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.

Cantala Choir

Nancy Singla, director

Asal Iranmehr, piano

Weill Recital Hall at Carnegie Hall, New York, NY

April 11, 2025

Distinguished Concerts International New York (DCINY) is well-known for its “big show” concerts, with several hundred performers filling the stages of such venues as David Geffen Hall and Stern Auditorium at Carnegie Hall. What is not as well-known is DCINY’s presentation of much smaller forces in more intimate settings. Tonight’s performance, featuring the Cantala Choir at Carnegie’s Weill Hall, was the latest offering in this vein. The title of the program, Songbird, is also the name of Cantala’s recent release of their 4^th recording, as well as the name of a work from that recording. It features works by Canadian composers, and is available for listening on all major streaming providers.

Founded in 2008 by Nancy Singla, Cantala is a Toronto-based choral ensemble. Cantala is a “musical home” for singers who both love choral music and are seeking excellence in performance. Nineteen vocalists took the stage under the direction of Ms. Singla. Cantala offered fourteen works. Most (nine) were sung a cappella. Asal Iranmehr was the pianist for the other five works (for the sake of not having to continually state which was a cappella and which was not, those five works were Lost Words, In The Days of Beauty, Cantique de Jean Racine, All the Little Rivers of Canada, and Blue Skies).

Before going any further, I would like to get some issues out of the way, As the majority of the works on the program were by Canadians, it would have been nice to have some basic biographical information about the composers. I would have liked to see texts for all the works as well instead of just a few. Lastly, and while this may seem extremely nitpicky, the printed program was marred with errors and typos – Ola Gjeilo was misspelled twice in the program,  Marie-Claire Saindon was listed as Claire-Marie Saindon (and Saidon), and Hamlet was listed as Sonnet LXXXVII. Mind you, these issues are not criticisms of the performers, but details do matter.

Opening with Songbird, by Sarah Quartel, the Cantala Choir, brought forth qualities that would be a recurring theme for the evening – excellent ensemble balance, clear diction (in four different languages), and precise intonation. One would think that all these qualities should be expected (and of course, they should be), but this was something above the norm, and it made a favorable impression on this listener. It was apparent that Ms. Singla had prepared Cantala to a highly polished level in what was an auspicious start.

Selections from Lost Words, using poetry from Robert Macfarlane, followed Songbird. The “lost words” refer to once commonly used words that have been removed from the Children’s Oxford English Dictionary. Cantala offered six selections of the set of twenty (each “word” set by a different composer). They were Dandelion (composer – Nicholas Tyan Kelly),  Ivy (Katerina Gimon),  Kingfisher (Marie-Claire Saindon), Lark (Carmen Braden), Willow (Monica Pearce), and Wren (Don Macdonald). While all were performed well, Kingfisher, whichwas colorful and suggestive of the water acrobatics of the Kingfisher catching its prey, Willow, with soaring high voices, and the clever “now you do, now you don’t”  lyric motif of Wren were favorites for this listener.

Five Shakespeare Songs (2018), by Bev Lewis was next. The texts were from Hamlet, The Merchant of Venice, Measure for Measure, As You Like It, and Sonnet 87. It would have been interesting to know why the composer chose these particular texts. In any case, the settings were sensitively and skillfully done. While I admired the entire set, it was the Take, Oh Take Those Lips Away (from Measure for Measure) that stood out in capturing the bittersweet melancholy of Shakespeare’s words. Cantala brought these qualities forth with subtlety, which made it impactful rather than overwrought in display of immature angst.

Yi Chin O, (by Quebec composer Cui Wei), and Yeux D’enfant (Marie-Claire Saindon), the final works on the first half, showcased Cantala’s multilingual talents, the first sung in Chinese, and the second in French.

After intermission, Cantala added yet another language to the evening, Estonian, with Muusika by Pärt Uusberg. Estonian is a difficult language for English speakers, and I can’t really claim to knowing more than a few words, but the diction sounded precise to my ears. Well done! Two works by one of the “big names” in choral music, Ola Gjeilo followed – Northern Lights and In Days of Beauty. In many of Gjeilo’s works, there is a simple, but fresh beauty that is abundant and which makes his pieces a favorite for listeners and performers alike. Cantala’s approach was flawless – there is no need to do anything “fancy,” but just let the music speak for itself. The effect was exquisite.

Samuel Barber’s To be Sung on the Water followed the Gjeilo selections. The text (a poem by Louise Bogan) is a mourning of the loss of love  (which had real life meaning to Barber when he composed this work), and Barber’s setting takes the listener on this emotional journey. Cantala took the listener on this journey with care and attention to Barber’s very evocative writing. After this, a cathartically energetic Cantique de Jean Racine (Gabriel Fauré, arr. John Rutter) was just right.

The final four works were a step away from the “serious” towards more “fun and light.” Cantala had already given plenty of proof that they were on-point with the heavier fare, so now it was time to have a little fun – and fun it was! A charming Waltzing Matilda (arr. Ruth McCall), some drumming and whistles in Woodsmoke and Oranges (Ian Tamblyn, arr. Rebecca Campbell), and a whimsical Canadian “river rollcall” in All the Little Rivers of Canada (Larry Nickel), led into a stylish Blue Skies (Irving Berlin, arr. Roger Emerson), which ended the evening. The audience responded enthusiastically.

All in all, for those of you who like hearing a choir without being subjected to the hackneyed handclapping and stilted “choreography,” in favor of one who makes it all about the music, bringing considerable musical excellence as well, the Cantala Choir is a group you would enjoy immensely.

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.”