Steven Masi, piano;Barbara Mallow, cello; Diana Petrella, clarinet

Tenri Cultural Institute , New York, NY

April 4, 2025

The Tenri Institute was the venue for a concert entitled “Three by Chumbley plus Brahms” on April 4^th. The Chumbley works were Serenade for clarinet, cello, and piano ( a world premiere), 5 Bagatelles for solo piano (NY premiere) , and Brahmsiana II for solo piano. The Brahms work was the Trio for clarinet, cello, and piano in A minor, Op. 114. Pianist Steven Masi , cellist Barbara Mallow, and clarinetist Diana Petrella were the featured performers. A large crowd filled Tenri in anticipation of this concert. They were rewarded with fine performances of both a classic masterpiece (Brahms), and thought-provoking works from a prominent American composer.

Robert Chumbley is a composer/conductor/pianist whose work across a multitude of forms (opera, ballet, chamber, etc.) has attracted some of the outstanding performers of today and earned him praise from numerous publications, including The New York Times, The Chicago Tribune, and Cleveland Plain Dealer. Mr. Chumbley wrote the program notes for his works. He was also in attendance this evening.

Opening the concert was the world premiere of Mr. Chumbley’s Serenade for clarinet, cello, and piano (2023). This work was commissioned by pianist Steven Masi as a gift for his wife Diana Petrella in celebration of his 70^th birthday. Mr. Chumbley writes that Serenade takes the form of a fantasy, with the melodic material “sung” in the clarinet and cello, while the piano provides harmonic and rhythmical support. This ten-minute work is meditative and lyrical, emphasizing melodic coloring over virtuosic gymnastics. Ms. Petrella and Ms. Mallow were lovely “singers,” as they passed and shared thematic material. Mr. Masi was particularly attentive to Ms. Petrella and Ms. Mallow.

I would like to commend the performers for their sensitivity to the very live acoustics at Tenri. On many occasions here I have been “treated” to some ear-shatteringly loud performances by musicians who did not allow for the acoustic reality. Not so tonight – the players projected with clarity and confidence, but also with respect to the ears of the listener. Having the piano on the half-stick was also a prudent decision so as not to overwhelm his partners, but I believe that Mr. Masi would have adjusted accordingly regardless.

The New York premiere of 5 Bagatelles for solo piano (2018) followed the Serenade. These five miniatures share melodic material, with an arc that reaches its peak in the third, and recedes back in the final two. The idea of exploration of sound decay is paramount in all five, with some long notes decaying into new tones, and some that are quicker in displaying melodic continuity. Mr. Masi expertly projected the sonic concept of decay that made the effect quite compelling, when it could have easily come across as random sound effects. The third Bagatelle, with its acerbic tone and energy, was the highlight.

Brahmsiana II (2017) was the final work on the first half. The inspiration for the three intermezzi of Brahmsiana II came from Brahms’s Three Intermezzi, Op. 117, for piano. As Mr. Chumbley states, there are no quotes of Brahms’s music in his own intermezzi, but he incorporates compositional  techniques of Brahms. Mr. Masi has recorded this work on the Navona label. One can hear fleeting hints and instances of Brahms-like material, but these occurrences are more of the master “peeking in” – the style and harmonic language is unmistakably Mr. Chumbley’s. Mr. Masi’s attention to details of color made all the difference in a fine performance. Mr. Chumbley joined Mr. Masi on stage both to accept the congratulations of the audience and to express his gratitude for Mr. Masi’s excellent interpretation.

After intermission, Brahms’s Trio for clarinet, cello, and piano in A minor, Op. 114, was the final work on the program.

There were no notes on this provided in the printed program – and I am assuming that the idea was that this work is so well-known that it was thought not to be necessary. It is worth mentioning that this trio was inspired by the clarinetist Richard Mühlfeld (along with a number of other works). This four-movement work is about thirty minutes in length, with a somber mood overall. There is an alternate version with viola taking the place of the clarinet, but it was always Brahms’s preference for the clarinet.

Brahms explores the great range and versatility of the clarinet throughout. The first movement makes prominent use of the low C# that is not possible to play on a standard B-flat clarinet (the A clarinet is required), and the second movement makes generous use of the clarinet’s clarion and chalumeau registers. The cellist has some challenges in mirroring passages of the clarinet, as they can be quite awkward for the cellist in the wide-ranging passagework and arpeggiations.

Ms. Petrella, Ms. Mallow, and Mr. Masi offered a reading with close attention to detail and excellent ensemble playing, with precise intonation and articulation. While Ms. Petrella nimbly dispatched the virtuosic elements with style, it was her singing tone in the beautiful Adagio movement that showcased her artistry. Ms. Mallow showed no signs of any struggle with the awkward passages, and her tone was rich and full-bodied. Mr. Masi’s attentiveness was still notable, never overshadowing his partners while dealing with his own demanding part. The large audience responded with enthusiastic applause – it was a fine end to the evening.

North/South Chamber Orchestra

Max Lifchitz, conductor

Anna Tonna, mezzo-soprano

Álvar Rubio Comino, piano

Donna Weng Friedman, piano

Diana Solomon-Glover, narrator

DiMenna Center for Classical Music, New York, NY

March 27, 2025

The North/South Chamber Orchestra, under the direction of Max Lifchitz, presented a concert entitled “From Barcelona to New York,” playing works by composers Anna Cazurra and Stefania De Kenessey at the DiMenna Center on March 27^th.  Both Ms. Cazurra and Ms. De Kenessey were present and spoke about their compositions.

The “Barcelona”  component was made up of three works by Anna Cazurra – Atlántida, Gran Tango and Tensho. Atlántida, Op. 6, for piano and chamber orchestra, opened the evening. Álvar Rubio Comino was the pianist. Atlántida is a single-movement work that straddles the line between a piano concerto and a piano chamber work. There is a strong tango-like feeling that reminds one of Piazzolla, with virtuosic piano writing that adds both drama and color to propel the work. Mr. Comino was outstanding in handling the technical challenges, but in also shaping and projecting the flavor of the tango without making it “hammy.” The string ensemble itself was uneven. There were moments of spirited playing interspersed with some jarring intonation issues. Gran Tango, Op. 73, which followed, had the same piano/orchestra combination – and a similar spirit. Mr. Comino again was the star, and some very stylish work from the strings, especially the double bass, was nicely done. Again, some of those intonation issues (especially in exposed areas in the high register) persisted. That’s one of the challenges of a small ensemble – even one player having a “sour” moment affects the whole.

