nyconcertreview | New York Concert Review, Inc.

Italian Academy for Advanced Studies, Columbia University presents Contemporary Music of the Weimar Republic in Review

Fall of the Weimar Republic: Dancing on the Precipice
David Witten, piano; Christine Lamprea, cello; Sue-Ellen Hershman-Tcherepnin, flute; Michael Roth, violin
Italian Academy – Columbia University, New York, NY
March 6, 2024

In the tumultuous aftermath of World War I, the Weimar Republic emerged as a melting pot of artistic innovation, and its music became an important reflection of the era’s social upheaval and cultural transformation. Deep in the exuberance of the 1920s and early 1930s, the music of the Weimar Republic encapsulates a unique blend of influences, from avant-garde experimentation to works that directly referenced political turmoil.

Tonight’s program featured four composers whose careers were thriving in the vibrant cultural scene of the Weimar Republic. Their musical expression was closely tied to the immediate social transformations of the time, especially those composers who fled in the mid-1930s due to the looming threat of the Nazi takeover.

The first piece on the program for solo piano was the Piano Sonata (1924) by Igor Stravinsky (1882-1971). This work had its world premiere at the Donaueschingen Summer Music Festival (Donaueschingener Musiktage), the first European festival dedicated to contemporary music. However, this is a work that saw Stravinsky heading in a new direction. The “neo-Baroque” style is apparent- pianist David Witten described it as “Bach with a head cold.” The lean writing in the first movement was handled with care and the sinewy lines were played with a suppleness that one craves in Baroque writing. As Mr. Witten stated, Stravinsky “atones for his sins” of dissonance and angularity in the final cadence. The second movement reminds one of an arioso of Bach, perhaps a nod to the Italian Concerto, BWV 971. The improvisatory quality came through with the constant pulse of the left-hand and the florid right-hand lines. However, this could have benefited from a calmer pacing. The third movement soared with a two-voice counterpoint throughout – the final long pedal tone, another Baroque technique, led us to the end where Stravinsky leaves the listener in a satisfying state of tonal harmony.

The next composer, Mario Castelnuovo-Tedesco (1895-1968), was an Italian-born composer who dedicated much of his life to being a film composer after he fled Europe to the United States in the early 1930s. The pieces performed tonight are titled Greeting Cards – they are musical “cryptograms”- each dedicated to a friend of his. Mr. Witten was joined by cellist Christine Lamprea for the first piece, Valse for Violoncello and Piano on the name of Gregor Piatigorsky (1954). The piece was tender and haunting, and Ms. Lamprea communicated clarity of tone and the sensuousness of the dance beautifully, and, of course, the nod to Tchaikovsky was a cheeky sorbet among some of the more adventurous harmonies. The following four works were for solo piano. Für Erna (1956) was played with warmth and had rich and surprising harmonies – a short and sweet homage. The following piece was more substantial, Etude on the name of Jacob Gimpel (1955) where Mr. Witten describes the melodic theme tainted by a dissonant note, as if it were a magnet leading the listener there. This etude was performed with command where the right hand’s whirling figures could be seen as romantic and cinematic. The ending communicated a mystical feeling. Ninna Nanna (Cradle Song) (1952) is not a “Greeting Card” but a lovely canonic lullaby – a sensitive performance. The final piece on the first half of the program was La torre del diavolo (1960). This dramatic piece had thoughtful pacing and effective rumbles from the bass.

After a short intermission, we were treated to three pieces by Paul Ben-Haim (1897-1974), a German composer who also fled Europe to Tel Aviv in 1933. Much of his composition is inspired by and references Jewish and Sephardic music traditions. Mr. Witten was joined by flutist Sue-Ellen Hershman-Tcherepnin for these three pieces. The first, Arioso, had a drone accompaniment in the piano which was heartbreaking, perhaps personifying the weariness of a summer’s day – the flute melody had a languid quality and was performed by Ms. Hershman-Tcherepnin with ease. Ballad was hypnotic and the rhetorical elements of the oral tradition of storytelling were clearly communicated in the flute part. Sephardic Melody is based on a traditional folk tune from the Sephardic-Jewish tradition. It had a melismatic, guttural, and free cadenza which communicated an ancient quality in the music with a mournful tone. The improvisatory and decorative piano part was played with great freedom but never sacrificing ensemble – it was a very moving piece.

