Elsewhere Ensemble: Colin Pip Dixon, violin; Arnaud Ghillebaert, viola; Kathryn Brunhaver, cello

Camille Ortiz, soprano; Kenneth Overton, baritone

All Angels Church, New York, NY

September 11, 2026

On September 11^th, the Elsewhere Ensemble (Colin Pip Dixon, violin, Arnaud Ghillebaert, viola, Kathryn Brunhaver, cello) presented a program entitled Invocation. Billed as“a concert on the themes of peace, violence, and faith, for soprano, baritone, and string trio composed by Colin Pip Dixon,” it was also stated to “honor the 25^th anniversary of 9/11/2001.”  Soprano Camille Ortiz and baritone Kenneth Overton were the featured vocalists. This is my second time reviewing this ensemble. Interested readers can read about the previous concert by following this link: The Elsewhere Ensemble presents Icarus Quartet in Review .

Invocation is a 90-minute song cycle in three parts- Longing (texts by Báyò Akómoláfé, Rabbi Nachman of Breslov, Ukraine, and Albert Einstein), No More (texts by Etty Hillesum, Frederick Douglass, and St. Francis of Assisi), and Only Light (texts by Rabia Terri Harris, Captain Paul Watson, Rolf Jacobsen, Chandodogya Upanishad, Shantideva, Rumi, and Dr. Martin Luther King Jr.).  Each section also includes an instrumental interlude. The printed texts were provided for the listener.

Colin Pip Dixon is obviously passionate about peace, social and environmental justice themes, and the texts he set reflect those ideals. To be sure, this type of work is not for everyone, but the audience was clearly in agreement with these ideals and rewarded the Elsewhere Ensemble and the singers with an eager reception.

Some general observations about Invocation. There is an abundance of recitativo, which is good for projecting an urgency and immediacy of impact, but it also was in danger of becoming monotonous and giving one the feeling of “being lectured.” I’m sure this was a deliberate stylistic choice, but I am of the opinion that a less “straight ahead” approach would have not lessened the impact of the texts. The string accompaniment was most effective when it was expressing anger, with strident, angular declarations. The more “serene” sections seemed at times to be reminiscent of movie soundtrack music- nothing wrong with that per se, but it felt more calculated than organic.

Soprano Camille Ortiz reinforced the favorite impression made on this listener from the prior review. She projects with clarity and not a hint of harshness or struggle in the upper register. Her highlight was Instrument of Peace (text by St. Francis of Assisi), in which her vocal control, especially in the nearly silent finish, was breathtaking. This was true artistry! Baritone Kenneth Overton was outstanding. He has a strong voice and his diction was so clear that there was no real need to reference the printed text. He projected an unmistakable regal quality that added weight to the texts. His highlight was Love Hate (text by Martin Luther King Jr.), which also was this listener’s favorite selection of the evening.

Let’s not forget the Elsewhere Ensemble. Colin Pip Dixon, Arnaud Ghillebaert, and Kathryn Brunhaver are all exceptional musicians. Their ensemble is excellent, and each player also showed refinement in solo passages. They never overshadowed the singers, but they also never were dominated or pushed to the background, a balance that is not always easy to strike. I would like to hear this ensemble play some of the more standard repertoire, as I do recall finding their Dvořák encore from the prior concert to have been a highlight.

After the last notes, the audience gave the performers a very enthusiastic ovation. If you are one who is passionate about social issues and music alike, you will find much to like about the Elsewhere Ensemble.

Love, Earth, Death: A Dialogue Between Black and Chinese Voices in Review

Almost Quintet Trio

Peiyao Yu, piano; Zhengyingue (Elaine) Huang, soprano; Xenia Deviatkina-Loh, violin/viola

Saint John’s in the Village (St. John’s Church), New York, NY

August 14, 2026

On August 14^th, the Almost Quintet Trio presented a program entitled “Love, Earth, Death: A Dialogue Between Black and Chinese Voices,” at St. John’s Church in New York City.  It was to be an interesting program that showcased the talents of three accomplished musicians, Peiyao Yu (piano), Zhengyingue (Elaine) Huang (soprano), and  Xenia Deviatkina-Loh (violin/viola).

As Peiyao Yu explains, the trio’s name stems from the fact that the pianist also plays organ and the violinist also plays the viola – thus it is “almost a quintet.”  Their mission (according to their website) is “dedicated to championing underrepresented composers, with the ultimate goal of a future where no composer need be labeled ‘underrepresented’ at all.” This is an ambitious goal, but one might take issue the suggestion that Bright Sheng is an “underrepresented” composer. It would be a good idea to clearly define what is meant by underrepresented.