Tensho, using a set of five short poems by the Catalan poet Carlos Duarte (b. 1969) as text, followed. Tensho is a Japanese word that refers to the notion of the emergence of a new era. Originally composed for soprano and piano in 2016, this version is a setting of these songs for soprano and string orchestra composed in November 2024. Mezzo-soprano Anna Tonna took the stage as the vocal soloist. One might expect the idea of a new era to be one of optimism, but the overriding feeling was one of lament, with the exception of the fifth and last song, El cel (The Sky), which was sunny with a snazzy tango spirit to boot.

Ms. Cazurra set these poems sympathetically. Her writing for the soprano captured the somber moods and laments with skill. Ms. Tonna brought these moods forth with a strength and clarity that was palpable. Her performance was the highlight of the “Barcelona” part of this concert. The strings were shown to better advantage here, and their addition did add “heft.” While this setting was interesting, I am not sure that it showed Ms. Tonna to her maximum advantage. I would be interested in hearing this work in the original soprano and piano version.

The “New York” component of the program was Stefania De Kenessey’s Microvids. About Microvids, Ms. De Kenessey writes, “Isolated and alone during the height of the COVID-19 pandemic, sitting at my piano, I was thinking more and more often about young musicians of every age, background and ability, trying to imagine their anxiety, their worry, their sense of confusion. What were they doing? What were they thinking? What were they feeling? More importantly, what could I do to help? The result was Microvids, 19 miniatures for piano, intended for beginner students of all ages. The title is a nod to Bartók’s Mikrokosmos, fondly remembered from my childhood, but the music is transposed to our own age and culture, with short pieces that are rhythmically compelling, musically tuneful, and – more importantly – emotionally uplifting. Microvids also features an interesting theatrical touch: each piece comes with a descriptive title and a short accompanying poem, penned by this composer (these additions were at the suggestion of pianist Donna Weng Friedman, who also suggested the addition of other instruments as well) . The premiere of Microvids, arranged for piano with string chamber ensemble, is dedicated to my esteemed friend and colleague, composer and conductor Max Lifchitz.”

What a fun work this is! Ms. De Kenessey has an undoubtedly strong ability to capture moods and paint tonal pictures with the simplest of means, which was perfect for these small pieces. The addition of the texts, spoken and performed by the dynamic Diana Solomon-Glover, added extra “hooks” for the listener to get more from the music. The North/South Chamber Orchestra gave their very best in this work, which made Microvids the highlight of the evening for this listener. The hero in all this would be pianist Donna Weng Friedman. These small pieces are obviously something a player of her ability could dash off in a coma, but she gave each and every piece the attention and commitment that one might reserve for a large-scale virtuoso work. That effort really made a huge difference. What could have been just another bored player plunking out “kiddie” stuff became delightfully impactful instead. I’d like to mention a few favorites – Running on Empty (nice work, violins!), In A Moment ( a little homage to Schubert), Fooled You (The Beatles peek in with a little “Hard Day’s Night” ), and That’s What You Think (a madcap frenzy). In this version, one could easily see a bright future for Microvids, especially for young audiences.

WA Sinfonietta

Charles Neidich, conductor and soloist

Good Shepherd-Faith Presbyterian Church, New York, NY

March 23, 2025

Regular readers of New York Concert Review are well-acquainted with the WA Concert Series run by the noted clarinetists Charles Neidich and Ayako Oshima Neidich. Tonight marked the inaugural performance of the newly established WA Sinfonietta, under the aegis of the Artena Foundation (founded by the Neidichs). A recent article in New York Concert Review speaks about the foundation and the Sinfonietta’s mission (plus interesting details about this evening’s program), which the reader should investigate : A Conversation with Charles Neidich.  Tonight’s program mirrored the October 25, 1885 concert program in which Brahms’s 4^th symphony was premiered (though the Mozart Clarinet Concerto tonight replaced the Brahms Violin Concerto that was performed in 1885 ). A large crowd jostled for open seats as the hall filled in anticipation of this exciting event. I might add too that this was one of the most appreciative and supportive audiences that this listener can recall being a part of for some time. It was wonderful to see and hear.

Let’s get my main complaint out of the way. There were no printed program notes, but Mr. Neidich spoke before each work. When you are going to have “spoken program notes” it is imperative that the speaker can be heard by all in the hall without abnormal effort. Mr. Neidich (in his own words) does not have a “stentorian” voice, and much of what he said was not completely audible for much of the audience. Mr. Neidich has a wealth of knowledge to share, and it was regrettable that much of it was lost in the hollows of the hall. A microphone would have easily solved this issue.

Charles Neidich took the floor to be both the conductor and soloist for the Mozart Clarinet Concerto, K.622. Completed in 1791, it was, as Mr. Neidich reminds us, the last large-scale Mozart completed in his lifetime. He plays a version that is probably as close to being authentic as possible (the original manuscript having been lost) on the Basset Clarinet (for which it was originally written), which has an extended lower range.

This work is far and away the most frequently performed clarinet concerto. This listener has had the experience of both hearing it and playing it in ensembles with countless numbers of clarinetists eager to display their “chops” with varying degrees of success. I was anxious to hear what a player of Mr. Neidich’s caliber would do, coupled with the use of a basset clarinet instead of a standard clarinet. As the saying goes, “you’ve heard the rest, now it is time to hear the best.” As I said about Mr. Neidich in an earlier review, it’s not just about the virtuosity, but what you do with it. I’ve heard plenty of soulless exhibitions of technical prowess, and others with lovely tones in slower sections to cover for the muddy “slip-and-slide” passagework in the faster sections. There is none of this with Mr. Neidich – he has virtuosity in spades, and the singing lyricism is all in accordance with what he calls his “operatic” approach to this work. The lower tones of the basset are very rich and robust, and Mr. Neidich revels in them. The Rondo was especially notable for the way Mr. Neidich nimbly dispatched the virtuosic demands with crystal clarity. The audience gave him a loud and extended ovation, with several callbacks. The Sinfonietta deserves high marks both for following Mr. Neidich as a conductor and for taking his lead as a soloist – which is more challenging than when one conducts from the keyboard. A lot more vigilance and discipline is required from the orchestra here. It was a fine start to the evening!