The final selection on the program was another work that was premiered at the Donaueschingen Summer Music Festival, the Concerto da Camera, Op. 33, by Alexander Tcherepnin (1899-1977). This evening it was performed as a trio with violin, flute and piano as arranged by the composer himself. Mr. Witten was joined by Michael Roth on violin and once again by Sue-Ellen Hershman-Tcherepnin on flute.

The first movement, Allegro maestoso, had lean writing and a unison rhythm. The ensemble was committed to communicating the drama of the work although every now and then the pulse became somewhat unclear. The contrasting section was more playful. This short movement ended suddenly with a dramatic restatement of the main theme. The second movement, Andantino, had a somber opening and the interplay between the parts was the feature. The repeated metronomic rhythm in the violin and flute seemed to communicate the monotony of time. This dark and humorless movement was quite effective. In contrast, the third movement, Vivace, was full of energy. The work was performed with a subtle severity which could have been exploited even more. The middle section had an eerie nostalgia performed with great sway, and the unassuming ending worked very well. The last movement, Allegro molto, had great rhythmic vitality and the ensemble was able to display virtuosity and convey the dissonances in a compelling way.

This performance of works from the era of the Weimar Republic is an excellent example of why musicians should continue to explore new works constantly. Aside from the Piano Sonata by Stravinsky, all these works were new to this reviewer, and I’m sure as well to many of the audience present this evening. The commitment to this music by David Witten is admirable and I look forward to hearing more works by these composers performed by him and his colleagues. It is also exciting that the festival Fall of the Weimar Republic: Dancing on the Precipice curated by Carnegie Hall will be ongoing until May. I hope to be able to attend some of those concerts in the near future. Bravo to all!

Walter Aparicio

by nyconcertreview for New York Concert Review; New York, NY

Duo X²: A Celebration of Women Composers Recording in Review

Xiao Chen, piano, and Xenia Deviatkina-Loh, violin

May 15, 2023

Recognizing, performing, and recording works of under-represented composers is a popular and welcome trend now; the hope being that their proliferation will gain acceptance into the canon of standard repertoire. Duo X² has realized a dream in their recording of works by women composers. This selection showcases music written in the 21^st century by extremely accomplished women hailing from differing cultural heritages.

The video recording can be viewed on YouTube: A Celebration of Women Composers. Each track brings the listener into a unique world, from Chen Yi’s Chinese diaspora (From Old Peking Folklore) to Ellen Taffe Zwilich’s eclectic expression (Episodes for Violin and Piano). Some of the composers wrote pieces as a reaction to global events, such as Gillian Whitehead’s Tōrua, written in the wake of the destruction of the February 2011 earthquake in Christchurch, and Jessie Montgomery’s Peace, a reflection composed during the height of the COVID-19 pandemic. Other works on this recording include Impulse by Franghiz Ali-Zaden, Memories by Michiro Oshima, Ara Ri Yo by Eun Young Lee, and Speak, Memory, by Lera Auerbach, which shares its title with Vladimir Nabokov’s critically acclaimed memoir.

Duo X² delivers a crystalline accuracy in their highly refined ensemble playing; they are consummate professionals whose commitment to excellence is evident throughout this recording. Xenia Deviatkina-Loh possesses a toolbox of comprehensive technical skills: finger pizzicato, intricate bowing, and mastery of intonation in the extremely high registers. Xiao Chen displays a deep understanding of the transparent textures, playing with clarity and brilliant rhythmic backbone. The two musicians are consistently successful in achieving balance.

The only distraction seemed to be in the sound engineering. Often the audible breathing was too present in the violin part, possibly a result of microphone placement. In addition, between each selection was dead air as opposed to an ambient sound to connect the music.

While the music in this recording is by no means “easy listening,” the performances are riveting and a worthy addition to the continuing mission of expansion and inclusion.

Alexandra Eames

by nyconcertreview for New York Concert Review; New York, NY

Christopher James and Lynelle James in Review

Christopher James, cello

Lynelle James, piano

Weill Recital Hall, Carnegie Hall, New York, NY

April 27, 2023

Brother and sister Christopher James and Lynelle James follow a time-honored tradition of siblings collaborating as musicians, and while they each enjoy active careers as individuals, there was no shortage of synergy between them in this recital. Hailing from a large extended family of fine professional musicians, one could imagine that respect for the score, attention to phrasing, and good musical taste were as much a part of their upbringing as keeping their rooms tidy or proper table manners. This concert was dedicated to the memory of their mother, pianist Robelyn Schrade and their uncle Randolph Schrade, also a pianist.

