Jonathan Griffith, Artistic Director and Conductor
Sir Karl Jenkins, Conductor
Jeff Spurgeon, Host
Blythe Gaissert, Mezzo-Soprano

Distinguished Concerts Orchestra
Distinguished Concerts Singers International

Stern Auditorium at Carnegie Hall, New York, NY

January 15, 2024

Sir Karl Jenkins, a prolific and celebrated composer in England and around the globe, was given a joyous and heartfelt tribute at Carnegie Hall by Distinguished Concerts International New York. The rapid approach of his ninth decade has not diminished his popularity or vitality, as he is currently juggling several projects and commissions.

Though I was unfamiliar with the work of Mr. Jenkins before this concert, his talent and facility as a composer and his commitment to music as a vehicle for pacifism were in evidence this evening. The centerpiece of the performance was The Armed Man: A Mass for Peace, a work in thirteen movements that has the distinction of occupying fifth place in the list of Great British Classics. A fifteenth-century French chanson, L’Homme Armé was the point of departure for an affecting work that evoked both the carnage of war and its opposite, a plea for peace and healing.

Mr. Jenkins is a very fine orchestrator, especially for brass and percussion, and they were given plenty to do throughout this work due to the nature of its subject matter. The players handled it brilliantly, particularly the trumpets, led by Michael Gorham, and every one of the percussion soloists. This composer has a gift for melody however, and it was in those more lyrical movements that the Mass was most compelling. Mezzo-soprano Blythe Gaissert led a simple but poignant Kyrie against an underpinning of low strings and chorus. Similarly, the Hymn Before Action, with its sweeping, unapologetic romanticism, was worthy of a 1950’s biblical epic. But it was the penultimate movement, the Benedictus, that was the highlight of the evening, in large part due to the superb playing of cello soloist Robert Burkhart. In general, the strings played a supporting role in this concert, but they produced a consistently beautiful sound, led by their excellent leader, Jorge Ávila.

Midway through the evening, Sir Karl Jenkins himself made an appearance, sporting his signature walrus moustache and aviator glasses. More encomiums were offered, including a clever arrangement of Happy Birthday played by the orchestra with full audience participation. At age eighty, he seems to have retained his youthful demeanor and commitment to music that has social relevance. After intermission, a selection of his most famous compositions, billed as “The Best of Karl Jenkins,” received a committed performance. Several movements from Symphonic Adiemus, Requiem and Stabat Mater solidified my impressions from the first half of the concert. The composer writes well and idiomatically for orchestra and chorus, albeit with challenging passages. The chorus sounded more settled and accurate in the second half, and once again the percussion section shone with featured solos on traditional Middle Eastern instruments. My one reservation about this concert was the programming of mostly liturgical works that had remarkably similar overall structures. The use of ostinato, driving rhythm and repetition to build tension were present in virtually all of the Allegro movements, while the development of thematic material was largely absent. Played separately, each work would have had more impact, but all of them performed consecutively lessened the effect. Still, I was happy to have spent a night with the music of this celebrated and well-loved musician, Sir Karl Jenkins.

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 1,480^th Concert Worldwide, 1,144^th in New York, and 689^th 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 40^th 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.

Yuwan Zhang, vocalist

Jeffrey Chappell, pianist

December 31, 2023

A link to the album “Move Forward Like the Seasons” wound up in my box for reviewing this holiday season, the first album for singer Yuwan Zhang, and it made for some lovely listening. In the collection are five standards billed as from the “American Songbook”: Spring Can Really Hang You Up the Most, Summertime, Autumn Leaves, Blackberry Winter, and Fly Me to the Moon. Clearly, there is a seasonal theme at play, and we are told by Ms. Zhang in notes not provided to the public that it arose from four jazz ensemble concerts over four semesters at Goucher College, 2017-2019. She called the concerts “The Season Tour” and four years later, the piano-vocal version of these songs became her first album. As Ms. Zhang writes, “This album contains many seasons of mine … The reason for me to choose “Fly Me to the Moon” as the last piece is because I believe no matter how seasons go by, we always see the loved ones in our hearts.” She adds that the title of the album is from the lyrics of a song called Seasons written by her favorite singer-songwriter Greyson Chance, whose mother said, “We don’t grow up with years, but with the rotation of the seasons.”

