Dr. Kookhee Hong, Executive Director; Dr. Minji Noh, Artistic Director

Weill Hall at Carnegie Hall, New York, NY

January 19, 2026

On January 19, 2026, the Barum Music Foundation (www.barummusic.org) presented a program entitled “Rising Stars Showcase.” Featuring twenty-seven(!) young musicians in twenty-six(!) works (Mozart, Mendelssohn, Schumann, Liszt, Moszkowski, Tchaikovsky, Arensky, Sarasate, Rachmaninoff, Ravel, Bartók, and Rebecca Clarke) this mammoth program was three hours and ten minutes long- without intermission!

While I understand the desire to maximize the quantity of both performers and selections (playing at Carnegie Hall is most likely going to be a once-in-a-lifetime experience for some of the young musicians), this was simply way too much for a single session. As time went on, the audience was coming and going en masse, which penalized the later performers in a way that was completely avoidable. At least those audience members had that freedom- a reviewer does not.

The performers were aged (in my estimation) from early pre-teen to late teens – the printed program and the website had no information about the ages of the performers. While it was not completely necessary information, it would have been good to know the ages of the performers from the standpoint of assessment- obviously a conscientious listener would not judge a twelve-year old with the same expectations that would be appropriate for an eighteen-year old.

Any regular reader of these pages will already know this listener has a great interest in hearing young artists. This evening (the length notwithstanding) was no exception. However, the reality of these types of showcases is a wide range of levels, from very promising youngsters ready  to those displaying both superb technique and a highly-polished artistry that places them at the cusp of possibly reaching the highest levels. Accordingly, to comment on each and every performer would turn this into an adjudication, which would not only be tedious, but beyond the scope of this review.

Every one of these youngsters can be proud- they all showed poise and maturity in addition to demonstrating excellent technique and budding artistry. I do want to list all the performers- they are truly Rising Stars. They are Katherine Oh (Flute), Dora Yu (Viola),  Iris Yan, Matthew Margolis (Violin), Joseph Margolis, Matthew Mak  (Cello),  Alexis Lee, Allison Bang, Arin Choi, Ayun Kim, Brian Anesi, Caleb Eshagpoor, Derrick Lin, Erik Chen, Ethan Sun, Fredrik Wong, Isaac Lee, Janice Son, Jina Ju, Justina Cha, Alexander Kai Hilty, Kensy Cuellar, Knox Reid, Ricky Zhou, Sophie Lin, Takako Isobe, and Zachary Eshagpoor (Piano).

Without taking anything away from anyone, I am going to mention the musicians that I felt were standouts. The Eshagpoor brothers, Zachary and Caleb (the former played Bartók’s Op.14, No.3, the latter Mendelssohn’s Variations sérieuses – after waiting three hours!) are both not only technical wizards, but they possess a true artistry far beyond their years. They are definitely going to be on my to-watch list. Alexis Lee played Liszt’s La Leggierezza with a deft lightness (as per the title) that so many young players struggle with in Liszt, due to their focus on the technical demands at all costs. Ms. Lee displayed the technique and the touch. Cellist Joseph Margolis played Tchaikovsky’s Variations on a Rococo Theme, Op. 33, with a fine sense of insouciant playfulness and humor that is prominent in this masterpiece. I’ve heard older and more experienced players “swagger” excessively through this piece, where Mr. Margolis let every detail speak. Even after nearly three hours (he was the second-to-last), one was fully engaged in his outstanding performance. The trio of Matthew Margolis (violin), Matthew Mak (cello), and Fredrik Wong (piano) played the first movement of Arensky’s D minor Piano Trio, Op. 32 with a rapport one would have thought was a product of years of playing together. The balance and intonation were outstanding. This ensemble has great potential for the future, and I do hope they will continue to play together. Finally, the standout amongst the standouts was pianist Erik Chen, who dazzled all with Ravel’s La Valse. It was fortunate that Mr. Chen was at the midpoint of the program, so the hall was still full to experience a spectacular performance of one of the most fiendishly difficult works in the repertoire. I’m quite familiar with this work, so I was not going to be fooled by its inherent brilliance. I was initially skeptical when I saw it on the program, but suffice it to say that Mr. Chen obliterated that skepticism in record time. It easily held its own against any number of performances I have heard. The audience gave Mr. Chen a well-deserved standing ovation. Predictions are always an inexact science, but I expect to hear much more from Mr. Chen in the future and would not at all be surprised if I see him appearing at one of the premier piano competitions as a contestant. Good luck, Mr. Chen!

Congratulations to all, with wishes for future successes.