The program opened with two sonatas: the Debussy and Schubert’s “Arpeggione”. The slightly austere approach to the Debussy was effective in demonstrating the composer’s foray into a more modern style, with its transparent textures. Particularly striking was the interplay of pizzicato cello and staccato piano in the second movement. In the Schubert, the duo selected slower tempi than usual; this created a more plaintive atmosphere and allowed for more lyricism in the treacherously high registers in the cello part. The third movement which is often played in a more headlong fashion, had more of the necessary Viennese dance character in this relaxed tempo.

The first half of the program concluded on an extroverted note with Chopin’s Introduction and Grand Polonaise Brilliante. Despite Chopin’s admiration for the cello, this was the pianist’s moment in the sun. Lynelle James is a powerhouse of a pianist, with dexterous ability to execute the glittering scales and double thirds with grace and panache.

The second part of the concert began with the little-known Five Preludes for solo piano by the Ukrainian-born Nikolai Roslavets. Here Lynelle continues to demonstrate her considerable mastery in bringing out the many colors and textures in this dense and complex writing, reminiscent of late Scriabin and Szymanowski. After her solo, it was Christopher’s turn to lend his single voice in the Prelude from Bach’s C minor Suite. While playing an excerpt from a complete work seemed slightly out of place in this program, he embraced the acoustics of the hall and delivered a dark and brooding performance. Christopher James is a musician of deep intensity and integrity, and while not a showy player, he has all the equipment to serve the technical demands of the music.

The beloved Sonata by César Franck has become as familiar in its transcription for cello as for the original violin. Highlights of the Jameses rendering were the refreshingly light pedaling in the second movement, which is so often played too heavily, and the soulful cello recitatives in the third movement. The excitement in the conclusion of the final movement was almost uncontainable, and the rapt audience rewarded the duo with warm and well-deserved enthusiasm.

by Alexandra Eames for New York Concert Review; New York, N.Y.

by nyconcertreview for New York Concert Review; New York, NY

ANNOUNCEMENT

Critically acclaimed pianist and composer, Hayk Arsenyan presents “Nocturnal France”, a program of some beloved and some unknown sets of nocturnes by Chopin, Fauré, Poulenc, and Schumann’s recently published variations on Chopin’s Nocturne Op. 15 no 3. This program also includes Armenian composer Komitas’s rarely performed Msho Shoror Suite for the Piano and his newly discovered Nocturne, which was given a world premiere by Arsenyan in February of 2021 after more than 100 years since its creation. The concert will take place at the beautiful Mansion of Old Westbury Gardens in Long Island on September 25th at 8 pm. For reservations please visit oldwestburygardens.org or call 516.333.0048 ext. 301.

Hayk Arsenyan published a performance guide to Antonio Soler’s sonatas in 2009, and has performed in Europe, Asia and Americas, at venues such as Carnegie Hall (New York), Palais d’UNESCO, Salle Cortot (Paris), Tchaikovsky Hall, the Kremlin (Moscow), Petranka Mozarteum (Prague), Kumin Hall (Tokyo), Assad Opera House (Damascus), Sala Cervantes (Havana), Myra Hess Series (Chicago), Phillips Collection (Washington DC), and Shanghai Concert Hall, among others.

At the age of 11, Arsenyan performed his own requiem with the Armenian National Philharmonic Orchestra, and at 17, debuted as a soloist with the Radio France National Philharmonic Orchestra, where he was also awarded a platinum medal by the City of Paris.

by nyconcertreview for New York Concert Review; New York, NY

Distinguished Concerts International New York (DCINY) presents Messiah…Refreshed! in Review

Jonathan Griffith, DCINY Artistic Director and Principal Conductor

Penelope Shumate, soprano; Teresa Buchholz, mezzo-soprano;John McVeigh, tenor; Christopher Job, Bass-Baritone

Distinguished Concerts Singers International; Distinguished Concerts Orchestra

Stern Auditorium at Carnegie Hall, New York, NY

December 1, 2019

On Sunday afternoon, Maestro Jonathan Griffith led his enormous army of choristers and orchestra as Distinguished Concerts International New York (DCINY) presented their annual New York presentation of Sir Eugene Goossens’ arrangement of Handel’s eternal Messiah—a version I like to call “refurbished,” not necessarily “refreshed.” This is not a Messiah for the persnickety purist (which I’m not!). Griffith has an international reputation with this particular version; he just recorded it this past summer with the Royal Philharmonic Orchestra, the same group that occasioned this version.