Most music lovers will be familiar with several of these standards, such as Summertime (1934, by George Gershwin, with lyrics by Ira Gershwin and DuBose Heyward), Autumn Leaves (1946, by Joseph Kosma, lyrics by Johnny Mercer), and Fly Me to the Moon (1954, music and lyrics by Bart Howard). The two songs that may be slightly less familiar to many are Spring Can Really Hang You Up the Most (1955, music by Tommy Wolf, lyrics by Fran Landesman) and Blackberry Winter (1976, music by Alec Wilder, lyrics by Loonis McGlohon).

These last two were highlights for this listener. Though there is a stunning Ella Fitzgerald rendition of Spring Can Really Hang You Up the Most – and more recently Norah Jones and others – this listener hasn’t encountered it in concerts more than once or twice, so it was good to see it on this new recording by Ms. Zhang. She delivers the lines with persuasive pathos. As one heard in several other songs there was also a chance for a more up-tempo interlude by the pianist Jeffrey Chappell (who was also Ms. Zhang’s jazz performance teacher during her undergraduate years). A graduate of Curtis and Peabody, Mr. Chappell is currently Professor Emeritus at Goucher College, composer, journalist, recording artist on multiple labels, and a member of the award-winning jazz quartet, Otherworld. He and Ms. Zhang collaborate well, at least as heard here.

Blackberry Winter is another underappreciated gem. In fact, if one searches the title, one will find much information about the seasonal phenomenon of “Blackberry Winter” (the kind of mid-spring cold snap that inspired the song) before one even finds this song. Ms. Zhang’s rendition captures the song’s captivating wistfulness, and Mr. Chappell provides beautiful support.

Of the more familiar songs, Summertime was a surprise. To start with, it was miles from the slow steamy versions that bring to mind sweltering scenes of Catfish Row in Gershwin’s opera Porgy and Bess (from which the song comes). That was already a jolt, but then the Zhang-Chappell version took a new direction structurally as well, with a rhythmic keyboard bass in the introduction and an up-tempo middle section featuring walking bass and lively keyboard improvisation. This middle section made the return to the sultry opening all the more poignant, but it will be for some an acquired taste. Also, in terms of timbre, Ms. Zhang’s voice (a light mezzo) showed in this song more the breathiness of an ingénue than the world-weary heroine we expect from this historic opera.

Beyond these surprises, there was little attempt to simulate the regional dialect one usually hears in this song (no dropped G’s for example). Granted, there is room for reimagining such songs – even Janis Joplin did a version Gershwin would hardly have recognized (though even Janis Joplin dropped a lot of G’s!), but it may be tough for some diehard fans of this song’s tradition to hear it afresh. Among other surprises (and at the risk of seeming to advocate for cultural appropriation – a charge that has beset this opera and Gershwin in general in recent years), there is a regional spirit at the roots of this music, and the absence of that left this listener feeling that something was amiss at times. That said, undoubtedly new young listeners who are less steeped in the history of this opera may enjoy the ride.

The accompaniment of Summertime was again expertly done by Jeffrey Chappell. Frankly, the instrument he played on sounded more like an electronic keyboard than an acoustic piano, but as we were not informed of the details about the recording (no dates, places, or engineering credits named, not even composers in what I was sent), it’s anyone’s guess. Whatever the case was, he handled his part beautifully.

More of Mr. Chappell’s styling was enjoyed in Autumn Leaves. Here Ms. Zhang was also at her best, savoring the low register with the melancholy feeling that expresses the heart of this song. Just as in Summertime, Autumn Leaves enjoyed a “breakout” moment in a brisker tempo.

The extremely famous standard, Fly Me to the Moon, was a pleasant surprise. It opened with what was either another singer in duet with Ms. Zhang or it was overdubbed by Ms. Zhang herself. Again, we don’t know, but whatever the case may be, it was charming. At just around a minute and a quarter (much shorter than the usuals, including Sinatra et al.), it seemed to be over too soon.

Ms. Zhang has an appealing musicality and much flair. Hailing from Chengdu, China. she came to the United States in 2016 (graduating in 2020 with a bachelor’s degree in music and biology from Goucher College) and has already won some prizes and appeared at Carnegie Hall. She studied vocal music performance with Annie Gill and is currently in the Master of Fine Arts in Screen Scoring program at Columbia College, Chicago, studying with Michael Patterson and Kubilay Uner. With such wide-ranging skills in music, Ms. Zhang will surely make her mark through one or more of them. For now, you can catch her “on the rise” with this recording.