Shiqi Zhong, percussion

YoonJung Hwang, violin; Qianci Liu, cello; Jiacheng Xiong, piano; Jonathan Haas, timpani/percussion; Kelsey Choi, percussion

New York University, John H. Paulson Center, New York, NY

December 18, 2025

On December 18^th, Shiqi Zhong gave what was his third recital towards the completion of a DMA degree in percussion at New York University. Mr. Zhong is the first DMA candidate in the newly created doctoral program for percussionists. The sole work on his program was the Viktor Derevianko/Mark Pekarsky arrangement of Dmitri Shostakovich’s 15^th Symphony for piano trio, percussion, and celeste, which is obviously not a percussion-centric work, so one assumes that this recital is to meet a chamber/ensemble requirement. Mr. Zhong was joined by violinist YoonJung Hwang , cellist Qianci Liu, pianist Jiacheng Xiong, and percussionists Jonathan Haas and Kelsey Choi .

Mr. Zhong welcomed the audience and thanked them for attending. Before the recital proper, there was some pre-recital “bonus” content – a pipa/piano piece and a presentation of handpan drumming, featuring Mr. Zhong with some of his young students. The Handpan is a steel drum that resembles a large tortoise shell. It has both melodic and rhythmic qualities, which Mr. Zhong demonstrated. He is currently writing a method book for handpan, and two studies that he wrote were offered – the first highlighting the melodic possibilities, and the second, the rhythmic with a focus on hand independence. It was nice to see how much pride Mr. Zhong has in his young students. Of course he is an outstanding musician, but one has the sense that he is also an outstanding teacher who wants to share his love and enthusiasm for music and percussion with his students, regardless of their level of prowess.

After this demonstration,  Mr. Zhong invited his advisor/mentor Jonathan Haas to speak as the other musicians took their places in preparation for the Shostakovich. Professor Haas spoke about Shostakovich and this arrangement of the 15^th Symphony in a manner intended to be a very quick overview of his life and trials. (He had written some informative notes that were included in some pre-concert publicity, but unfortunately those notes were not distributed at the recital.) He did take a few liberties – for example stating that Shostakovich’s first three symphonies had aroused Stalin’s ire, though in fact it had been the composer’s opera Lady Macbeth of the Mtsensk District that had caused such trouble. Also, Professor Haas suggested that a fear of Stalin figured into Shostakovich’s compositional mindset, whereas Stalin had been dead for nearly two decades when Shostakovich wrote this symphony, so such fear was unlikely.

Like many of Shostakovich’s works, the 15^th Symphony has definite autobiographical underpinnings, but what exactly they are in this work have been, and continue to be, debated by experts. A plausible explanation suggests that the composer knew that this was going to be his final symphony, and that he shared memories of his life, from childhood to his final days, when the end was imminent. There are quotes from other composers, the most obvious being Rossini’s William Tell overture, which appear throughout the work.

In an earlier review in these pages ( Shiqi Zhong  in Review), Mr. Zhong was the focal point, showcasing his “seemingly limitless technical abilities.” Tonight, he was tasked with a supporting rather than starring role. In this context, it is not easy to offer any specific praise, other than he was an attentive and sensitive team player, moving seamlessly between the components of the percussion battery. His collaborators were all top-notch musicians as well, and the combination of their skill and the very effective arrangement of this symphony resulted in one of the more memorable concerts this reviewer has experienced in some time. There were of course some individual highlights. Violinist YoonJung Hwang captured the gallop-like motifs with a jaunty insouciance that was perfect. Cellist Qianci Liu’s purity of tone brought out the emotional impact of the simple but profoundly beautiful solos from the second movement. Pianist Jiacheng Xiong was a force as he served as the de facto “orchestra”.  Last, but certainly not least, percussionists Kelsey Choi and Jonathan Haas joined Mr. Zhong as the “heart” of the work.  The forty-five minute performance time seemed to pass in a few moments – this is how spellbinding it was. And yes, the audience members were all smiles when the William Tell quotes appeared in the opening movement. Kudos to all, and best of luck to the soon-to-be Dr. Zhong in all his future endeavors.

Vocal Artists Management Services

James Greening-Valenzuela, manager; Gretchen Greenfield, artistic consultant

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

October 16, 2025

Vocal Artists Management Services (VAMS) presented their Seventeenth Season Artist Showcase on October 16, 2025, in the Marc A. Scorca Hall at the Opera America National Opera Center. Sacred music from Bach (St. Matthew Passion and Mass in B minor) and Mozart (Mass in C minor), and arias from Gounod, Puccini, Donizetti, Weill, Lehar, and Verdi were the thirteen selections performed by eight artists. A brief synopsis of each selection was included in the program notes. The eight artists in order of appearance were Sarah Benzinger, Michael González, Andrew Egbuchiem, Tom Sitzler, Ann Folger, Stacey Stofferahn, Alexandria Crichlow, and Nelson Ebo. Eric Malson once again was the pianist tasked with accompanying these singers, which he did with his customary excellence as one has come to expect. VAMS founder and manager James Greening-Valenzuela greeted the audience and also lent his talents as a violinist in the Bach selections.