I have reviewed this production several times previously in these pages, always with pleasure, so I will spare the reader a lengthy discussion of the work’s origins, issues, and musical analyses. There were superb program notes by Andrew Stewart that really plumbed the depths of the sometimes quite wild story of how this arrangement was made. It turns out that Goossens was prosecuted, convicted in absentia, and fined for possession of pornographic materials in his luggage, by Australian authorities, causing his resignation from the Sydney Symphony and a precipitous career decline. Thus, Beecham’s commission of the arrangement for purposes of a recording was practically a relief effort! Furthermore, the arrangement has a complicated provenance leading to its rediscovery about 20 years ago.

DCINY sure knows how to gild a lily, however. Despite the two hour, twenty-two minute length of Messiah (only seven numbers cut, four from Part 3, three from Part 2), the concert was preceded by a half-hour of handbell music, traditional Christmas carols and hymns, arranged by Phillip Wayne and conducted by Kevin McChesney. Nothing says “holiday” like bell-ringing, and it was cheery. However, I may have preferred silence in order to contemplate the enormous work that lie ahead.

Messiah….Refreshed! Photo Credit Dan Wright Photography/DCINY Productions

On this date, the rendition was not as fine-tuned as I have come to expect from this conductor and his group. Perhaps there was insufficient rehearsal time; logistics for these events must be a nightmare. There were choirs from all over the United States, and even United Arab Emirates, Kuwait, Canada, Australia, Sweden, Hong Kong, and India, as well as individual singers from around the globe. Griffith’s conducting is beyond reproach, but with hundreds of singers, the choral coloratura and diction both became quite fuzzy. Three of the four reliable soloists nearly came to grief with ensemble discrepancies—they seemed to want to take extra time, while Griffith pressed ahead.

In fact, the predominant issue for me was Griffith’s almost “apologizing” for the inflation of the work—his tempi really were pushed too fast, which would have been all right with a “historically informed performance” sized choir. I often found myself wishing for him to really go “grand” and broaden tempi, even more than the grand effects called for by Goossens. The several hundred singers were swapped out for several hundred others for the second half of the performance; and the balcony choirs were grand, thrilling the unsuspecting audience in Hallelujah and Worthy is the lamb that was slain. In Griffith’s recent recording, the choir is substantially smaller. Also, when performed in the United States, can we please dispense with the custom of standing for Hallelujah? We have no king, and besides, who knows why the original king stood up—perhaps his gout was bothering him during an exceptionally long afternoon of oratorio.

The orchestra, composed of the best New York area freelancers, helmed by concertmaster Jorge Ávila, was excellent. There were two annoying factors, neither of which was their fault, but rather Goossens’. One: the cymbal crashes—they’ve got to go. Two: I was able to hear many superfluous extra contrapuntal lines in continuo arias, presumably Goossens’ creation, filling in what should have been ensemble rests—it was if he didn’t trust the power of silence. The Pifa (“pastoral symphony”) was radiantly beautiful.

Tenor John McVeigh was often sharp on this occasion, though his sound is sweetly lyrical. Griffith conducted all the tenor arias at quite a clip. Bass-baritone Christopher Job has the bright sonority that makes Thus saith the Lord work well, but I wished for more attention to the word “darkness” in For behold, darkness shall cover the earth and The people that walked in darkness, both of which lacked mystery. Everything was the same color. I’ve always wondered why there can’t be more than one low male voice soloist in Messiah. Why do the nations so furiously rage together? and The trumpet shall sound suited him very well. The clarino trumpet solo was excellent there as well. Mezzo-soprano Teresa Buchholz poured her honeyed sonority over her solos, with great sincerity, though with this arrangement she was often hard to hear. I don’t know if the omission of the middle section of the gorgeous He was despised is due to Goossens, but it robs the aria of proportion and drama. Only soprano Penelope Shumate escaped most of these pitfalls, with bright, clear sound, excellent diction, real emotional involvement, and spot-on coloratura, though again there could have been more variety of color and attention to soft dynamics.

The choir’s finest moments were in the monumental series of three choruses: Surely he hath borne our griefs, And with his stripes we are healed, and All we like sheep have gone astray. Griffith also drew out delectable nuance on the word “light,” with his forces observing the diminuendo in His yoke is easy, and his burthen is light.

Handel really knew how to write a show-stopper, and Hallelujah had its thrilling impact, as did Worthy is the lamb, both of which showed finely detailed contrasts in dynamics.