The Zhang-Chappell collection is being released on December 31^st on Soundcloud, Bandcamp, and NetEase Cloud Music, with other platforms to be announced.

Modus Operandi Orchestra, Justin Bischof, conductor

Chloé Kiffer, violin soloist

Merkin Hall at the Kaufman Center, New York, NY

November 30, 2023

This week an exciting concert took place as the Modus Operandi Orchestra (MOO) presented “Three Great

Romantics: An Evening of Brahms, Coleridge-Taylor, and Mendelssohn” at Merkin Hall.  In a program that included Mendelssohn’s Hebrides Overture and Brahms’s Symphony No. 1, there was already plenty of inducement to attend, but its rarest offering was the less well-known Violin Concerto by British-Sierra Leonean composer Samuel Coleridge-Taylor (1875-1912). The Modus Operandi Orchestra concerts have a history of interesting programming, and this was no exception.

The works themselves seemed simpatico sharing this program. Brahms himself famously admired Mendelssohn’s Hebrides Overture (also called “Fingal’s Cave”), and, though his Symphony No. 1 is of course completely different, both exude a feeling of spaciousness in their noble lines. The Hebrides Overture swept the listener up in its inspired waves of sound, setting the tone for the evening. Though the size of Merkin Hall places the listener so close to the “action” that the awareness of each detail sometimes hindered the ideal blend, the details themselves were quite polished. The Modus Operandi Orchestra is made up of fine players, many, we are told, from the Manhattan School of Music, of which the conductor is an alumnus. Together they captured the atmosphere of this evocative favorite. Occasionally the brass section was a bit overpowering for the space, but with the orchestra’s vibrant spirit, such reservations tend to diminish. Overall, Maestro Bischof showed that he has a clear conception of the music and the skill to make his conception a reality.

As for Samuel Coleridge-Taylor, whose music has been enjoying some rediscovery in recent years, he fit into this group of composers in several ways (aside from being counted among the “Great Romantics” as the program title states). For one thing, Coleridge-Taylor had stated his desire to incorporate folk elements into his writing somewhat as Brahms had done (along with Dvorak and Grieg), and he did so in a similarly stylized manner. Though Coleridge-Taylor was, as the program notes mentioned, sometimes called an “African Mahler” (and though others more aptly called him an “African Dvořák” due to this folk aspect), he can ultimately be appreciated for his own distinctive voice and compositional style, despite his having only lived to the age of 37. The Violin Concerto is a good example of that voice. Maestro Bischof announced that, since the concerto’s premiere in 1912 in New York, his research has turned up no other complete New York performances of it with orchestra until this concert, but one trusts that there will be more, as it is a worthy work.

For the concerto, the soloist was Chloé Kiffer, who has been championing the piece and had returned recently from playing it in Texas, we were told, shortly before this Merkin Hall performance. One needed only a few measures to see what an excellent violinist she is, and she delivered the work with virtuosity and a great deal of panache. It was an exciting evening for all of us who had never heard the entire piece live. Still, this listener was left afterwards trying to figure out what exactly it was that felt missing, and the word that kept coming to mind was “inevitability.” While it may be unfair to compare recorded performances with live, I must admit to becoming fond recently of a recorded performance of Tasmin Little playing the entire concerto with the BBC Philharmonic from 2015 – and perhaps still more partial recently to a performance of the first movement by Njioma Chinyere Grevious, with the Sphinx Symphony Orchestra. What these recorded performances have, to help persuade a listener of the piece’s worth, is a slightly greater level of abandon to some of the work’s idiosyncrasies. Samuel Coleridge-Taylor created a mercurial and rhapsodic work here, one with tempo changes and dynamic extremes every few moments, and surrendering oneself to the inner logic of these, almost as if improvising it oneself (as opposed to imposing logic from without) helps its structure to feel organic. That may require a bit more rehearsal time than the average orchestra has with their soloist, but it would probably be worth it.

After intermission, we heard a bracing rendition of Brahms’s Symphony No. 1, a piece that probably gets described as overplayed more often than it actually is played – from the paradoxical category of “works so overdone that they start to be ignored.” Kudos to the Modus Operandi Orchestra for programming it and for giving it such an energetic ride. The blend and balance were excellent, and what appealed to this listener especially were the many moments of expansiveness and warmth, achieved with no loss of precision. Standing out was the first movement, which had a cohesion that may relate to the fact that Maestro Bischof conducted it from memory. The last movement, with its famous C major theme in the Allegro non troppo, was conveyed with exalted spirit.