Six artists had multiple selections, while the remaining two had a single selection as a duet. In the interest of fairness, I will select a highlight for each artist. This is not to say that all selections were not worthy of attention, as they of course were.

Let’s start with the duet first, “O terra addio” from Aida, with tenor Nelson Ebo and soprano Alexandria Crichlow singing the tomb scene. As I have written previously about Mr. Ebo, he is a passionate performer who offers the maximum in both his singing and acting. Tonight was no exception. While it might have been a bit too much for the small confines of the hall, it brought much needed energy to the evening. Ms. Crichlow was much less animated, but still brought forth the emotions of Aida with a dignified expressiveness.

Soprano Sarah Benzinger is listed as an “Emerging Artist” on the VAMS roster. Her offering of “Regnava nel silenzio” from Lucia di Lammermoor convincingly captured the spooked/unsettled quality of Lucia. Ms. Benzinger particularly excelled in the extreme high register, with exquisite control and pure tone without a hint of strain. She is a fine addition to the VAMS roster and has great potential. Soprano Stacy Stofferahn’s “Meine Lippen, sie küssen so heiß,” from Lehár’s operetta Giuditta, had the right amount of saucy naughtiness, dancing on the edges of burlesque without ever truly crossing over. It was delightful fun. Mezzo-soprano Ann Folger was playfully taunting in both voice and acting, in “Que fais-tu, blanche tourterelle?” in Gounod’s Romeo et Juliette.

 I have been witness in past performances to the vocal gymnastics of countertenor Andrew Egbuchiem, but tonight he offered  J.S. Bach’s “Erbarme dich” from the St. Matthew Passion with a child-like purity of tone that was simply angelic.

Tenor Michael González’s selection of  “Where is the One Who Will Mourn Me When I’m Gone?” from Kurt Weill’s Down in the Valley was – surprisingly to me – my favorite of the evening. I’m not always fond of what I find to be the cynical underpinnings of Weill’s music, but this was something different! With the bluesy accompaniment and the heartbreaking despair projected by Mr. González, the emotional impact was undeniable. Last, but not least, baritone Tom Sitzler “brought the power” as the enraged Ford in “È sogno? O realtà?” from Falstaff. His is a strong voice, perfect for the fury this aria demands.

Congratulations to all the artists.

Modus Operandi Orchestra

Justin Bischof, conductor

Chloé Kiffer, violin

Merkin Hall, Kaufman Music Center, New York, NY

October 15, 2025

The Modus Operandi Orchestra (MOO), under the direction of Justin Bischof, presented a concert entitled “Modus plays Mozart @ Merkin”- an all-Mozart program at Merkin Hall on October 15, 2025. Violinist Chloé Kiffer was the featured soloist in the Violin Concerto No. 5 in  A major (“Turkish”), K. 219. Opening the program was the Symphony No. 40 in G minor, K. 550, and closing it was the Symphony No. 41 in C major (“Jupiter”), K. 551.

The program included extensive biographies of the conductor, soloist, concertmaster, guest conductor (not even appearing on this program), and the orchestra itself. As for the music itself, not a single word. Why is the 41^st symphony called “Jupiter”? Why is the violin concerto called “Turkish”? What cadenza(s) did Ms. Kiffer play? Joachim? Her own? Yes, Mr. Bischof does talk about the works in a light, accessible manner, and this is always a nice touch, but by necessity it is always short. This is not the first time I have said this – not everyone is an expert, nor do they wish to do post-concert research, so some written notes about the program would enrich the concert experience.

Even though the Symphonies were not played consecutively, for this review I will pair them together, but will start with the Violin Concerto. Violin soloist Chloé Kiffer took the stage with Maestro Bischof. This was not their first collaboration, as Ms. Kiffer had previously played the Coleridge-Taylor Violin Concerto, as reviewed in these pages. The first thing that caught my attention was that Ms. Kiffer was using an iPad, with a foot pedal for page turns. This seems to be a growing trend.

This concerto is not a demonic display of pyrotechnics a la Paganini, but that does not mean it is without virtuosic demands. One must “sing” but also dance around the intricacies with an almost off-handed elegance. Failure to meet these requirements results in what could be described as lumbering or heavy. The orchestra must join in kind. Ms. Kiffer played with a rich, singing tone that she projected with a natural ease – there was nothing forced or contrived about it. The small confines of Merkin Hall make any tonal imperfections manifest, but when an artist of Ms. Kiffer’s caliber plays, the listener is rewarded with a true sense of immediacy that would not be possible in a larger concert hall. Her stage manner is notable – engaging without any excesses or histrionics, etc. The passagework was crisp, light, and accurate, making it look simple when it is anything but (the occupational hazard of a highly skilled player)! The cadenzas had the right amount of “fire” that showcased her virtuosity while keeping in character of the work. Incidentally, to answer one earlier question, her cadenzas were by Joseph Joachim. (As for the other question, the “Turkish” name comes from the use of so-called Turkish music, and the same A major-minor shift that appears in the “Rondo alla Turca” in K. 331.)

