners prefer smaller, short sections that they can work into playlists, etc. He said that this was part of why the Twilight Mass is nine short sections (his previous Sunrise Mass having been four longer sections). I leave it to the reader as to whether this is an astute adjustment to the demands of today’s listeners or a sad commentary on those same listeners. 

After the talk, Mr. Gjeilo readied himself at the piano, and Maestro Griffith took the podium. What happened next is still reverberating in my mind in a way that very few works have. Perhaps it is the times we are living in, or the general feeling of anger and despair that is suffocating, but for half an hour, beauty and hope prevailed. Make no mistake, Mr. Gjeilo’s music is not what anyone would describe as revolutionary, as his language is tonal to the core, and there is very little overt complexity, but in this ostensibly simplistic approach he makes magic happen. It’s not manipulative, cloying, or saccharine, just sincere. His arrow hit the musical bullseye.

From the first notes of the Kyrie, I knew something special was happening. I wrote one word in my notes about this movement: Beautiful! Anything else would be superfluous. As I could easily go on and on, I’m going to focus on some favorite moments/movements. The vibrant syncopation in the Domine Deus was rendered by the chorus with ebullience, or if you prefer, they rocked the house! The Sanctus reminded me of Mr. Gjeilo’s earlier work, Dark Night of the Soul – the driving ostinato, the “pull back,” and the return to a driving ostinato.  The Kyrie motif also reappears in the Sanctus. It was a close second place to the Kyrie as my favorite movement of the work. 

Diana McVey was back as the soprano soloist, and her solo in the Laudamus te was striking; it was in the Domine Deus, however, that her voice truly soared to the stratosphere. It was heavenly. 

Time to take a moment to recognize the outstanding chorus and orchestra, led by Maestro Griffith with his customary mastery. When the final notes of the Agnus Dei faded away, the large audience gave Mr. Gjeilo and the performers a very well-deserved loud and extended standing ovation. As to streaming platforms and such, I do hope Twilight Mass is made available in short order! 

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Australian Haydn Ensemble in Review

Australian Haydn Ensemble in Review

Australian Haydn Ensemble

Skye McIntosh, artistic director

Weill Hall at Carnegie Hall, New York, NY

October 16, 2023

On the evening of October 16, 2023, the Australian Haydn Ensemble (AHE) took an enthusiastic audience on a bit of time travel where Carnegie’s Weill Hall was transformed into an 18th century salon (well, an 18th century salon with electricity!) for a program of symphonies by Johann Christian Bach, Haydn (Joseph), and Mozart. 

Formed in 2012, the eighteen-member Australian Haydn Ensemble is a leader in what they call historically informed performances, specializing in late Baroque and early Classical repertoire using period instruments. The oboe, bassoon, flute and horn (valveless) sound substantially different from their modern counterparts. Love them or hate them, they do give one the authentic “sound” of the times when these works were composed and first played. 

Violinist Skye McIntosh led the conductorless ensemble, whose members played standing. I suspect this was to honor the performing style of those times, even though there is some dispute as to whether this was widespread practice. Ms. McIntosh was also a charming host, speaking with the audience to give some history about the works offered.  I would like to break with my usual convention and name all the members of this fine ensemble: Skye McIntosh, Matthew Greco, Anna McMichael, Annie Gard, Alice Richards, Ella Bennetts, Emma Williams, violins; Karina Schmitz, Kristen Linfante, violas; Daniel Yeadon, Eva Lymenstull, cellos; Pippa Macmillan, double bass; Melissa Farrow, flute; Joel Raymond, Kirsten Barry, oboes; Simon Rickard, bassoon; Michael Dixon, Dorée Dixon, horns. 

Johann Christian Bach, the “London Bach,” was highly regarded during his relatively short life, but time has not been so kind to him. His current reputation has relegated him to almost an afterthought, only meriting the faintest praise that is tantamount to “Well, he tried.” One should consider that Mozart thought highly of him (one can hear shadows of J.C. in some of his works), and that alone should give one pause to reconsider his worth. The Symphony in G minor, Op. 6, No. 6 is an impressive work, in which J.C. goes his own way in a manner we had not heard from his famous father. 