This listener had a general feeling that this performance was a trial run in preparation for a larger one. There were no printed programs (rather, a helper asking people in the audience if they needed a program and sending digital copies to those who asked for one), and even the digital copy was missing any biographical information or program notes. It seemed to fly in the face of the stated mission – would it not be helpful to introduce these composers and give some information about their works? There were some brief comments made, but were rendered so quietly that a lot of what was being said was lost.

The program itself alternated between Chinese composers and African-American composers. It was not immediately apparent what form the “dialogue” took, supposedly the listeners were to decide for themselves. The opening and closing selections, On One Side of River (Qingjia Lin b. 1934) and Until Now (Kui Dong b. 1966) could best be described as popular songs, with sentimental touches and soaring melodies. They were rendered with great passion and devotion by soprano Zhengyingue (Elaine) Huang, with able support from Peiyao Yu and Xenia Deviatkina-Loh. These songs brought some of the more enthusiastic responses from the audience, so one might assume the songs were familiar to them.  Two selections, Blue Flower, and At the Hillside Where Horses Are Running from Three Chinese Love Songs by Bright Sheng (b. 1955) joined the traditional Chinese Opera style from the vocalist with modern “Western” writing for the pianist, including some extended techniques (playing inside the piano, etc.).  Of the “Chinese voices,” this was the most compelling to this listener, and the favorite of the Chinese works. Ms. Huang showed her versatility and strong voice throughout the evening, projecting clearly while remaining sensitive to the acoustics of the small venue. She maintained a carefully controlled vibrato that was just right. Ms. Yu was an excellent collaborator, highlighting the dramatic effect without ever overwhelming the vocalist.  There was an opportunity for violinist Xenia Deviatkina-Loh to have her starring moment in selections from the highly popular (primarily in China) Butterfly Lovers’ Concerto by Chen Gang (1935-2026) and He Zhanhao (b. 1933). She is a stylish and assured player, dashing off passagework with ease while avoiding the trap of over-sentimentalizing the melodic material (which would be so easy to do in this work). I’m sure that Ms. Deviatkina-Loh will continue to display those qualities in a planned future performance of the entire work.

The two works that formed the “Black” portion of the program fit the mission statement of the trio more closely than that of the Chinese portion. As a side note, it would have been good to have the texts/translations for all works. The first, BORN FREE (NYC premiere) by Dr. Edward W. Hardy (b. 1992), a song cycle (Sorrow Home, Lineage, The Struggle Staggers Us, and Southern Song) for soprano, violin, and piano, is the work of a promising and talented composer.  There are languorous blues, “fire-in-the belly” storms, plaintive despair, and a stately dignity of voice and purpose that all figure prominently in these songs.  I’m certain that if Dr. Hardy were present, he would have been thrilled with the outstanding performance from the Almost Quintet Trio. Sorrow Home was the favorite of this listener, and the one that showed the individual talents of the musicians to the maximum advantage. 

The second work was Sonnets on Love, Rosebuds, and Death (1975) for soprano, violin, and piano by Dorothy Rudd Moore (1940-2022). Four selections of the set of eight were offered, I Had No Thought of Violets of Late (Alice Dunbar Nelson), Song for a Dark Girl (Langston Hughes),  Idolatry (Arna Bontemps), and Invocation (Helene Johnson). While Dorothy Rudd Moore is not completely unknown, she is far from a household name, and she does not seem to be drawing the same amount of attention as others (Florence Price, for instance) in the present day. This is unfortunate, as this work proves her outstanding compositional skills. She had an understanding of the voice (having been a vocalist herself) that shows through with her idiomatic writing. This set was the highlight of the concert, and I do not wish to select a favorite of the four, as they all were impactful. Kudos to the trio for programming this remarkable work, and bravo for the first-rate performance. One hopes that the trio’s performance of it might generate more interest and performances of Moore’s works.  

I wish the Almost Quintet Trio success in their mission, and do hope they will heed the suggestions offered.