The rapport with the orchestra was excellent, and both MOO and Maestro Bischof were as deserving of praise for their outstanding work as Ms. Kiffer. The audience gave them a well-deserved standing ovation.

As Maestro Bischof related, the last three Mozart Symphonies were written in 1788 in the space of three months (!). To just get the notes on the paper for three symphonies in that time would be challenging enough, but to complete three fully-formed masterpieces is simply mind-blowing. Maestro Bischof also related that Nikolaus Harnoncourt was of the opinion that these three symphonies were conceived as one grand work (I disagree). There Is also debate on whether or not Mozart heard these symphonies performed in his lifetime. (Answer to earlier question: According to Mozart’s son Franz Xaver, the impresario Salomon gave the 41^st symphony the nickname “Jupiter.”)

The 40^th symphony exists in two versions (the second has the addition of clarinets). The autograph scores of both versions were acquired by Johannes Brahms (who later donated the manuscripts to the Gesellschaft der Musikfreunde in Vienna). The version sans clarinets was played.

The 40^th symphony is one of the most frequently performed and recorded works of Mozart. With its tragic underpinnings and passionate nature, it foreshadows the Romantic era by several decades. From the reading of Maestro Bischof and MOO, it was clear that they understood that Mozart provided everything and a successful performance is one that honors the score. One might have wished for a bit more simmering mystery in the opening movement, but it was still very effective. The lyrical second movement was played with grace. The angular, defiant minuet of the third movement had the right amount of “growl” that gave way to a gentle and elegant trio, played with suitable charm. The finale, launched with a Mannheim rocket, was played with vigor. Other than a few isolated instances of imbalance between the strings and the winds, this was a fine performance.

The 41^st Symphony was the final work on the program, and the dictum “save the best for the last” was certainly in play here. One might wonder if Mozart was aware this would be his final symphony, as he unleashed the full power of his unmatched genius (complete with a quintuple fugue in the final movement!). It could be argued not only is this work the greatest “classical” symphony, but the greatest symphony of any era. Maestro Bischof and MOO came fully prepared. There were no half-measures – the playing was polished, involved, and highly energetic, almost at times to the point of overexuberance. This latter point is only a minor criticism, as seeing and hearing passionate playing is always preferable to the workaday playing one often sees. If this was the first time for an audience member hearing this work, then they were given an outstanding “introduction.” To this listener, it more than held its own with any number of performances and recordings he has enjoyed. The audience reacted with an enthusiastic standing ovation. Bravo Maestro Bischof and MOO!

Hyunjung Choi, Heesoo Shin, sopranos; Boosung Park, tenor; Seoyong Lee, bass/baritone

Dohyun Lee, piano

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

October 4, 2025

On October 4^th, JH Arts & IC Artists presented Whispers of Fall, the third in their 2025 series of concerts, in the Marc A. Scorca Hall at the Opera America National Opera Center. Arias and songs from Poulenc, Verdi, Clara Schumann, Rachmaninoff, Puccini, Tosti, and Rossini were performed by the four vocalists: Sopranos Hyunjung Choi and Heesoo Shin, tenor Boosung Park, and bass/baritone Seoyong Lee.  Each half concluded with a selection featuring all four singers. In addition to these vocal selections, two solo piano works, Mélancolie, FP 105, by Poulenc, and two of the four Skazki (Fairy Tales), Op. 26, by Medtner, played by Dohyun Lee, rounded out the program. Dohyun Lee was also the accompanist for the evening.  The hall was filled with friends and supporters of these artists, which is always a pleasure to see.

As I have noted in previous reviews at this venue, the Marc A. Scorca Hall has the intimacy of a salon, with very live acoustics that give the listener a sense of immediacy not felt in larger (or less acoustically live) venues. Texts for the selections were provided, with English translations – which is always appreciated. I would advise the presenter in the future not to use a microscopic font on the program flyer – it was impossible to read without resorting to a magnifying glass.

Instead of commenting on the program in a strictly linear fashion, I will comment on each artist separately. As pianist Dohyun Lee opened the program, I will start with him. His performance of Poulenc’s  Mélancolie (written in 1940) conveyed much of the emotional impact without becoming overwrought. There were opportunities to project the obvious allusions Poulenc was making to war-torn France more deeply, but the overall effect was excellent. The Medtner Skazki were well-played, and not without charm, if somewhat undifferentiated. Dohyun Lee does deserve major kudos for his superb work as an accompanist – he was rock-solid all evening.