Felix Mendelssohn’s Overture to Die schöne Melusine (The Fair Melusine), Op. 32 (the 1835 second edition), followed the Mozart. The piece was written in 1834 as a birthday gift for Mendelssohn’s sister Fanny. (Mendelssohn must have been a hard act to follow in the gift-giving department!) In a letter to Fanny, Felix explains that he had picked the subject after seeing Conradin Kreutzer’s opera Melusina the previous year in Berlin. In a nutshell, he hated it but was intrigued with the subject matter enough to write his own overture (perhaps his version of the alleged Beethoven quip, “I like your opera – I think I will set it to music.”). I’ll spare the reader the long story details and give the TL:DR version: Mermaid and man story ends badly. As Mr. Neidich joked, it takes longer to tell the story than it takes to play the overture! Schumann claimed he detected close musical references to the tale, which Mendelssohn denied, but it is clear there is music of happiness and storm that would mirror the outlines of the story to some degree. Clocking in around eleven minutes, it is an imaginative and lively piece that the WA Sinfonietta played with gusto (some might even claim, with too much so, but I will always take more than less!). There were some minor issues of balance, but these never really had any long-term negative impact.  Mr. Neidich is an involved and energetic conductor, and his ensemble reflected that back with great effect. The audience roared its approval in another extended display of enthusiasm.

After intermission, Johannes Brahms’s Symphony No. 4 in E minor, Op. 98, was the final work of the evening. Music historian and Brahms scholar Michael Musgrave, who was scheduled to speak, was ill and unable to attend. Mr. Neidich spoke in his place. There is much information in the previously mentioned link (A Conversation with Charles Neidich), especially about the Meiningen Court Orchestra and its importance to Brahms, which I’m not going to repeat here. I will mention that the WA Sinfonietta uses the same number of players as the Meiningen Court Orchestra. As for the addition of the unpublished four-measure introduction to the first movement that was played tonight (perhaps for the first time), I will say that in my opinion it was a little too similar to an idea in Beethoven’s 7^th Symphony, and its addition did not enhance anything. In other words, I am deferring to Brahms – if someone as meticulous as he was left it out, it was with good reason. My reservations notwithstanding, Mr. Neidich is to be commended for exploring this addition in the name of scholarship and seeking new paths in the interpretation of this masterpiece.

There was plenty of power in the opening movement, but a few cracked notes and imprecise attacks in the brass did occur, and there are still some balance issues to work out, which I am sure will most likely iron themselves out as this ensemble plays together more. Of course, this venue has a very live acoustic, so that was a complication. The second movement was notable for the lush string sounds, which were enchanting; the brass, however, was still having some issues with precision of attacks. The third movement was brimming with momentum as the ensemble really “dove in“ with intensity; the percussion, though, was overpowering at times. No doubt the players were caught up in the moment. The final movement is a passacaglia in which Brahms adapted the chaconne theme in the closing movement of Johann Sebastian Bach’s cantata, Nach dir, Herr, verlanget mich, BWV 150. The main theme is eight bars long and is heard at the very start of the movement. Brahms then repeats the theme in different variations precisely thirty times, always eight bars long. It might be a cliché, but the idea of saving the best for the last was in effect here. This was the WA Sinfonietta at their finest, bringing forth the magnificence of Brahms’s conception with the brilliance it demands. The audience responded with the longest ovation I can recall. A visibly moved Mr. Neidich shook hands with nearly all the members of the Sinfonietta as the applause continued unabated. What a promising start for this ensemble! The next concert for the WA Sinfonietta is May 13, 2025, at the DiMenna Center. I look forward to following their future endeavors.

New York City Opera Orchestra

Constantine Orbelian, conductor

Kristina Reiko Cooper, cello

Elizaveta Ulakhovich, soprano

Stern Auditorium at Carnegie Hall, New York, NY

February 24,2025

“A celebration of survival and perseverance told through the universal language of music” was the advertised theme of a concert given by the New York City Opera Orchestra on Monday evening at Carnegie Hall, featuring music by Mieczysław Weinberg, Erich Wolfgang Korngold, and Gennady Rovner. Exactly how this theme may have applied to the evening was not immediately apparent; it is doubtful that it was the music selected (unless one decides to consider the plots of the films for which some of the works were composed). Was it for the lives of the composers? Korngold did flee Austria before the Anschluss, and Weinberg was harassed by the Soviets (he was arrested in February 1953 in the “Doctors’ Plot,” Stalin’s last purge before his death). Maybe it was about New York City Opera itself, which has had its struggles for the last decade but soldiers onward.

Conductor Constantine Orbelian took the stage to open the first half with Weinberg’s Suite from The Last Inch, as arranged by Sergey Kornienko. The Last Inch was a 1959 Soviet adventure/drama film, one of many films for which Weinberg composed music. This arrangement is a five-minute “survey” of the larger score. Full of color, rhythmic vitality, and memorable melodies, it was a dynamic opener played with gusto.

Cellist Kristina Reiko Cooper took the stage as the soloist in the next two works, Weinberg’s Fantasy for Cello and Orchestra, Op. 52, and Korngold’s Cello Concerto in C major, Op.37.

The Fantasy is essentially a concerto played as a single movement. It has a somber opening of uneasy stillness, before a dance-like motif raises the energy to build to a cello cadenza before returning to the opening mood and eventually fading away. Ms. Cooper’s tone was lush and singing, and she reveled in the happy dance section with a playful approach. There were some brief moments when intonation was imprecise, but Ms. Cooper more than demonstrated her excellent technique along with her artistry throughout.

Originally composed for the 1946 Bette Davis/Claude Rains/Paul Henreid film Deception, Korngold’s Cello Concerto is a single-movement work of approximately thirteen minutes. (Interesting factoid: Korngold conceived this work to be played by Gregor Piatigorsky, but the film studio refused to pay Piatigorsky’s $100,000 fee. Eleanor Aller, mother of conductor Leonard Slatkin, performed it instead.)