Jeffrey Williams

WA Sinfonietta

Charles Neidich, Music Director/Conductor

Carol Wincenc, flute

Good Shepherd-Faith Presbyterian Church, New York, NY

May 10, 2026

The WA Sinfonietta, under the baton of the world-renowned clarinetist Charles Neidich, gave its second 2026 performance on May 10^th at the Good Shepherd-Faith Presbyterian Church, with works by Charles Ives, Lukas Foss, and Elliott Carter. The previous three concerts of this ensemble (the inaugural concert on March 23, 2025, May 13, 2025, and March 15, 2026) have been covered in these pages. (Interested readers can click on the following links to read about those concerts: WA Sinfonietta in Review March 23, 2025 , WA Sinfonietta in Review May 15, 2025, and WA Sinfonietta in Review March 15, 2026 .) Programming seems to follow a plan of alternating between concerts of “historically mainstream” pieces and then concerts of “modern/contemporary/20^th century” works. Both formats feature the idea of a unifying theme and/or a lesser-played alternative version of an established work . Sunday’s concert was also livestreamed (Wa Sinfonietta – “American Icons” Livestream) for those persons who chose Mother’s Day over attending this excellent performance.

Mr. Neidich spoke about the program, and happily he has taken the advice to use a microphone to be heard clearly by all in the audience. The prior complaints were never intended to offend –  Mr. Neidich simply has many interesting things to say, and it is a shame for his wealth of knowledge to be lost in inaudibility. As always, there were excellent program notes, with a QR code included for extra points of interest about the composers and their works.

Three Places in New England by Charles Ives opened the concert. For those unfamiliar with the piece or without access to the QR notes, the three movements are I. The “St. Gaudens” in Boston Common (Col. Shaw and his Colored Regiment), II. Putnam’s Camp, Redding, Connecticut, and III. The Housatonic at Stockbridge. Each piece is intended to evoke its respective place for the listener.  It is one of the most frequently performed of all of Ives’s works, probably because of the use of folk tunes and Americana giving the listener reference points within the highly chromatic writing. Mr. Neidich mentioned Civil War songs, however, the list of actual quotations could easily fill this page.

Mr. Neidich is a musician with a deep, probing intellectual bent, so one would think that Ives’s complexity would be right up his (Neidich’s) street, and would expect a highly polished and well-thought-out approach. It almost goes without saying that this was the case this evening. Mr. Neidich had everything under control (which is no easy task in Ives), and his strong sense of conception was brilliantly brought to life by the WA Sinfonietta. I have something of an uneasy relationship with Ives’s music, but this made me sit up and take notice. The following were highlights – The “St. Gaudens” in Boston Common (Col. Shaw and his Colored Regiment) had a truly atmospheric feel, as if apparitions of soldiers were slowly marching across the South in a haze of memories. It was incredibly effective in its eeriness. Putnam’s Camp, with the dual marching bands had the right amount of amateur clumsiness without exaggerating the parody. If this was one’s first exposure to Ives, then they were treated to a first-class performance.

Lukas Foss’s Renaissance Concerto for flute and orchestra was the final work on the first half, with flute soloist Carol Wincenc (who premiered the work, which was written for her). While many of the names of early music make “guest appearances” (viz. Byrd, Rameau, Monteverdi, and Gesualdo), modern devices abound, such as extended techniques from the soloist. The work is looking forward and backwards simultaneously – vintage Foss. The composer himself described this work as “ an homage to something I love, a handshake across the centuries.”

Ms. Wincenc spoke briefly about the work, mentioning that the acoustic of the venue was ideal (making special mention of the third movement Recitative) and telling the audience that Foss himself conducted the premiere forty years ago. Ms. Wincenc is not called the “Queen of the Flute” without reason – her tone is pristine in its beauty, and she has technique to burn, making the most intricate passages sound effortless. She was also spot-on about the acoustic – the smaller venue lent an immediacy that was missing for me in larger halls.

The Jouissance finale was the showstopper, with brilliant passagework, a courtly duet between the flute and percussion, some tapping on keys, and aggressive blowing, culminating in Ms. Wincenc’s slow exit from the stage while still tapping keys and making a “click” sound as she got farther from the stage. The audience reacted enthusiastically, calling Ms. Wincenc back to the stage three times.

After intermission, Symphony No.1 (1942, revised 1954) by Elliot Carter was to be the sole piece on the second half. Mr. Neidich spoke of Carter’s intent to write something optimistic and uplifting to buoy the nation’s mood in the midst of World War II.  One might say it was “Carter before Carter became Carter”- it bears no resemblance to his highly complex later works. The program notes hint that the seeds of his later “complex greatness” are to be found in this work, which is open to debate (I disagree). This work has hints of Aaron Copland, Roy Harris, David Diamond, Samuel Barber, and William Schuman (amongst others), which are all terrific influences. As a side note, this listener could not help thinking what an amazing time for the American Symphony the late thirties and forties were!