Let’s move now to the sopranos, Heesoo Shin and Hyunjung Choi. Ms. Shin’s offerings were a Poulenc song set  and a Puccini aria. “Tu, che di gel sei cinta” (Turandot), issung by Liù as she is being tortured, just prior to her suicide. Puccini himself wrote the words for this aria, and the librettists decided they could not improve on his text. Ms. Shin’s projection of Liù’s resolve to maintain the secrecy of the Prince’s identity and her defiance even while being tortured was heartbreakingly poignant. Of the three of Poulenc’s Métamorphoses, FP 121, “Paganini,” stood out – Ms. Shin has a sense of play, and she brought to the quirky text an almost whimsical approach that this listener found irresistible.

Hyunjung Choi’s selections were three of the Sechs Lieder, Op. 13,  by Clara Schumann (with texts by Heinrich Heine), and “Caro nome che il mio cor” from Verdi’s Rigoletto. The second of the lieder, Sie leibten sich beide, was the most compelling to this listener. The tragedy of lost love and missed opportunities that are simultaneously heartbreaking and infuriating in this song are challenging to capture, yet Ms. Choi did so in impressive fashion. It would be easy to overdo either the sadness or the frustration, which would completely spoil the effect. The singing was compelling, but the artistry was what made it exceptional. In the Verdi, her vocal agility, clarity of diction, and range (especially in the extreme upper register) without strain, stridency or loss of intonation, were notable. It all seemed easy, which of course, it is not. This went beyond what one might expect, and it made a strong impression on this listener.

Tenor Boosung Park performed “Quando le sere al placido”  from Luisa Miller (Verdi) and two Tosti songs, L’ultima canzone and Ideale.  The overriding theme in Mr. Park’s selections was sorrow, and that can present its own complications. In the Verdi, the dramatic impact is everything. Emotions abound, and one must be nearly overwrought without being a caricature. Thankfully, Mr. Park showed mastery in pushing the emotional limits to the edges while maintaining a body language of complete composure. If anything, he could have “loosened” up a touch, which would have only enhanced the effect of his strong, confident voice. The Tosti songs were light fare after the emotional wallop of the Verdi. Well done!

Bass-baritone Seoyong Lee gave us arias from Rachmaninoff’s Aleko and Rossini’s Il barbiere di Siviglia. He has a powerful voice that would easily fill any hall, but he also was sensitive enough to make the adjustment to the acoustics of this venue. “La Calumnia” was a delight, as he dealt with the rapid-fire parts with a smile. He is certainly not lacking in charisma, which he projects with a natural ease. All the charisma in the world means nothing without vocal ability, which he has in spades.  The “Aleko cavatina” proved that he is not just about acting – this cavatina is formidable music that requires a formidable singer. The Verdi was great fun, but the Rachmaninoff showed Seoyong Lee is the “real deal” as an artist.

Finally, the  entire group numbers – “Dunque e propio finite” from La Bohéme ended the first half. Without wishing to take anything away from “Mimi” (Ms. Choi) or “Rodolfo” (Mr. Park), the sassy “Musette” (Ms. Shin) and the vexed “Marcello” (Seoyong Lee) stole the show with their antics. “Libiamo ne’ lieti calici”  from La Traviata, one of the most popular and well-known opera melodies, was the final selection of the evening. Seoyong Lee offered a champagne flute to each audience member as he made his way to the stage to join the others, who all had their own glasses. Several audience members happily waved their glasses to the music – some even quietly singing along, in what was a delightful end to the evening. All four performers took a bow together to the applause of the appreciative audience.

Pavel Šporcl, violin

54 Below, New York, NY

October 1, 2025

So you are a classical violinist, and have performed throughout the globe in venues such as Carnegie Hall and Disney Hall, with excellent orchestras as both ensemble member and soloist, under the batons of some of the leading conductors, but you want to branch out in a new direction-what do you do? If you are Pavel Šporcl, you trade in your tux for jeans, recruit some rock musician friends (Keyboardist/Hammond Organist Brian Charette, guitarist Sebastian Skalitzky, and drummer Otto Hejnic), arrange some classic rock hits, and take your act on the road- and yes, you put aside your “normal” violin in favor of one that is blue. You are now the Rebel with the Blue Violin, and you’re ready to rock! The first stop for Mr. Šporcl’s US tour was at 54 Below in New York City, to celebrate the recently released recording Rebel with the Blue Violin (available at Universal Music in both LP and CD). To learn more about Pavel Šporcl, including the story behind his blue violin, visit his website by following this link : Pavel Šporcl – Rebel with the Blue Violin.