There is a lot of action packed into the thirteen minutes, from the lush romantic sweeps of which Korngold was an undisputed master, to some hair-raising virtuosity that would challenge any cellist. Ms. Cooper was a dynamo, moving from the lyric to the demonic with a practiced assurance. One could easily sense her complete immersion in both her part and that of the orchestra, and it was an outstanding performance. The orchestra was charged by her energy, leading at times to an excessive exuberance which threatened to overwhelm Ms. Cooper in a wall of sound, but she always managed to shine through.

The second half was the United States premiere of Metamorphosis by Gennady Rovner. His program bio states that writing music is a “favorite hobby.” His program biography suggests that his main claim to fame is having worked with someone who has worked with a prominent artist (e.g. Paul McCartney, Andrea Bocelli ). These are not the most compelling credentials, and I am at a loss to figure out how this work was programmed – it was not remotely close to being up the standard of the works on the first half.

Metamorphosis is nine short works, of which two include a part for (wordless) soprano. There were no indications or titles attached to any of the nine, but it was clear that the effect was something between film music vignettes and New Age musings. There was nothing particularly original or notable – it was as if AI had been fed instructions for the music (a climax here, some saxophone and accordion here, as if we were in a Parisian café, etc.).

To the credit of the orchestra, they played with the same high level of commitment as they did for the Weinberg and Korngold works. Special mention to concertmaster Laura Frautschi for her gorgeous playing of the solo in the first section. Elizaveta Ulakhovich also made the most of limited opportunity to demonstrate her lovely voice.

It would have been better if the order of the halves had been reversed – the brilliant ending of the Korngold would have been a proper conclusion, rather than the abrupt stop of the Rovner. One hopes that New York City Opera will regain their footing. I wish them all the best.

Stanley L. Roberts, conductor Mercer University Singers

Amy Schwartz Moretti, director, Robert McDuffie Center for Strings

Paul Watkins, guest conductor, Robert McDuffie Center for Strings

Stern Auditorium at Carnegie Hall, New York, NY

February 17, 2025

Distinguished Concerts International New York (DCINY) presented a Presidents’ Day concert titled Sunrise Mass (also the title of an Ola Gjeilo work that was part of the second half) with the Mercer University Singers and Robert McDuffie Center for Strings as the featured ensembles. The program also included the world premiere of From the Frontier – Three American Foks Tunes, as arranged by Mack Wilberg, Béla Bartók’s Divertimento for Strings, Sz. 113, and eight choral works. Mercer University is located in Macon, Georgia, and their many fans and supporters turned out in force. They were one of the more enthusiastic audiences that I have seen in some time, which no doubt lent wings to these talented musicians.

After a greeting from university president William Underwood, Stanley L. Roberts,  the conductor of the Mercer University Singers, took the podium to open the evening. They offered eight selections, of which I will mention some highlights. Two works were flipped in order from the printed program, and there was no announcement to advise the audience of this, which might have caused some confusion for the listener.

Opening with what one might call “cathedral music,” James McMillan’s O Radiant Dawn and Monteverdi’s Cantate Domino, the Mercer singers immediately established their credentials. The ensemble was excellent, without one voice range dominating the others, intonation and crisp diction were all there, and the masterly direction of Mr. Roberts brought all these qualities to the forefront. This was followed by five poignant pieces, of which the luminosity of Hans Bridger Heruth’s Joy (text by Sara Teasdale) and the “looking forward to the next world” of Shawn Kircher’s Sweet Rivers (text by John Adam Granade, adapted by the composer) were notable.

This leads to my one quibble. Many of these selections were so stylistically similar that one might have been excused for wanting a little more variety. To be sure, these works were brilliantly performed, almost as a showcase of this ensemble’s prowess of extracting every last drop of beauty and emotion. Many an ensemble would love to have this “issue.” When they let loose, as they did in the final selection, Craig Courtney’s  Let There Be Light, the effect was electrifying. The jazzy harmonies, the bending tones, and the rhythmic energy brought the audience to their feet in a standing ovation. It was far and away this listener’s favorite of their selections.

After intermission and a stage reset, the Robert McDuffie Center for Strings took the stage. Founded by the noted violinist Robert McDuffie, this program is a special institute within Mercer University’s School of Music. Tonight, some distinguished alumni joined the current members, including the current director Amy Schwartz Moretti, David Kim, concertmaster of the Philadelphia Orchestra, and Mr. McDuffie himself amongst others. Guest Conductor Paul Watkins spoke at length, sharing some memories and his delight at working with these young musicians, before launching into Béla Bartók’s Divertimento for Strings. Composed in 1939 on a commission from Paul Sacher, conductor of the Basel Chamber Orchestra, it is one of Bartok’s most loved and accessible works. Much has been written about this work, so I will leave the arcane musical analysis to the theoreticians. Let’s just imagine Bartók took a time machine to the 18^th century but brought his own “modern” harmonies, Hungarian folk tunes, and metric complexity with him, and joined the past and the present to great effect.  

The opening Allegro non troppo was taut and assured, the dance-like motifs sprinkled about with panache. The second movement Molto adagio was desolate and eerie, with cries of terror punctuating the uneasiness of the ever-building tension. The finale Allegro Assai was a return to the happy mood, with mercurial “bounce” adding  energetic joy. This was a superb performance that any ensemble would have been proud of, and Mr. Watkins deserves kudos for his leadership. The enthusiasm was felt in the audience, who reacted with a standing ovation, which was well deserved.

Mr. Roberts returned to the podium as the Mercer Singers joined for the next three works. The first was Ola Gjeilo’s Sunrise Mass. As I wrote in an earlier review 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. Sunrise Mass is no exception – it is vintage Gjeilo in its effect.  Mr. Gjeilo gives a very heartfelt explanation of his goals in this mass – a bit too long to quote here, but I suggest the reader follow this link to learn more: Ola Gjeilo on Sunrise Mass.

The four-movement Sunrise Mass uses English titles for the individual movements, but the Latin text of the Mass: The Spheres (Kyrie), Sunrise (Gloria), The City (Credo), and Identity and the Ground (Sanctus/Agnus Dei). It is for the listener to decide the ultimate message, but I prefer the idea of a spiritual journey. It proved to be a journey well-worth taking, and the performance was breathtakingly moving in its sheer beauty. Even Mr. Roberts was moved to address the audience after a standing ovation about how wonderful this work is. I’m sure everyone was in complete agreement.