So, the holidays really are upon us, and we must be grateful for the dedication shown not only by Griffith, but by his numerous participants who come from all over the world to create beauty, and to DCINY for continuing to provide quality music of all types.

by nyconcertreview for New York Concert Review; New York, NY

The Gurdjieff Ensemble, Leading Group Specializing in Ancient and Medieval Music, set to Make Debut American Tour

Gurdjieff Ensemble to Perform in New York, Chicago and Los Angeles, Presented by AGBU

The Gurdjieff Ensemble, one of the leading groups in the world specializing in ancient and medieval music from the East, will be making their first American Tour to three major cities this September sponsored by the Armenian General Benevolent Union (AGBU)

The internationally acclaimed Gurdjieff Ensemble was founded by Armenian musician Levon Eskenian in 2008 with the intention of bringing the music of the Armenian philosopher, author and composer Georges I. Gurdjieff back to its ethnic inspirational sources.

The Ensemble consists of Armenia’s leading musicians playing traditional instruments. Their debut album on ECM Records, “Music of Georges I. Gurdjieff,” was widely acclaimed, and won prestigious awards including the Edison Award in the Netherlands.

They have been touring the world with sold out appearances at major festivals and concert halls in Europe, Australia, the Middle East, Russia and South America, and will bring their music to American audiences for the first time in September with concerts in New York, Chicago and Los Angeles.

G.I. Gurdjieff, born in Armenia, is known to many in the West as one of the major spiritual figures of the 20th century. He was a musician, philosopher, choreographer, and writer, and his extensive musical repertoire was based on the music he heard while traveling in Armenia, the Caucasus, the Middle East, and many parts of Central Asia, India and North Africa, where he witnessed a myriad of folk and spiritual music, rituals and dance traditions.

With their second album, “Komitas,” also on ECM Records, the Ensemble turned their attention to the music of Komitas Vardapet (1869-1935). Composer, ethnomusicologist, arranger, singer and priest, Komitas is popularly held to be the founder of contemporary music in Armenia, and in his work as a collector he explored the connections that uniquely bind together Armenian sacred and secular music.

“This year we mark the 150th anniversary of Komitas and the AGBU Performing Arts is presenting the Gurdjieff Ensemble from Armenia for a debut tour in the biggest cities of America. We are extremely excited for the chance to share this special music with the US audiences,” said Eskenian.

Eskenian collected piano and vocal works and arranged them for traditional instruments, thereby enhancing and preserving their authenticity. The resulting music allows the Gurdjieff Ensemble, performing on more than 16 traditional Armenian and Eastern instruments, to illuminate the deep roots of Komitas’s and Gurdjieff’s works.

Tickets can be purchased at https://agbu.org/events/.

by nyconcertreview for New York Concert Review; New York, NY

Edward Auer and Junghwa Moon Auer: Schumann CD in Review

Schumann: Fantasiestücke, Op. 12 – Junghwa Moon Auer, Piano

Schumann: Fantasie, Op. 17 – Edward Auer, Piano

Producers: Edward Auer and Junghwa Moon Auer

Culture/Demain Recordings (no catalog mumber)

Total timing: 59:27

Edward Auer is a Juilliard graduate who serves on the faculty of the Jacobs School of Music at Indiana University. Junghwa Moon Auer, his wife, a graduate of Yeonsei University in Korea and the New England Conservatory, is coordinator of the Edward Auer Piano Workshop at the Jacobs School, and a member of the artist faculty at Roosevelt University.

This new CD shows the Auers to be pianists of polish and refinement who both understand the idiom of Schumann’s music. The piano sound is good, and both pianists play with marvelous tone throughout.

Junghwa Moon Auer’s performance of Des Abends, the first piece in the Fantasiestücke, has a lovely calm, and subtle use of rubato. In Aufschwung, she brings out the contrasting moods of the different sections, such as the stately part in B-flat major, as opposed to the threatening buildup which leads to the return of the dramatic first theme.

Warum? is, perhaps, a bit slow, but has some beautiful soft playing, and an intriguing interplay of the voices. Grillen is slightly understated, yet jocular. (The marking does say Mit Humor!)

The night can be scary, and Ms. Auer shows this in In der Nacht, though, with her sensitivity to different colors, the F major middle section is a wonderful “escape” from the tension and tumult of the rest of the movement. Fabel, another piece of contrasts, is very effectively played. Traumes Wirren, which in some performances throws sparks all around, strikes this listener as light-hearted, but a bit sedate. The last movement, Ende vom Lied, is very fine, with a strong beginning, an energetic middle section in B-flat major, and a peaceful end.