The AHE tore into the stormy first movement with a roiling intensity that caught my attention right away – this was passionate, emotionally powerful and impactful playing. The second movement had an austere quality played with simple sincerity, and the finale was dispatched with élan, complete with a surprise quiet ending that could have been written by Haydn. It was an impressive start to the evening. 

Written in 1761, Symphony No. 6 in D major (Le Matin), Symphony No. 7 in C major (Le midi), and Symphony No. 8 in G major (Le Soir), were Haydn’s fulfillment of Prince Esterházy’s suggested theme for composition: three times of day, morning, noon, and evening – hence the nicknames. These works could just as easily be classified as concerti grossi as symphonies. No. 7 was not included in tonight’s program.

Haydn had just been hired by Prince Esterházy and probably was eager to impress his new patron. The Prince’s orchestra counted some brilliant musicians, which gave Haydn the opportunity to write dazzling solo passages to show off both their virtuosity as performers and his own as a composer. It probably enhanced his working relationship with the musicians, as it was often customary for a player to be rewarded with extra pay for pleasing the Prince with brilliant playing – an early example of “paying it forward.”  These symphonies are chock full of such solos – one suspects many an extra coin filled the pockets of those musicians.  On a side note, Ms. McIntosh reminded the audience that Prince Esterházy’s orchestra also had eighteen members.

One could feel the warmth of the rising sun in the introduction before kicking into high gear.  Flute, oboe, and horn all had featured solos, with special kudos to flutist Melissa Farrow for her virtuosity. One must also give double bassist Pippa Macmillan special praise for her nimble solo work in the Trio. Ms. McIntosh and cellist Daniel Yeadon reveled in soloistic moments.  All in all, it was quite the “morning,” which could take the place of coffee to get the day going! 

Le Soir is a night with some storminess (the finale Presto, sometimes subtitled La tempesta). The opening movement quotes Gluck  – Je n’aimais pas le tabac beaucoup (I didn’t like tobacco much) – from Le diable à quatre, and once again, there were virtuosic solos (violins, cello) throughout. The finale sizzled with a tempestuous energy that was thrilling. It was notable how well these players meshed together – with such small forces one can’t “hide” behind a large section, so any gaffes are easily heard. One would have been hard pressed to find any significant issues with ensemble. 

Mozart’s Symphony No. 29 in A major, K. 201, written when the composer was eighteen years old, opened the second half. There are some who might suggest that this work needs the full forces of a larger orchestra to accentuate its grandeur. I believe that is incorrect, and the AHE validated my opinion. These eighteen musicians brought more than enough passion, power, and brilliance to their sparkling performance. It was the highlight of the evening for this listener. 

After the last notes were played the audience was returned to the 21st century and rewarded this fine ensemble with an extended standing ovation.  For all lovers of period instruments and the music of this epoch played by superior musicians, the Australian Haydn Ensemble is not to be missed. 

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Paulus Hook Music Foundation presents Wandering Melody: Qianci Liu and Friends in Review

Paulus Hook Music Foundation presents Wandering Melody: Qianci Liu and Friends in Review

Qianci Liu, cello

New York International Symphony Orchestra, Elias Miller, conductor

Zankel Hall at Carnegie Hall, New York, NY

October 15, 2023

Zankel Hall was the venue for a concert entitled Wandering Melody: Qianci Liu and Friends on October 15. 2023. Presented by the Paulus Hook Music Foundation , of which Qianci Liu is the founder and executive director, works by Chinese composers, composers of Chinese heritage, a Chinese “themed” work by a non-Chinese composer, and a Filipino-themed work formed the program. 