Next was the world premiere of From the Frontier – Three American Folk Tunes, written as a commission for Mercer by Mack Wilberg, the director of the Tabernacle Choir and a skilled composer in his own right. Mr. Wilberg chose Skip to My Lou, Red River Valley, and Kingwood, but using the text of Lo, On a Narrow Neck of Land. The messages of these songs (hold on to your partner, one might wander, but love waits at home, and honoring all that is sacred, including love) are as timely today as they were in earlier times.

This is a wonderful work that should immediately enter the repertoire. The jaunty bustle of Skip to My Lo, the plaintive simplicity of Red River Valley, and the building intensity of Lo, On a Narrow Neck of Land, demonstrated Mr. Wilberg’s  talent to the maximum effect with the simplest of means. It was given a winning performance, and the audience gave a standing ovation in approval.

The ”programmed encore,” of the folk tune Come, Thou Fount of Every Blessing (as arranged by Mack Wilberg), ended the concert. The audience offered a final standing ovation. Congratulations to all!

Vocal Artists Management Services

James Greening-Valenzuela, manager

Gretchen Greenfield, artistic consultant

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

February 6, 2025

Vocal Artists Management Services (VAMS) presented their Sixteenth Season Artist Showcase on February 1, 2024, in the Marc A. Scorca Hall at the Opera America National Opera Center. Arias and songs from Mozart, Handel, Glück, Richard Strauss, Puccini, Giordano, Verdi, Paolo Tosti, Britten, Barber, John Kander, and Mark-Anthony Turnage were the eighteen selections to be performed by eight artists. A brief synopsis of each scene/song was included in the program notes. The eight artists were (in alphabetical order) Pedro Carreras, Jr., Mark Davies, Nelson Ebo, Andrew Egbuchiem, Michael González, Rebecca Kidnie, Tom Sitzler,  and Stacey Stofferahn. The rock-steady pianist Eric Malson once again did heroic work all evening. James Greening-Valenzuela, Manager of VAMS, greeted the audience and happily announced that, unlike in previous editions, all the artists were present and the program would proceed exactly as printed in the program.

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.

Each artist had at least two selections, and to comment on each selection would turn this review into a book report, so I will limit myself to commenting on each artist’s highlight. I apologize in advance if anyone feels shortchanged.

Let’s start with the baritones. Mark Davies projected Count Almaviva’s vexation in “Hai gia vinta la causa” from Le nozze di Figaro with a delightful combination of fury alternating with bewilderment on being outsmarted by his servants Figaro and Susanna. Tom Sitzler captured to a tee the infuriating pomposity and self-congratulatory posturing of Scarpia in the “Te Deum” from Tosca. He was effective in the role that one might be excused for wanting to hate him! Both gentlemen have wonderfully sonorous voices.

On to the tenors: Pedro Carreras, Jr. offered a heart-wrenching good-bye to life in the title role of “Come un bel di di maggio” in Giordono’s Andrea Chenier – without allowing any descent into maudlin histrionics. It was striking. Michael González showed his versatility in a smart performance of Samuel Barber’s “Solitary Hotel,” number four of the five songs from Despite and Still, Op.41. The underlying intrigue in what seems to be a matter-of-fact text is what makes it “work,” and Mr. González brought that intrigue forward with subtlety. Last, but not least, was Nelson Ebo, who brought enough passion to fill any hall. Without taking anything away from any of the other artists, Mr. Ebo was far-and-away the most energetic performer of the evening, who not only wowed with his powerful voice, but also acted his roles to the maximum. Some might have found it over-the-top, but the audience was wholly engaged by his complete commitment. We saw and heard his Othello in the last throes of his life as he laments his despair at falling for Iago’s machinations in  “Nium mi tema” from Otello, complete with Mr. Ebo “dying” at the end.

I had been witness previously to the incredible vocal gymnastics of countertenor Andrew Egbuchiem, and tonight, it was his artistry that was front and center. He captured the emotional impact of the poignant “Dove sei amato bene” from Handel’s Rodelinda with great purity of voice.

Finally, the sopranos: Stacey Stofferahn was having fun at portraying the “naughtiness” of a secret tryst in the midst of a “joyous feast of merrymakers,” in Richard Strauss’s Heimliche Aufforderung, Op.27, No.3. Mind you, this “fun” comes with the requirement of a highly accomplished singer. Ms. Stofferahn made it seem so easy, which of course, it is not! Rebecca Kidnie ended the evening with a confident “You Can Pray” from Mark-Anthony Turnage’s opera Anna Nicole (yes, that Anna Nicole). In what starts as a plaintive dream that ends as a rowdy burlesque (the last words are “Come to Mama!” complete with a suggestive gesture – use your imagination), Ms. Kidnie moved through this “journey” without a hint of irony or insincerity, which was impressive.

Mr. Greening-Valenzuela hinted that the next edition might take place this year in October, so one might not have to wait another year before hearing these gifted singers again. Stay tuned!

Jonathan Griffith, Artistic Director and Principal Conductor

Sir Karl Jenkins, CBE, DCINY Composer-in-Residence

Elliott Forrest, WQXR Radio Personality and Host

Penelope Shumate, Soprano; Claudia Chapa, Mezzo-Soprano; Daniel Rich, Baritone

Brenda Vongova, President of the UN Chamber Music Society

Distinguished Concerts Orchestra; Distinguished Concerts Singers International

Stern Auditorium at Carnegie Hall, New York, NY

January 20, 2025

In what has become a tradition marking the commemoration of Martin Luther King, Jr. Day, Distinguished Concerts International New York (DCINY) presented a concert featuring the music of Sir Karl Jenkins on January 20, 2025. This year’s version included two works, Gloria (2010), and the North American premiere of One World. This is Sir Karl’s 18^th appearance with DCINY. The Distinguished Concerts singers came from California, Massachusetts, New York, West Virginia, Germany, Guatemala, The Netherlands, Northern Ireland, United Kingdom, and individual singers around the globe.

DCINY Artistic Director and Principal Conductor Jonathan Griffith took the podium to conduct Gloria, the sole work on the first half. This five-movement work for orchestra, chorus, and vocal soloist clocks in around thirty-five minutes. Gloria is an extended setting of the Gloria section of the Ordinary of the Mass. The first, second, and fifth movements use the Latin text, and the third and fourth movements use Psalm 150 in Hebrew plus a song derived from biblical verses in English. Spoken passages from sacred text of four religions (Hinduism, Buddhism, Taoism, Islam) also are part of the composition. The speakers of these texts were, in order of appearance, Surenda Adana, Christopher Hudson, Gang Yue, and Brenda Vongona. Mezzo-soprano Claudia Chapa, a DCINY favorite, was the vocal soloist.