As the pursuit of the new and different dominates programming these days, it is good to see musical leaders who remember that there is a new generation coming up that may never have heard some of the core masterpieces of the classical canon. This Brahms deserves to be known by all (despite a prominent New York paper – to remain nameless – publishing the remark some years ago that there were “too many” Brahms Symphonies” one season – ingrates!). On this occasion, one couldn’t help noticing that there were some young children in the audience, a heartening sight. With Maestro Bischof’s penchant for delivering the classics with entertaining “relatable” banter, some dedicated children’s programs might be something to consider if they haven’t done some already.

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 12^th 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!

Distinguished Concerts Orchestra and Distinguished Concerts Singers International,

Jonathan Griffith, DCINY Artistic Director and Principal Conductor

Penelope Shumate, Soprano; Holly Sorenson, Mezzo-Soprano

Chad Kranak, Tenor; Christopher Job, Bass-Baritone

Stern Auditorium, Carnegie Hall, New York, NY

November 26, 2023

You know it is officially the holiday season when Distinguished Concerts International New York (DCINY) brings Handel’s Messiah to Carnegie Hall, and once again this year they magically transformed this reviewer’s post-Thanksgiving stupor into a readiness for carols, miracles, and all things Christmas. In case we needed a little extra magic, DCINY even had a Santa on hand, “working the crowd” before the concert. Though Handel’s music needs no such extras, many children could be heard requesting selfies with old Saint Nick in what may become a family tradition for many.

Several writers at New York Concert Review have reviewed this recurring gift to the New York concert scene over the years, so to avoid restating the same background information on history and differing versions, the reader can find more in this 2022 review: Mozart’s Messiah 2022. Though there have been variations in DCINY’s chosen versions (including those by Goossens and Mozart) and varying soloists and choruses (some returning and some new), the feeling of exhilaration seems as great or greater each year.

This year DCINY again chose (as in 2022) Mozart’s version, sung in English. They performed what are commonly called the “Christmas portions” of the three-part oratorio, those being the twenty-plus movements of Part I, plus the Hallelujah Chorus of Part II as its finale. Gone were some of the more somber sections including those dominated by the words “despised,” “broken,” and “grief,” for example – and in this time of sorrow, anger, and bitterness over world events, the more positive elements offered some much-needed brightness. Though performing just the “Christmas portions” sacrifices some beloved moments (such as from “All We Like Sheep,” “The Trumpet Shall Sound,” and more), it was a wise decision to keep the length manageable for an audience of all ages (particularly when there is no intermission). In a day of smartphones and short attention spans, it is worth winning audiences away from mere Internet listening towards a live experience that simply cannot be rivaled.

As the several hundred singers of Distinguished Concerts Singers International filed onto the stage one had to marvel at DCINY’s undertaking. The forces included choruses from Australia, Canada, Germany, the United Arab Emirates, the United Kingdom, and the United States, plus (as DCINY advertises) “individual singers from around the globe.” Combining such personnel could approach the challenge of herding cats, but given the well-prepared ensembles and the expert conducting of Jonathan Griffith the resulting performances were commendable. Only briefly in the imitative entries of the choral movement “For unto us a child is born” did the timing feel a tiny bit precarious.

It was also good to see the Distinguished Concerts Orchestra onstage again. The opening Overture found the orchestra favoring warmth and lyricism over stateliness. Though one is used to perhaps more crispness from them (especially in the lower strings), Maestro Griffith held the reins well.

The soloists were excellent, as usual. Tenor Chad Kranak, whom this listener had not heard before, stood out in “Comfort ye my people” for a sound that was full enough to soar over the orchestra but always warm and mellow. One especially admired how, even through the extended melismas of “Ev’ry valley shall be exalted” his pitch was always centered and true.

Bass-baritone Christopher Job delivered his formidable recitatives arias with the penetrating sound one recalls from prior performances, but some of his best lyricism came through in “But who may abide the day of his coming?” – and his lowest notes in “The people that walked in darkness” were especially impressive. In parts of these movements, one of Handel’s own more spare versions may have been easier for vocal soloists to cut through than this fuller Mozart instrumentation, but the singers managed to meet the demands.