Let’s start the obvious – this was not a concert; it was a show. Playing in a club has its own dynamic and unique demands placed on the artist, complete with servers weaving in and out of tables delivering drinks and food during the music, flashing lights, audience members with their phones out taking videos (with the blessing of the performer and the operators of the venue), and calling out selections from the stage for a “set”, instead of a printed program. This reviewer loves concerts and “classical” music, but he also loves shows and can more than hold his own with most as regards “rock.”

After the house introduction, Mr. Šporcl took the stage and immediately launched into a solo which started out as Bach as a springboard, but evolved into an improvisatory display leading to Led Zeppelin’s Kashmir with the band entering. After a little banter with the audience, more Led Zeppelin was on the horizon – Stairway to Heaven. One could say that Mr. Šporcl chose these pieces wisely, as both have riffs that almost anyone would have recognized hearing at some point. even if they didn’t know the group or the title ( although one could claim that everyone knows Stairway to Heaven), and both songs have extended sections for instrumental solos. Mr. Šporcl’s solos in both had the appearance of being improvised in a virtuosic way that was in keeping with the spirit of the music, while showcasing his considerable talent. The Rolling Stones’ (I Can’t Get No) Satisfaction got a similar treatment. The audience enjoyed every minute, with some swaying to the music and whistling their approval. Mr. Šporcl also offered two of his own works, Boundless and Surprise, both spirited and having enough “edge” without becoming caricatures of hard rock.

When Mr. Šporcl announced Queen’s Bohemian Rhapsody, the audience reacted with excited “oohs!” – I suspect this is what brought many in the audience to the show. Mr. Šporcl did not disappoint – this was a showstopper in every way, from the ingenious arrangement to the brilliant playing, capturing the quirky timbres and the mock operatic style with near perfection. It was a tour-de-force in a way one would not expect for a rock song! The audience roared its approval, and I shared their enthusiasm for what was the highlight of the set.

Mr. Šporcl did “sneak” some “classical” into his set. Two Paganini Caprices were his choice, the 5^th as a solo demonstration, leading into an arrangement of the 24^th for rock band, which he called Magic 24. It was a smart choice to select two caprices in the same key, making the transition almost seamless. Movie fans might have recognized the 5^th Caprice from the “guitar duel” scene of the 1986 Ralph Macchio film Crossroads. Mr. Šporcl gave it the razzle-dazzle that was sure to wow the crowd, sort of in the same way countless people do Flight of the Bumblebee. As for Magic 24, it could be likened to Walter Murphy (think A Fifth of Beethoven) without the disco elements, but still with a lot of rhythmic drive. Paganini himself might have enjoyed this romp, as did this listener.

Billie Eilish’s What Was I Made For? (featured in the movie Barbie) was a sweet way of dialing back the frenetic energy of Magic 24. A smoldering Smoke on the Water (Deep Purple) and a thoughtful arrangement of the Beatles’  Let It Be as an encore ended the set. Much praise is due to Mr. Šporcl’s band, who were all stars in their own right.

Mr. Šporcl greeted his many admirers after the show, and no doubt this personable man and excellent musician made new fans this evening. If one likes some good classic rock and wishes to embark on a unique musical adventure, then Rebel with the Blue Violin is something to explore.

University of Michigan Symphony Orchestra

Kenneth Kiesler, conductor

Karen Slack, soprano; Goitsemang Lehobye, soprano; Daniel Washington, bass

Stern Auditoirum at Carnegie Hall, New York, NY

May 30, 2025

We often hear that the state of music education these days is lamentable, with budget cuts and a focus on more “important” programs and such; thankfully, however, this issue has seemingly not impacted music programs at the college level. In fact, there are quite a few college ensembles that are more than able to hold their own in comparison to prominent professional orchestras. The University of Michigan Symphony Orchestra (UMSO) is one of those elite ensembles. Under the baton of Kenneth Kiesler, the UMSO Orchestra took the stage at Carnegie Hall on May 30^th, with a program of Bernstein, Gershwin, William Dawson, and three spirituals. The USMO has just completed a concert tour in South Africa, and the three guest artists on that tour (Goitsemang Lehobye , Karen Slack, and Daniel Washington ) were also featured this evening.  A large and very supportive audience was present to show that Wolverine pride is not just for the football team.

Maestro Kiesler took the podium to open the program with Leonard Bernstein’s On the Waterfront Symphonic Suite. Bernstein’s legendary status as a conductor is so pervasive that one sometimes can forget what an outstanding composer he was as well. The suite is a twenty-minute musical synopsis of the movie itself, with one theme depicting  what Bernstein called Terry Malloy’s “tragic nobility,” another theme for the growing love between Terry and Edie Doyle, and, surrounding these themes, music that evokes the violence of the docks and the gritty urban industrial landscape.