The first movement The Proclamation: Gloria in excelsis Deo, opened with an arresting heraldic fanfare, setting the stage for the chorus to burst forth with jubilation. The second movement, The Prayer: Laudamus te, had a serene quality that was sentimental without becoming saccharine. The third movement, The Psalm: Tehillim – Psalm 150, was the highlight for this listener. The sounds of Adiemus, one of Jenkins’s most popular works, were much in evidence. The exuberant DCINY percussion section “rocked the house” with such energy that the huge chorus at times struggled to be heard clearly. Even with this, the net effect was electrifying, with a final Amen! delivered in a burst of joy. The fourth movement, The Song: I’ll Make Music, was another journey of beauty, brought to life by the radiant voice of Ms. Chapa. It was the high point of her solos. The work’s opening motif reappeared in the final movement, The Exaltation: Domine Deus, before the momentum slowly abated to a concluding Amen.

Maestro Griffith led with his customary sure hand – he is truly a master of dealing with these colossal forces. The Distinguished Concerts Orchestra can always be counted on to deliver a strong performance, and the chorus and individual directors who prepared them are to be congratulated as well. Sir Karl came to the stage to the cheers of the large audience.

After intermission, WQXR radio personality and host Elliott Forrest joined Sir Karl and Jonathan Griffith in a brief Q&A, which really took more the form of an informal chat. Sir Karl’s droll sense of humor was front and center (Q: Are you an optimist? A: with a look of horror- No!) which had the audience laughing loudly. We learned that today was Mr. Forrest’s birthday, and the large crowd, chorus, and orchestra sang Happy Birthday to him.

After all this merriment, Maestro Griffith had the honor of conducting the North American premiere of One World . It is an hour-long, fourteen-movement work for orchestra, chorus, and three vocal soloists. Those soloists were soprano Penelope Shumate (another DCINY favorite), mezzo-soprano Claudia Chapa, and baritone Daniel Rich.

As the composer himself writes, “One World heralds a vision of a peaceful and egalitarian planet that treats nature and ecological issues with respect and where human rights are universal. Where truth is truth and news is never ‘fake‘, where leaders do not lie, transparency is a given and all faiths live together in peace. There is neither famine nor war.“ This ideal is quintessential Jenkins, complete with his signature use of diverse texts reflecting all faiths and touching on social issues, paired with his use of ethnic instruments and rhythmic motifs in a melodic and harmonic language that is unmistakably his own.

A detailed discussion of all fourteen movements would be beyond the scope of this review, but interested readers can reference the excellent notes written by Jenkins: Program Notes. Let’s focus on some highlights: 1.In the Beginning had a primordial quality that fit well musically depicting the act of Creation. 2. Let’s Go (Tower of Babel) had the chorus in a quasi-rap chant before the whole thing descended into bedlam, with the chorus pantomiming the chaos and confusion of the aftermath of not being able to understand each other any longer. 4. Ad Lucem (Towards Light) for solo violin and orchestra was as luminous as the title suggests with DCINY concertmaster Jorge Ávila as soloist. 8. Savitur (The Divine Sun, the ultimate light of wisdom) had an inexorable building of energy, with each iteration of the text becoming more insistent in its declaration.

As for the soloists, Penelope Shumate was heavenly in 13. Sakura, Spring Has Come (Cherry Blossoms in bloom represent a time of renewal). Claudia Chapa shone in 7. Tikkun Olam (Repair the World). Daniel Rich was a force of strength and regal dignity in 12. Bury Me in a Free Land, which also was the most powerful movement of the entire work.

The final movement, 14. The Golden Age Begins Anew, was not what one might have expected. Instead of optimistic bombast, it is a quiet, and thoughtful meditation, as if to say, “let’s get it right this time.” When it was over, Sir Karl again came to the stage to a standing ovation.

Maestro Griffith again was outstanding in his leadership. It would seem he is “dialed in” to Jenkins’s music in a way that sets him apart from others, not exactly a surprise considering the long relationship and collaboration DCINY has had with Jenkins. It was a winning performance of a monumental work. The chorus members, regardless of whatever path they take in the future, can say with pride, “we were a part of the North American premiere of a work by one of the most popular and frequently performed composers in the 21^st century, on one of the most famous concert stages in the world.”

Joel Raney, composer/conductor

Joseph M. Martin, composer/conductor

Jane Holstein, piano; David Angerman, piano

David John Hailey, Sue Martin, Sarah Whittemore, Scot Cameron, vocal soloists

Distinguished Concerts Orchestra

Distinguished Concerts Singers International

Stern Auditorium at Carnegie Hall., New York, NY

December 2, 2024

Distinguished Concerts International New York (DCINY) wrapped up their holiday concert series with a concert entitled A Winter’s Life, featuring the music of Joel Raney and Joseph M. Martin. Excitement was in the air as singers from Florida, Texas, Virginia, Ohio, Alabama, Illinois, Arizona, New York, South Carolina, Kentucky, California, Massachusetts, Mississippi, Tennessee, Indiana, Canada, and individual singers from around the globe took to the stage to remind all present of the real meaning of the season (and no, it is not Black Friday or Cyber Monday).

Joel Raney took the podium to conduct the Carnegie Hall premiere of Have You Heard?, a thirty-five minute, eight-movement piece that was the sole collection on the first half. This was Mr. Raney’s first DCINY appearance as a conductor. As Mr. Raney wrote in his program notes, Have You Heard? uses Celtic musical influences and weaves those sounds into “traditional” Christmas music, sort of “Bethlehem by way of Belfast.” I must admit I was initially skeptical of this concept, thinking it would be gimmicky at best. How wrong I was! It was done with great skill, and hearing Irish and Welsh folk melodies (e.g., Bunessan and Hyfrydol) as settings for the lyrics from more well-known songs was captivating. The melodies breathed fresh life into these lyrics.