Ms. Liu has many very talented friends – there were sixteen biographies (including Ms. Liu’s) in the promotional materials, far too many to give any one of them any special attention without this review turning into a voluminous book report. I will list them by name here: Qianci Liu, Wei Luo, Zhen Chen, Michael Dadap, Kayden Hansong, Weixiong Wang, Elias Miller, Yang Xu, Hong-Yu Hsien, Fang-Tao Jiang, Ricky Feng Nan, Andrew Hansong, Sherry Li, Yi Ru, Jacky Xu, and Shiqi Luo.

Similarly, with nineteen listed works, it is also beyond the scope of this review to comment about each work.  I will limit myself to commenting on highlights of each composer.  The works naturally tended include the cello (except for one piano solo work), with Qianci Liu being the cellist in ensembles including various combinations of piano, guitar, clarinet, vibraphone, handpan, a cello ensemble, and – after intermission – the New York International Symphony Orchestra. A large undertaking, this concert reflected an impressive level of dedication and organization, especially towards the nurturing and featuring young musicians.

This was not a conventional concert by most listeners’ standards (mine included). If one would enjoy nearly three hours of music that was unmistakably similar in style and conception, this would have been a delight from start to finish. Let there be no misunderstanding: the playing was excellent and some compositions projected poignant beauty, but work after work filled with nostalgic yearning, sorrow, and regret, in what could be best described as a “New Age soundtrack” style, grew wearing to this listener. The “spontaneous” addition of two works just prior to the final piece, announced as a “gift,” after two-and-a-half hours was surprisingly clumsy and heavy-handed. 

Let’s give Ms. Liu her kudos – her cello tone was warm and ideally suited for the selected works. There were no pyrotechnics, histrionics, or other affectations, just complete devotion to the music. This is a quality that I much value in a performer, and regardless of my feelings about the works themselves, she has my admiration. As for Ms. Liu as a composer, I point to two highlights. First, Lily, To Mom, as played by Ms. Liu with nineteen of her students of all ages, from the young boy with the 1/8 sized cello all the way to adult, was enchanting – not so much from the musical standpoint, but from seeing the joy they projected. Second, Candy, the jazz-infused romp with the wailing clarinet of Weixiong Wang, might have been my favorite of the evening, possibly because it was the only piece that broke out of the formulaic shell that surrounded the program. 

The New York International Symphony Orchestra, as led by conductor Elias Miller, was outstanding. Special mention to the (unnamed) trumpet player who managed his often high-register playing without overwhelming the orchestra and while maintaining good intonation – it’s not easy!

On to the other featured composers. Kimball Gallagher’s Aranya Prelude had an improvisatory feel in the hands of young pianist Hong-Yu Hsien. Though a slight hesitancy suggested a case of nerves, this player shows promise of achievements yet to come. Zhen Chen’s Jade had shimmering qualities that offered promise of breaking out of the sameness of most the other works without completely escaping. Michael Dadap’s Cavatina in E minor showed a deep, brooding quality. Unfortunately, much of that effect was marred by the feedback of a misbehaving amplifier, which loudly announced its presence several times. Sixteen-year-old Kayden Hansong’s Beyond Paradise followed, displaying a maturity far beyond this composer’s years. One looks forward to seeing what the future holds for this young man. 

Wei Luo created the lion’s share of works on the program. Reading his biography, one learns of his extensive work as a soundtrack/television composer. There is little doubt of his ability in these forms, but I would have liked to have heard at least one of his works that had some differentiation. Yes, they were “easy on the ears,” but without hearing them in context (i.e., with the television show they came from) it all sounded a bit too much as if came from the same blueprint.  Estranged had a Chopinesque quality that had moments of an unsettled feeling that most of his other works were lacking. His Wait for MeSuite: The Years & I Need to Find You was a showstopper – with twenty-three young singers in front of the stage, and three outstanding vocal soloists on stage, Fang-Tao Jiang, Ricky Feng Nan, Andrew Hansong. I still had enough “gas in the tank” to enjoy the emotionally charged performance that elicited the loud approval of the audience. Wei Luo’s Lullaby should have then sent everyone home on a peaceful note, but this was thwarted by an hawkward post-concert “announcement” verbally beckoning the artists back to the stage for more. 

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