Mezzo-soprano Holly Sorenson, whom one has admired in prior DCINY performances, brought her vibrant sound most notably to “Behold, a virgin shall conceive.” It is one of the untold challenges of oratorios that often a soloist will need to sit still onstage for half an hour or longer before uttering their first sounds, with any warm-ups they have done beforehand becoming a distant memory. Sometimes, because of this waiting, one can detect a hesitancy at the openings of such solos – but not here. Ms. Sorenson was strong, assured, and persuasive from the start. Similarly, there is a special place in Valhalla for any Messiah solo soprano, whose first recitative comes after sitting onstage for the better part of an hour. The soprano in this performance was Penelope Shumate who, when it was finally time to stand, delivered several outstanding performances, starting with “There were shepherds abiding in the field. ” Not surprisingly she gained in ease as she continued, and “He shall feed his flock” was both musically and physically expressive, settling into a joyous calm.

The irresistible movement for many, of course, is the famous Hallelujah Chorus, and it did not disappoint. The audience seemed to include some Messiah veterans, who immediately stood for it, honoring the tradition established by King George II in London in 1743. There is little that can approach the musical and spiritual jubilation of this moment, so one can only hope that each audience member carries that energy forward to share somehow with the very needful world.

As a critic wrote in 1742 at Messiah‘s Dublin premiere, “Words are wanting to express the exquisite delight that it afforded the crowded and admiring audience.” That crowd was 700 people – and this weekend, 281 years later, Carnegie Hall held the cheering of what was easily several times that number. My advice to audiences for next holiday season 2024: book your tickets to DCINY’s Messiah as soon as they are out – word spreads fast, and you might miss your chance!

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!

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! 

Sihao He, Luiz Fernando Venturelli, Sydney Lee, and Haddon Kay, cellists

Merkin Hall, The Kaufmann Center, New York, NY

October 20, 2023

Some reviews are a joy to write, and this is one of them. Some ensembles “have it all” and the Galvin Cello Quartet is one of those, based on their New York Debut on October 20 at Merkin Hall. Despite the seeming sameness of four cellists as an ensemble, these four highly individual musicians, Sihao He, Haddon Kay, Luiz Fernando Venturelli, and Sydney Lee (the only female), showed what a surprising range of sound and repertoire is possible for this combination, especially when each member is also an experienced soloist boasting an impressive array of prizes and distinctions, as is the case here. Their vibrancy is enriched by their diverse cultural backgrounds (China, Brazil, South Korea, and the United States), and at the same time, they exude the warmth of their common bond as students of Hans Jørgen Jensen at the Bienen School of Music, Northwestern University. In fact, their name “Galvin” is from the Mary B. Galvin Recital Hall at that school.

Presented as part of a series called “Musicians on the Rise” by the Kaufman Center and Concert Artists Guild, whose competition they won in 2022, the Galvin Quartet members are most definitely on the rise, though one senses that if they stayed exactly where there are right now, they would be just fine with that – such is their infectious positive energy. Their mission to share the love of music is palpable and irresistible, a quality the classical music world needs sorely. Though this reviewer has come away from the finest recitals thinking, “I wish there were a larger audience to hear them,” the Galvin Quartet recital has gone a step further leaving one thinking, “They’re going to create that larger audience.” Attractive, personable, and passionate, they are a manager’s dream.

The evening opened with a short video about the quartet, not something true music lovers expect or need, but perhaps a sign of things to come in this social media world. The quartet was shown preparing for a recording session, posing for photos, making dinner together, and generally enjoying their obvious camaraderie. (For full disclosure, I was unable to attend this recital in person, so was given unedited footage of the entire event).

Directly after that video, the quartet launched into the final Presto of Vivaldi’s “Summer” from The Four Seasons. It was a fresh, riveting arrangement in which one never missed the original instrumentation. The cellists exchanged furioso passages with crisp precision and an edge-of-the-seat excitement. Though the Vivaldi is quite familiar, it is certainly not familiar in this cello quartet arrangement, as Sihao He noted. Joking about the rarity and quirks of cello quartets (including the unusual need for eight flight tickets to travel), Mr. He was determined to put the audience at ease, saying “Be comfortable and please don’t behave” – and “Let’s have some fun tonight.” In explaining why the group plays mostly without music stands (unusual for a quartet of strings), he stated that the group likes for there to be no barriers between them and the audience, opting for closeness, a preference we could already sense.