To be sure, not all of Mr. Raney’s offerings this evening were re-inventions and reharmonizations, as there were plenty of the classics “left intact.” This listener’s favorite movements were the jaunty Come Messiah, Come Emmauel, with its exciting accelerando, the “re-mixed” O Little Town of Bethlehem as an ethereal evensong, and the “Irished-up” Come and Adore Him. Vocal soloist David John Hailey’s strong voice filled the hall with O Holy Night. A jubilant Wexford Carol ended the work in style, with Mr. Raney receiving a richly deserved ovation. Praise is also due to the large chorus for their excellent preparation and performance, and the ever-reliable Distinguished Concerts Orchestra once again shone brightly.

After Intermission, Joseph M. Martin took the podium to conduct the Carnegie Hall premiere of his composition A Weary World Rejoices (orchestrated by Ed Hogan). Mr. Martin is a DCINY favorite – this is his 13^th appearance with DCINY. A Weary World Rejoices is a forty-minute, nine-movement work that is vintage Martin, brimming with excitement and energy. Mr. Martin radiates pure joy on the podium, which is reflected back to him by both the chorus and orchestra. I find the title to be something of a misnomer, as there was no sign of “weariness”  detected by this listener. In fact,  it was so relentlessly joyous that if it had been for any other occasion other than Christmas I would have despaired for some tension. Even as it was, I was hoping for some more differentiation of mood, but Mr. Martin poured his considerable talents for vibrant musical celebration into this work. Favorite movements were Redeem, Restore, Renew, with vocal soloists Sarah Whittemore and Scot Cameron weaving magic with their pristine voices, the uplifting Arise! Rejoice!, and Beautiful Star, with the angelic voice of Sue Martin soaring into the heavens. Let’s also remember the chorus, whose mammoth numbers could have filled a stadium with the sounds of unabashed joy. After the final movement, Cantique de Noël (O Holy Night), the audience gave Mr. Martin and the assembled forces a loud and extended standing ovation. Happy Holidays and congratulations to all.

Eric Whitacre, composer/conductor

Kelly Yu-Chien Lin, piano

Laurence Servaes, “Della;” David Castillo, “Jim”;  Sean Jean Ford. “Sheila;” April Amante, “Mrs. Sinclair”; Peter Kendall Clark. “Shopkeeper”

Distinguished Concerts Singers International; Distinguished Concerts Orchestra

Stern Auditorium at Carnegie Hall, New York, NY

November 26, 2024

Distinguished Concerts International New York (DCINY) kicked off their holiday concert series on November 26, 2024, with a concert entitled “An Eric Whitacre Holiday,” featuring the world premiere of the orchestrated version of Mr. Whitacre’s short opera The Gift of the Magi. Other works by Mr. Whitacre and holiday pieces by others filled out the program. The Distinguished Concerts Singers International came from Maryland, Ohio, Wisconsin, Georgia, Nevada, Alabama, Washington, North Carolina, Michigan, Colorado, California, Canada, United Kingdom, and “individual singers from around the globe.”

Eric Whitacre is a DCINY favorite – this is his 22^nd(!) appearance with DCINY. He is a composer, educator, and musical evangelist who brings his boundless energy and matchless charisma to the stage. He tells stories that he has probably told hundreds of times (and I have heard the “Kung Fu Panda” story at least six times) as if he were telling it for the first time.

As much as the chorus benefited from Mr. Whitacre’s guidance in refining them into giving outstanding performances, it should be said that the respective directors of the individual groups deserve praise for their preparatory work which made Mr. Whitacre’s job significantly easier. This was evident from the Carol of the Bells, which opened the first half with energy and precision.

Mr. Whitacre’s Lux Aurumque, Glow, little tree, and The Seal Lullaby (see “Kung Fu Panda” story) from the first half and Goodnight Moon (which opened the second half) are all works I have written about extensively in past reviews. Interested readers can reference those past reviews if they desire detailed information about the works. Suffice it to say, they all, even after many hearings, retain their luster and appeal.

Rounding out the first half,  Kristina Arakelyan’s Ave Maris Stella had a simple charm that enchanted. Melissa Dunphy’s Halcyon Days had a sentimental quality that was touching, even though the sopranos at times seemed to struggle with some of the higher register passages. Mr. Whitacre told us in the second half that he learned Ms. Dunphy was in attendance and asked her to stand, which she did to enthusiastic applause from the audience. The traditional hymn Brightest and Best had an insistent intensity that was striking. Finally, John Williams’s Star of Bethlehem (from his score for the movie Home Alone) was an excellent end to the first half.

After intermission (and Goodnight Moon, which opened the second half) , the stage was set for the world premiere of the orchestrated version of Mr. Whitacre’s (with Evan L. Synder) The Gift of the Magi. Mr. Whitacre wrote the libretto based on the 1905 O. Henry short story of the same name. For those who may not be familiar with this classic story, it centers on a young couple, Della and Jim, struggling to make ends meet. They search for Christmas gifts for each other, and the result is that Jim parts with his valuable heirloom watch to buy Della combs, and Della sells her long hair to buy Jim a watch chain – both gifts rendered nearly useless. The end message is that selfless love is the most precious gift of all. Mr. Whitacre’s version differs from the original in a few areas: he has the year as 1938, with Della having a job in a salon (she had no job in the original), her hair is blonde in this setting (it is brown in the original), the watch chain is gold (platinum in the original), and the haggling for the sale of Della’s hair in the salon is Mr. Whitacre’s invention (in the original, Della visits the nearby shop of a wig maker, Madame Sofronie, who buys Della’s hair for $20 straight away without any further negotiation). For those not too purist about the 1905 original, these changes emerge as quite effective in propelling the opera.

The Gift of the Magi clocks in around thirty-five minutes. The addition of the orchestra adds considerable heft, accentuating the hustle and bustle of the season, and turns the salon screen into a showstopping burlesque fit for a Broadway musical. My main issue was that everything seemed so rushed, that maybe some brief interludes of instrumental music might have “smoothed” the pace. That being said, this is an adventurous work, filled with difficult passages and large leaps for the soprano (Della), biting dissonances, and at times relentless drive – this is not the Eric Whitacre of Lux Aurumque! It is a work that could (and should) find its place in the holiday canon, assuming that one can find performers of exceptional ability to meet the challenges.