The opening French Horn solo was played with great tenderness and spot-on accuracy. This was an auspicious start – I was holding my breath thinking how many  times cracked notes from other performances have spoiled it all right off the bat. With that danger dispatched with a practiced ease, I could breathe more easily and truly enjoy what one of the more energetic and passionate performances of this suite that I can recall hearing. While Terry’s theme and the love music were poignant, it was the “gritty” that wowed me (and the audience), with the violent bombast given the “no holds barred” approach. It was thrilling, and a great way to open the evening.

Selections from Porgy and Bess, by George Gershwin, followed the Bernstein. I’m not going to wade into the controversies about Porgy and Bess – I’ll  leave that to others.  As for the music itself, many of the songs have become standards in the Great American Songbook.  After a truncated overture, Goitsemang Lehobye sang a languorous Summertime. One could almost feel the lazy haze and stifling heat of a summer day as her voice floated above the torpor. Daniel Washington’s approach to I Got Plenty o’ Nuttin was Porgy declaring his defiant happiness at his lot, embracing his outcast status instead of projecting bitterness. The joy he brought forth was palpable, and one could not help but be drawn in by his infectious enthusiasm. Pair that with his powerful voice, and the effect was complete. Karen Slack wrung every drop of sorrow from My Man’s Gone Now – it was absolutely heartbreaking. Ms. Slack and Mr. Washington joined together to lend their considerable talents to Bess, You is My Woman Now. It captured the bliss that Porgy and Bess were feeling as they declared their love for each other – a moment in time where both were truly happy when happiness was not something either was accustomed to experiencing. Ms. Slack’s and Mr. Washington’s voices filled the hall with divine delight, a climatic ending to the selections. Let’s not forget the UMSO and Maestro Kiesler, who after tearing through the overture with abandon, never once overshadowed the vocalists.

As a “built-in encore,” a shimmering medley from Gershwin’s 1930 musical Girl Crazy ended the first half. The audience roared its approval.

After intermission, we heard the 1934 version of the Negro Folk Symphony by Willam Dawson (1899-1990). Premiered by Leopold Stokowski and the Philadelphia Orchestra in 1934 to critical acclaim (rare for any new American work, but even more so for an African-American composer), it quickly faded into obscurity. Only in the last few years has it been “rediscovered,” and it has received increased attention and more frequent performances.

Negro Folk Symphony is in three movements that combine African-American spirituals with the classical symphonic tradition. One can detect the influence of Dvořák, a composer whom Dawson admired. The three movements are titled The Bond of Africa, Hope in the Night, and O’ Le’ me Shine, Shine Like A Morning Star! For detailed information about the composer and this work, click on the following link: William L. Dawson and Negro Folk Symphony.

This is the work of a highly skilled composer who knew his craft. While I have heard recordings of this work, this is the first time I have heard it in live performance, and it exceeded all my expectations. Maestro Kiesler offered a reading that explored all the spiritual material with a close attention to the subtilties that surround it. The UMSO followed his direction with a precision that was a highlight of the evening for this listener. One can only hope that this work does not disappear from the repertoire again.

After this work, the three spirituals that followed were almost an anti-climax. As they were not intended to be encores, it might have made more sense to open the half with these works instead of at the end.  No disrespect to the singers or the orchestra, who were all outstanding, but this positioning somewhat dulled my enthusiasm.  Ms. Slack and Ms. Lehobye dueted in Witness (arranged by Hale Smith), Mr. Washington sang Deep River (arranged by Carl Davis), and Ms. Slack ended the printed program with You Can Tell the World (arranged by Margaret Bonds). The audience gave all a standing ovation.

Another built-in encore followed the spirituals, as Maestro Kiesler introduced the “guest choir,” which was the orchestra itself. They put their instruments down and rose to sing Bawo Thixo Somandla, an African spiritual sung in Xhosa. As a choir, they are an  excellent orchestra! All kidding aside, it was touching to see and hear. Finally, as is only proper for a college group, Maestro Kiesler led the UMSO in a raucous rendition of The Victors (the Michigan Fight Song), much to the delight of the audience. The ovation was loud and long, a well-earned reward.

Ian Hobson, Pianist

Tenri Institute, New York, NY

April 25, 2025

Ian Hobson returned to the Tenri Institute on April 25^th for the latest installment in his Schumann works cycle, entitled Love and Nature III. This was one of the briefer programs in his multi-year endeavor, with only three works on the program – Gesänge der Frühe, Op. 133 (Songs of the Morning), Thema mit Variationen in Es Dur WoO 24 , better known as Geistervariationen (Ghost Variations), and Waldszenen, Op. 82 (Forest Scenes). Mr. Hobson has developed a following for his Schumann programs – there were several audience members talking about having attended many of these programs and already enthusiastically looking forward to the next installment in September.