After the loud, swirling beginning of the first movement of the Fantasie, Edward Auer plays a bit slower than one might expect, but everything “works.” The F major theme is eloquent, and the syncopated section which follows sounds appropriately improvisatory. There is a natural sounding emotional underpinning to everything he does in this movement. The last section, in C major, is slow, expressive, and deep.

The second movement is played at a strong, moderate tempo. Parts of the middle do seem a bit slow. The coda is certainly well-played, though some pianists take a more daring tempo.

Mr. Auer’s playing of the last movement is a spacious and calm unfolding of the material. In addition to the dynamic contrasts, which are effectively brought out, there is a sensitivity to coloristic possibilities as the work modulates. There is a very fine buildup in the last section, and then Mr. Auer goes “back down the other side of the mountain” to a beautiful, soft conclusion.

Donald Isler for New York Concert Review; New York, NY

by nyconcertreview for New York Concert Review; New York, NY

Adrienne Haan’s Voluptuous Weimar – A Tribute To Berlin’s Golden Age in Review

Adrienne Haan, Cabaret Singer

Richard Danley, Musical Director

Vince Giordano & The Nighthawks

Joe’s Pub, New York, NY

October 17, 2018

Cosmopolitan actress and singer Adrienne Haan presented her exciting, stimulating, and inspiring show, Voluptuous Weimar – A Tribute To Berlin’s Golden Age at Joe’s Pub in Manhattan for a one night engagement on Wednesday, October 17 to an enthusiastic packed house. Accompanying Ms. Haan was not only her superb musical director/ pianist Richard Danley, but the astounding Vince Giordano & The Nighthawks. Ms. Haan made her entrance onstage to thunderous applause. In true Weimar fashion, she wore a sleeveless, shimmering short red dress. In addition, she sported a very short hair style with a headband complete with a beauty mark and accentuated eye makeup. Ms. Haan began her program with the very bouncy yet topical song Alles Schwindel (It’s All a Swindle). In that opening number, Ms. Haan quickly ingratiated herself with the audience not only with her beauty and charm and her wide, diverse vocal range, but also with her complete knowledge and understanding of the material she was interpreting. In that opening song, one heard her lovely soprano voice, but she also proved that she could project that well-known guttural sound so associated with legendary artists as Marlene Dietrich and Edith Piaf. Immediately after finishing the song, Ms. Haan smoothly segued into her next number, Sex Appeal , by giving a brief description as to what the theme of her show was about – Berlin’s Golden Age beginning directly after the first World War in 1918 when Germany’s economy collapsed. By 1923 the situation became so desperate that decadence became more prominent in Berlin. Social and sexual values were changing and, in Ms. Haan’s words, “millionaires had become paupers”.

Then by the mid-1920’s, the women’s movement and the gay movement had made their presence well-known in Berlin, especially in the artistic world where creative geniuses like Kurt Weill, Fritz Lang, and Josef Von Sternberg were flourishing. She then sang Ich bin die fesch Lola (They call me naughty Lola), the Friedrich Hollaender song made famous by Marlene Dietrich in the classic 1930 Von Sternberg film The Blue Angel. In her version, Ms. Haan began the song with a slow tempo and then gradually drifted into the more rowdy way audiences were used to hearing Dietrich sing it. Ms. Haan then sang what later became Dietrich’s most famous song, Ich bin von Kopf bis Fuss auf Liebe eingestellt (Falling in Love Again), also from The Blue Angel, while seductively sidling up to her pianist Richard Danley on the piano bench. She began the song in sprechgesang (spoken singing) form, and then when she reached the chorus she sang it full-out in German and English. Saxophonist Dan Levinson and violinist Andy Stein were featured very effectively in this number. The next song, Jonny, wenn du Geburtstag hast was also written by Hollaender for Dietrich. In setting up the song, Ms. Haan said that by the early thirties, Berliners loved anything American – Jazz, Josephine Baker, and Hollywood, particularly Johnny Weismuller. As a result, at that time, all Berlin girls called their lovers “Jonny”. In her interpretation of the song, Ms. Haan blithely walked through the audience like a charming free spirit and playfully flirted with a few men by kissing them or playfully tousling their hair. She also sang the song in both German and English.