If all of this “fun” had one wondering whether these players might be all levity with little substance, the next work set that record straight. Wagner’s Feierliches Stück (ending with strains of the famous Wedding March) was given an intensely stirring performance. Each cellist played with refined lyricism, and the group blended magnificently.

Rotating roles and microphones, Sydney Lee spoke next, to introduce Rossini’s piece Une Larme (“A Tear”), originally for cello and piano, but heard here in an arrangement that divvied up the melodies. She asked Haddon Kay to play the descending “tear” motif so the audience could look out for it – a helpful suggestion that bodes well for the group’s work in schools and outreach. Despite this sad motif, the piece built to quite a lather, with bouncing bows and cadenzas abounding in pyrotechnics.

Mr. Venturelli, Ms. Lee, and Mr. He shared in the announcement of the next work, the world premiere of a piece called Cadence by Zhou Tian. Commissioned in partnership with Concert Artists Guild, it represents part of the quartet’s effort to expand the repertoire for this particular instrumentation while exploring diverse cultural backgrounds that connect with theirs. Exciting and colorful, it brought out the oneness of sound that this quartet can achieve, whether playing in harmony or in rapid alternation, while also exploring a wide range of sonorities. From lyrical moments to more dazzling perpetual motion sections, the piece and the performers were captivating.

Haddon Kay introduced the next work, Leyendas: An Andean Walkabout, by Gabriela Lena Frank. He spoke about cultural connections shared with the composer’s heritage (Chinese, American, and South American) and gave eloquent descriptions of each of its six movements, Toyos, Tarqueda, Hymno de Zampoñas, Chasqui, Canto de Velorio, and Coqueteos. All that he described sprang to life in the group’s playing – the evocations of panpipes, “smoky” landscapes, guitars, and more.

Mr. Venturelli then announced the ensemble’s arrangement of Three Preludes by Gershwin. We’ve all heard countless arrangements of these gems, and for good reason. This one, very free in the playing and in the arrangement itself, can certainly hold its head up among the rest. The program was capped off with Piazzolla’s La Muerte Del Angel, given a driving energy that galvanized (or shall we say “Galvin-ized”) the audience into a rousing standing ovation. Some very gracious thanks from Ms. Lee to all those involved in the concert followed, capped off with an encore of David Popper’s Elfentanz, at near record-breaking speed.

Congratulations go out to all involved in this quartet’s exciting debut, not least of all to Concert Artists Guild for choosing them!

Regina Shenderovich, piano

The National Opera Center – OPERA America, New York, NY

November 3, 2023

In one of those miracles to which New Yorkers are privy if they pay attention, gifted Russian-American pianist Regina Shenderovich came to the National Opera Center this Friday to play the complete Book II of J. S. Bach’s Well-Tempered Clavier – in other words, the last 24 of the Bach 48 Preludes and Fugues. It was extraordinary. This reviewer had heard Ms. Shenderovich last in 2018 in a live performance of Bach’s Art of the Fugue, another unusual undertaking (reviewed here: Regina Shenderovich), and it was a pleasure to be present for this continued traversal of the great master’s work. 

For those wishing to know the music of Johann Sebastian Bach, arguably the greatest composer who ever lived, one could hardly do better than Books I and II of his Well-Tempered Clavier (48 Preludes and Fugues, two in each key, major and minor). It is a feast for the ears, mind, and heart. Complete sets of recordings have been made by some of the greatest musicians (including pianists Gould, Richter, Tureck, Gulda, Demus, Schiff, Nikolayeva, Hewitt, and Barenboim, and harpsichordists Leonhardt, Kirkpatrick, Landowska, and Gilbert, for a start), but there is perennially room for more. Despite the greatness of these works, not many pianists (or harpsichordists) take on even a single complete book of them in live concert. Undoubtedly this rarity is largely because of the demands on the performer for what approaches a 130-minute marathon (not including intermission), but it also may be out of concern for today’s audiences. Even the staunchest concertgoers (let alone the hyper-stimulated Auto-Tune crowd) may prefer to savor a couple of Preludes and Fugues at a time from a favorite recording at home, rather than sitting bolt upright in a concert hall through hours of cerebrally taxing music, no matter how magnificent. That said, it is an unforgettable experience to witness the performance of an entire volume in an evening, and Ms. Shenderovich gave us that rare opportunity to hear the set played exceptionally well. 