The entire cast from an earlier (2022) performance returned tonight. Peter Kendall Clark had the right amount of obsequiousness as the Shopkeeper trying to sell Della a watch chain. April Amante captured the snobbish attitude of the haughty Mrs. Sinclair, and Sara Jean Ford nearly brought the house down as the jaded Sheila. David Castillo as Jim projected his struggles and his devotion to Della with polished tones. Without wishing to take anything away from these fine artists, it was Laurence Servaes as Della who was the star of the evening – and to be sure, a lot of that is built into both the story and the challenging part Mr. Whitacre wrote for the role of Della! Whether it was tossing off wide leaps with ease, soaring into the stratosphere without any loss of vocal quality, or just projecting the almost ingénue quality of Della, Ms. Servaes was truly outstanding. Finally, the mighty chorus served well in the role of narrator.

The large audience gave all a loud ovation, with the loudest cheers for Ms. Servaes. DCINY continues the holiday series on December 1^st with Handel’s Messiah, in Mozart’s version.

Qianwen Shen, Violin; Bihan Li, Violin; Alexandrina Boyanova, Viola; Valeriya Sholokhova, Cello; Juan Esteban Martinez, Clarinet; Guilherme Andreas, Flute; Fangtao Jiang, Soprano; Jiahao Han, Piano

Weill Hall at Carnegie Hall, New York, NY

October 7, 2024

Meng Wang Music presented a concert benefiting the Hole in the Wall Gang Camp at Weill Hall on Monday evening. Featuring the works (all world premieres) of seven young composers (aged thirteen to seventeen) who are part of the Meng Wang music program, it was a showcase of emerging talents for a worthy cause.

Meng Wang Music is a New York-based institute founded by composer Meng Wang. The institute offers young composers (Grades 3-12) instruction, intensive training, performance opportunities, and publishing and distribution. The Hole in the Wall Gang Camp was founded by legendary actor and philanthropist Paul Newman in 1988. It is a nonprofit 501(c)(3) organization, residential summer camp, and year-round center serving children and their families coping with chronic illnesses such as cancer, sickle cell disease and many others.

One could not help but be impressed by the keepsake program, with portraits of the seven young composers on the cover and the extensive biographical information, not only of the composers, but all of the musicians as well. There were also thoughtful program notes for each work, which I am assuming were written by the composers for their respective works.

Let me stipulate before going on that these youngsters are all remarkably gifted, and their promise for the future is something that can and should be looked forward to with great anticipation. They are finding their voices, and it is not a shock that one can hear the influences of the “greats” (i.e., Haydn, Beethoven, and Shostakovich), and the at times almost formulaic development arcs. This is not meant to be a criticism, as the skill exhibited in getting even to that level is something many much older composers have struggled with – and with arguably less success. It was also notable that the line-up of musicians was made up of highly experienced players with impressive credentials, who deserve praise for their committed performances. Composers of any age would have been delighted to have these musicians play their works. I will list the names of the performers: Qianwen Shen, violin; Bihan Li, violin; Alexandrina Boyanova, viola; Valeriya Sholokhova, cello; Juan Esteban Martinez, clarinet; Guilherme Andreas, flute; Fangtao Jiang, soprano; and Jiahao Han, piano.

Now that the background information has been covered, it is time to talk about the compositions. The Art of Dunhuang by Chungyiu Mark Ma (b. 2008) opened the concert. It is a three-movement piece (1: Sanctum, 2: Echoes in Motion, 3: Eternal Wisdom) for solo clarinet and bass clarinet (the second and third movements are for the bass clarinet). It was probably the most “modern” work on the program. With the idiomatic exploration of the instrument’s possibilities (especially the bass clarinet), and the use of extended techniques, it reminded this listener of Edison Denisov’s works for clarinet.

Chronicle of Emergence, for solo piano, by Ella Bao (b. 2010) was up next. This two-movement work (1: Yin yang, 2: Awakening Gallop) features highly interesting harmonic language that danced on the edge of tonality without ever crossing into atonality. The second movement, Awakening Gallop, at times flirted with sarcasm, but never went completely in that direction.

Tiffany Qianzun Zhao (b. 2008) had two works on the program, Late June, for flute and piano, and Swaying Hope, for piano quintet, clarinet, flute, and soprano, which closed the program. Her style is unabashedly tonal, and she writes with an expansive sense of beauty and color. It is refreshing to hear a young person wholeheartedly embrace what some would call “reactionary” writing, and I hope she stays on this path. There is enough strife in our world as Ms. Zhao writes – she wants to be a voice for a peaceful and beautiful world. Late June has a sweet, pastoral quality. Swaying Hope takes inspiration from Bob Dylan. It was a highly poignant work, with not only lush sounds, but also tinged with nostalgic lament.

After intermission, Wanderer, for clarinet, violin, cello, and piano, by Athena Zhang (b. 2007) opened the second half. It is an aptly named piece, with a quasi-improvisational feel, with the interplay and “passing” of melodic ideas around between the instruments. The piano writing was highly reminiscent of Bill Evans (who I greatly admire).

The next three works were all for string quartet. The first was Where the Shadow Falls, by William T. Wang (b.2011) . Mr. Wang’s composition is a throwback to an earlier time; it was if one stepped back into the 19^th century. I am reluctant to use the word prodigy, as that term has been overused to the point of stripping it of its true meaning, but one could make a case for Mr. Wang. Such fluid and assured writing , stylistically and harmonically, for a thirteen-year-old is truly astounding. My only reservation is that it seems very much “in the style of “ writing. I’m sure he will find his own voice, and the sky’s the limit.

Jixiu Josh Shi (b. 2007) offered Nature’s Suite in three movements ( 1: Water, 2: Trees, 3: Birds). Water was lyrical and flowing. Trees was a little diffuse in style, sometimes hinting at the 20th century and then back to the 19^th. Birds was clever, and one could easily hear the bird calls in it.

Reverie of Meadows, by Frederick Yip (b. 2007) was the final string quartet of the evening. Mr. Yip has developed a more distinct voice than most young composers – at least any influences were not overt. His writing is teeming with ideas, and he has a good grip on the interplay of the string quartet. He might have too many ideas, and some “tightening” would enhance his work.

At the end, all the composers (with the exception of Frederick Yip, who was not in attendance) joined all the performers and Meng Wang for a final bow. I look forward to following the progress of these young composers. Congratulations to all.