Before singing Irving Berlin’s Blue Skies, Ms. Haan mentioned that Josephine Baker’s recording of that song was so popular that it resonated throughout France and Germany, and was played in all of the dance halls in both countries. It was a lovely upbeat version with Vince Giordano, himself beautifully soloing on bass saxophone. She followed up with another Irving Berlin song, Cheek to Cheek. In both songs, Ms. Haan’s lovely soprano voice was beautifully showcased. Note: Even though Ms. Haan saluted both Dietrich and Baker by singing their songs or songs they made popular, she wisely made no attempt at imitation, but made each selection her very own. She then mentioned that in 1932, when Cole Porter’s song Night and Day reached Germany, it became very popular in Berlin. Her rendition evoked not only the lovely lush melody that was so representative of the early thirties, but also the impending shadow of Nazism that was just about to take over Germany and, later, most of Europe. For the novelty song, Ich bin ein Vamp (I am a Vamp) , Ms. Haan referred to the big cabaret club in Berlin in the 1930’s, El Dorado. It was there she said that one looked for the pleasures of “one night”. Another Friedrich Hollaender number written for Dietrich, Ich Weiss nicht zu wem ich gehore (I don’t know who I belong to), was a lovely torch song in which Ms. Haan again showed off her fine range and dramatic talents.

Then in a complete change of pace, Ms. Haan, Mr. Danley, and Vince Giordano & The Nighthawks pulled out all the stops with a dynamite version of the classic Big Band number Sing, Sing, Sing. Before presenting this song, Ms. Haan revealed that the German youths admired anything American and British, and this number proved to be so popular that when the song reached Berlin in 1939, the Swing Youth Group was formed in Hamburg, however the group had to be circumspect and kept “underground,” because any swing music was considered Entartete Musik (degenerate music) in Nazi Germany. In her interpretation of this number, Ms. Haan sparkled, bubbled, shimmied, and percolated all over the stage with sex appeal and sensual abandon looking like she was ready to explode with excitement. The number also showcased Vince Giordano & The Nighthawks especially the marvelous Paul Wells doing masterful work on percussion. It was electrifying. Ms. Haan and the musicians followed that volcanic excitement with a delightful treatment of the 1932 song Bei mir bistu shein with Ms. Haan singing in both German and English. This was another song that was embraced by the Swing Youth Group, who were captivated by the Andrews Sisters’s recording. In Ms. Haan’s hands, the number was not only of one of the many highlights of the evening, but was also a wonderful showcase for trumpeter Mike Ponella.

In singing These Foolish Things, Ms. Haan said the song was also very much a favorite of the Swing Youth Group. She sang it very soulfully, digging deep into its lyrics and showing the tenderness, longing, and beauty in the song. It was very moving and touching – and thankfully, quite original!!

Puttin’ On The Ritz proved to be the perfect ending to an enchanting, enlightening, and overall, a most enjoyable and entertaining evening of cabaret. It was a fun version with Ms. Haan and her musicians obviously enjoying themselves and each other. For her encore, Ms. Haan sang another song strongly associated with Marlene Dietrich, Lili Marleen (later Lili Marlene). However it was not originally written for Dietrich. The music was actually composed during World War I and the lyrics were not written until 1938 on the eve of World War II. In her many appearances entertaining the troops during World War II and later in her concerts, it became Dietrich’s second most popular song next to Ich bin von Kopf bis Fuss auf Liebe eingestellt (Falling in Love Again). Again, Ms. Haan made her version of this song her very own and sang it with the right amount of love sentiment, sadness, and hope.

Kudos to Richard Danley and Vince Giordano & The Nighthawks for their brilliant accompaniment and musicianship. And most of all, huge kudos to Adrienne Haan for giving us so much pleasure and joy in the wonderful songs she sang and for her superb artistry as a sterling and riveting cabaret performer. I do hope that Joe’s Pub brings this inspired and innovative show back again. More!! More!! Bravo!!

Richard Holbrook for New York Concert Review; New York, NY

by nyconcertreview for New York Concert Review; New York, NY

SubCulture presents Ian Hobson: Sound Impressions: The Piano Music of Claude Debussy & Maurice Ravel in Review

Ian Hobson, piano

SubCulture, New York, NY

February 7, 2018

Ian Hobson continued with the third of his six-concert complete presentation of Debussy and Ravel works for solo piano, and on this occasion it struck me that his spirit was much more aligned with the material than it had been back in November. He created many ravishing moments, mainly due to his excellent fleet technique. My “wish list” for him would be that he explore the pianissimo (and lower) dynamics more—I didn’t feel like I really heard enough utterly soft sounds; and that he take more time, don’t push every tempo (this I had said previously). Where this need for speed succeeded brilliantly however, was in the final piece of the Images triptych: Mouvement (which is French for tempo, after all!). This was given a wonderful clear reading, and the whole-tone “disappearance” at the end was stunning.