Technically, she displayed superb control. There was hardly a finger slip in the entire evening, and those that occurred were negligible, like the rare absent tone tending to coincide with a rough page turn. (Ideally, if one is performing these with a score, today’s technology could make that page-turning aspect seamless.)

In matters of tempo and dynamics, Ms. Shenderovich showed an uncanny sense of what works best for nearly every piece and was able to highlight each individual voice throughout, through the most challenging stretti and dense counterpoint. For this listener, fortunate enough to have a score on hand, everything on the page was matched aurally with a lucidity that brought back inspirational graduate seminars in Bach. 

From the very first notes of the opening Prelude and Fugue in C Major (No. 1), we knew we were in good hands. From the regal feeling in the Prelude to the crisp mordents in the Fugue, all felt just right. Repeats were never “rubber-stamped” but were refreshed, in the C-minor Prelude (No. 2) through varied voicing, in the heraldic D-major Prelude (No. 5) through phrasing, and in the D-sharp minor Prelude (No. 8) through altered articulation, including some skillful overholding to bring out a previously underplayed alto line. 

Other particularly good articulations were in the D-minor Fugue (No. 6, with a delightful lift before subsequent tied notes) and the G-minor Prelude (No. 15) with its nearly double-dotted crispness à la French Overture and masterfully fleet four-voice fugue to follow. The D-sharp minor Fugue (No. 8) stood out for the dynamic shaping of its subject, which can easily sound obnoxious if played as equal hammer blows (as sometimes happens). The time taken at the end of this one also felt appropriate. 

There seemed no formula for ritardandi (or anything else) in this set, with a number of pieces ending somewhat abruptly and others winding down gently, but clearly much thought went into each one. (Occasionally this listener wanted more winding down.)

In terms of flow, Ms. Shenderovich showed remarkable ability overall. In the Prelude in E Major (No. 9), she managed to mark phrases with artful breathing, while keeping a sense of pulse, a virtue not as common as one might hope. This pulse felt slightly less regular in the G-major Prelude (No. 15, in which the left hand seemed a tad slower on entry than the right hand), and also at times in the B-major Fugue (No. 23), but in general, it felt just right. One marveled in the F-sharp minor (No. 14) which managed to be slow enough to let us assimilate all the harmonic implications but never so slow that it dragged – perfect. 

The C-sharp major Prelude (No. 3) was special for its transparency under its beautifully held top notes, and its staccatissimo Fugue subject was a joy to follow. One was reminded that when Bach compiled the first book of the Well-Tempered Clavier in 1722 (with the second to be compiled in 1742) he wrote that the set was “for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study.” Those who perform these pieces are in a sense teachers, who must strike the balance between revealing Bach’s imagination and exercising their own. Ms. Shenderovich proved herself to be just such a teacher. 

In terms of emotional projection, favorites were the Preludes in F major (No. 11), which felt peacefully improvisatory, the F-sharp major (No. 13), given a wonderfully light touch, and the freely expressive F-sharp minor (No. 14). 

Sections that reflected less distinction were in the C-sharp minor pair (No. 4) and E-major Fugue (No. 9), which seemed just a bit less engaging. Beyond those, I had interpretive reservations about the E-flat Prelude and Fugue (No. 7). Though the Prelude had a gracious feeling about it, there could have been more sensitivity at times (such as at its meaningful return to the opening), and its corresponding Fugue seemed to ask for more tenderness as well. This Fugue was a favorite of Mozart’s, one guesses for its lyricism – so much so that he chose to arrange it for string quartet. Once one has heard that, one can hardly help feeling inclined towards a less crisp, less detached approach to its inherent lyricism. There also might have been more tender expansiveness in the G-sharp minor Fugue (No. 18 – a double fugue), where one sensed a harder edge and the drive to move things along, as well as in the F-minor Prelude and Fugue (No. 12) which closed the first half; any reservations, however, should be taken in light of the enormous admiration that this undertaking inspired. Some of these pieces are massively complex – such as the F sharp-minor (No. 14), with its triple fugue. Such feats were handled with awe-inspiring ease. 

Ms. Shenderovich has much to say in these works, and people should have been lined up for a block to hear her play them at this free concert. The small audience was certainly no reflection on her, but merely a shame for those absent. Her late grandmother, Olga Tsfasman, to whom the concert was dedicated, would surely have been proud. 

I strongly recommend that Ms. Shenderovich record all of these, one by one, at her leisure – and with Book I – to reach an ever wider audience.