I’m not going to repeat all of Mr. Hobson’s credentials, as they have appeared in his past reviews. Any new readers or interested persons can read about Mr. Hobson by clicking on this link: Ian Hobson .

Before beginning the program, Mr. Hobson spoke about the first two works, Gesänge der Frühe, Op. 133 (Songs of the Morning), and the Geistervariationen (Ghost Variations). About the Gesänge der Frühe, he mentioned several interesting observations he had made in his studies of the work:  Schumann’s love of music cryptograms (using letters from the titles of the individual pieces as musical notes),  his wife Clara’s uneasy relationship with the work (she thought it “so very strange”), and the Wagnerian influence on the third song, Lebhaft. As Mr. Hobson shared, in spite of Schumann telling Mendelssohn (after a hearing of Tannhäuser) that he had serious reservations about Wagner, it seems that Schumann had a change of mind. Though one could hear a superficial similarity in the Lebhaft, his listener is not entirely convinced of the Wagnerian influence. Nonethless such thought-proving ideas are part of what make this series so stimulating. As for the Geistervariationen (Ghost Variations), Mr. Hobson reminded us that this music was probably the last that Schumann ever wrote. More about this later.

Mr. Hobson opened with Gesänge der Frühe. One must admit that Clara was on to something – this work has some seemingly random dissonances,  sudden arbitrary outbursts from nowhere that disappear as suddenly as they appear, and awkward hesitations that make the performer sound as if they are groping for the right notes, amongst other things. If one were unaware of these pitfalls, one would probably think that the pianist is making mistakes or has not prepared properly – not exactly an ideal situation for the performer. Mr. Hobson took no notice of these challenges as he made the very most of the divine moments with true sensitivity and careful attention to voicing, while dealing with the “strange” aspects with equal attention and care. Mr. Hobson deserves praise for taking a thankless task and fashioning something memorable.

The Geistervariationen followed Gesänge der Frühe. Again, these Geistervariationen constitute the last work that Schumann completed. It was not published until 1939, and both Clara Schumann and Brahms had thought it unworthy of publication. The variations mirror Schumann’s mental state, with the final variation revealing a composer who is losing his sanity. If one were not aware of Schumann’s declining mental health, the variations might just be considered the less than masterful work of a very ill man, with flashes of his genius intermingled with disturbing moments; knowing the history, however, one hears the heartbreak. Schumann was in the throes of aural hallucinations, with horrible sounds filling his ears, while desperately seeking relief from his anguished mental state. A respite was brought with a sudden inspiration of a heavenly sort. Schumann claimed the theme was dictated to him by an angel (though he did not recognize that he had already used this same theme material several times in earlier compositions). He then added variations, but the torment was too strong, and he threw himself into the Rhine. Very soon after his rescue, he was committed to an asylum from which he would never leave. We don’t know whether Schumann intended to write more variations, but it is a reasonable assumption that he would have been unable to do so.

Mr. Hobson played the theme with a simple steadiness, bringing its heavenly beauty forward without any self-indulgence, letting the sublime beauty of the music speak for itself. This was his overriding approach – Mr. Hobson did not feel any compunction to place his own “stamp” on the music. He is the servant of the composer (as it should be) – every note and phrase has been studied, considered, and played accordingly. If I had any quibble, it would have been wanting more of the left hand brought out in the fourth variation. The disconcerting fifth variation ended this journey with an unsettling feeling that was hauntingly appropriate. Thankfully, Mr. Hobson had altered the order of the program, as the Geistervariationen were originally intended to be the final work of the evening.

After a brief intermission, Mr. Hobson returned for the final work of his program, Waldszenen, Op. 82 (Forest Scenes). After the “strangeness” of the first half, this was a delightful reminder of how masterful Schumann was with small pieces that evoke scenes or scenarios. Waldszenen is a set of nine short pieces that depict a hunting outing of some less than fearsome hunters. The forest creatures have little to fear from these fellows, but the hunt is really just a means to enjoy nature and camaraderie. Our hunters find themselves unnerved by some frightening scenery and an ominous sounding bird song, but seek shelter in an inn, where they drink and brag to each other about their adventures, before leaving the forest and heading back home.

Mr. Hobson was most successful at capturing the ineptitude of the hunters, as when they are scurrying about in Hunters on the Lookout. The Lonely Flowers and Friendly Landscape were as pastoral sounding as their names suggest. The Bird as Prophet had an eerie, quirky quality. Mr. Hobson may have not completely formed his conceptions of all these pieces – as there were moments when Schumann’s “surprises” seemed to have surprised him as well. There were some smudges here and there, but these were infrequent. All in all, it was a “fun trip,” and one this listener greatly enjoyed. The audience enjoyed it as well, giving Mr. Hobson enthusiastic  applause.

Mr. Hobson’s next Schumann installment is on September 26, 2025.