The hall was full, so word is getting around what an achievement this cycle is, and the average age of the audience was substantially lower than one customarily sees at “classical concerts.”

The recital opened with two (of the six) pieces commissioned by the Revue musicale to be composed on the musical spelling of the name HAYDN: 1909 was the Haydn death centenary year. A fine rendition of Ravel’s poignant Menuet, with all its clever permutations of the name (upside down and backward), preceded Debussy’s Hommage, a wistful melancholy waltz followed by a scherzo-like dash, all using the name theme. Mr. Hobson followed this with Ravel’s groundbreaking Jeux d’eau, which when performed by the composer for his fellow-Apache artist group was described as “iridescent fire.” The title is often mistranslated as The Fountain, but really means Water Games, or The Play of Water. The manuscript bears an epigram by one of Ravel’s favorite authors, Henri de Régnier: “Dieu fluvial riant de l’eau qui le chatouille…” (River god laughing as the water tickles him), and Ravel was very strict with his few piano students about the piece sounding happy and playful, never sad. Mr. Hobson dispatched it very well in all its glory.

Then came one of the beloved “early” Debussy works, the famous Rêverie, which wasn’t quite dreamy enough for my taste.

A major work of Ravel was next: the Valses nobles et sentimentales, a suite of seven waltzes and an epilogue, inspired by certain sets of Schubert dances. It was premiered at a notorious “anonymous” concert in 1911, at which all the names of the composers were blacked out on the program, and the audience had to guess whose work was whose. Even Ravel’s previously ardent supporters had a hard time recognizing the author of the Valses, so obsessively was the work focused on strong dissonances. Ravel himself, when describing the piece, always analyzed it in straightforward harmonic terms with “passing notes.” The brash opening (which must have seemed really radical, with Sacre du printemps still two years off) was beautifully conveyed by Mr. Hobson. I wish the “sentimentales” had been more leisurely. The seventh waltz, described by Ravel as the “most characteristic,” lacked lift and lilt. There seemed to be quite a few errors or memory lapses- audiences really need to know what a high-wire act being a pianist is!

The evening closed with the two major Debussy groups: Images (first book) and Suite bergamasque. Reflets dans l’eau craved more pianissimi, but the fluidity was perfect. Hommage à Rameau was appropriately regal and somber, and as I mentioned above, Mouvement was perfection. Three of the four movements of the Verlaine-inspired Suite have been overshadowed by the once-ubiquitous Clair de lune, which is a shame, since they are excellent. The Prélude was a bit hectoring, lacking delicacy, but the Menuet was beautifully crisp, if too loud, in Mr. Hobson’s hands. He avoided the trap of over-sentimentalizing the Clair de lune, and his Passepied was very good.

This cornucopia of French variety passed by in a too-quick hour, and we look forward to his next installment on February 28, 2018.

by nyconcertreview for New York Concert Review; New York, NY

Hayk Arsenyan at Steinway Hall, Save the Date

Pianist Hayk Arsenian plays rarely performed sonatas and fandango from 18th-century Catalan composer Antonio Soler.

Hayk Arsenyan published a performance guide to Soler’s sonatas in 2009, and has performed in Europe, Asia and America, at venues such as Carnegie Hall (New York), Palais d’UNESCO, Salle Cortot (Paris), Tchaikovsky Hall, the Kremlin (Moscow), Petranka Mozarteum (Prague), Auditorio Delibes (Valladolid), Assad Opera House (Damascus), Sala Cervantes (Havana), Myra Hess Series (Chicago), Phillips Collection (Washington DC) among others.

ABOUT ANTONIO SOLER

The works of Spanish composer Antonio Soler span the late Baroque and early Classical music eras. He is best known for his keyboard sonatas, an important contribution to the harpsichord, fortepiano and organ repertoire. He is probably the most significant Spanish musician of the eighteenth century, both for the rich and varied of his compositions, for his contributions to musical theory and for the innovative character of his genius.

Sunday, April 02, 2017 at 2:30 pm @ Steinway Hall, New York, NY

VENUE

Steinway Hall, 1133 6th Ave, New York, NY 10036
212-246-1100

ADMISSION

Buy tickets ($25)

by nyconcertreview for New York Concert Review; New York, NY