This three-movement, thirty-minute work deserves more attention, not just the occasional playing merely as a curiosity. The WA Sinfonietta played with a robust sense of optimism and steady resolve. There were a few instances where the balance between the upper winds and the strings were problematic, probably due to the hall acoustics, but also some overexuberance.

The audience responded with an extended standing ovation, long enough to allow Mr. Neidich to wend his way through the entire ensemble and shake hands with every musician.  It is something I never tire of seeing, a world-class musician who truly loves what he is doing, sharing his gratitude with not only the audience, but his very talented ensemble. It was another triumph for the WA Sinfonietta, and one looks forward to future performances.

Zhaoxuan Song, Percussion

Bowen Zheng, vocalist; Natalie North, percussion; Vio C, Electronics & Audio Support; T. C. Kincer, piano

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

May 8, 2025

On May 8, 2025, Zhaoxuan Song gave a recital towards the completion of a DMA degree in percussion at New York University. Mr. Song is the second DMA candidate in the newly created doctoral program for percussionists to be reviewed in these pages. Mr. Song is completing his studies under the guidance of the internationally renowned timpanist and percussionist Jonathan Haas.

The program notes state that Mr. Song’s performance and research focus on innovative collaborations between percussion and voice, with particular emphasis on the expressive and theatrical dimensions of contemporary music. The program reflected this focus, as all three works on this program were by contemporary composers (two living) and had highly theatrical content. Mr. Song was joined by vocalist Bowen Zheng, percussionist Natalie North, pianist T.C. Kincer, and had electronic and audio support from Vio C.

For full disclosure, this reviewer was not present at the actual recital but was provided an (unedited) video for review. It is inevitable, given such circumstances, that the impact of the performance was somewhat diminished, as there is no real substitute for the live experience.

Before talking about the music, I would like to mention logistical matters. Set-up is an art in itself – placing the battery of percussion instruments to allow quick access without disaster (and within the confines of the space, which in this case was rather limited) requires careful planning. It was notable how gracefully and unhurriedly Mr. Song navigated this maze throughout the recital.

Silk Road (1989) by Tan Dun (1957), with vocalist Bowen Zheng joining Mr. Song (text by Arthur Sze), opened the recital. About this work Tan Dun writes, ”the rhythms of English verse are combined with the tonal qualities of Peking Opera, in a linear structure like the connected brush-strokes of calligraphy.” Tan Dun is an expert at mixing Eastern and Western elements, and this work is no exception. With evocative vocals by Ms. Zheng, and the seamless mixing of Chinese and Western percussion instruments by Mr. Song, it was not only a demonstration of Mr. Song’s expertise with the percussion battery, but also his highly developed dramatic sense that was apparent throughout the recital.

Animus II (1967/1968) by Jacob Druckman (1928-1996) followed the Tan Dun. Scored for mezzo-soprano (Bowen Zheng), two percussionists (Mr. Song and Natalie North), and electronic tape, the work transforms the concert experience into what the composer called “an orgiastic ritual.” The ritual aspect was clear (a solemn processional to open and an equally solemn recessional to close), but I will leave it to others to decide to what degree Mr. Druckman’s assessment is accurate. The recorded sounds added a layer of mysticism. There was a definite theatrical build-up, as each performer’s role became more urgent and frenzied. At one point, all three performers were striking a gong with different materials (metallic stick, mallet, and tubular bell hammer) as tension reached its peak. Kudos to Mr. Song, Ms. Zheng, and Ms. North for both their dramatic and musical excellence.

The Percussion Concerto (1998) by Chen Yi (1953) closed the recital. Commissioned by Evelyn Glennie and the Singapore Symphony Orchestra, this work blends Western orchestral forces with the spirit of Beijing Opera in three movements (I. The Night Deepens II. Prelude to Water Tune III. Speedy Wind). This arrangement for piano and percussionist was made by Mr. Song. T.C. Kincer was the pianist. For more detailed information about this work, one can read Chen Yi’s own notes by clicking on the following link: Chen Yi Percussion Concerto. This work is a tour-de-force for the soloist, and like the previous two works, it has a strong theatrical element. Mr. Song displayed his considerable talents with gusto throughout. The opening movement, The Night Deepens, had a nervous energy that reminded me of Prokofiev with an Eastern flavor. The middle movement, Prelude to Water, requires the soloist to recite poetry while making his way around the battery, which is probably a lot more difficult that then average listener could imagine. Mr. Song did make it look very easy! The finale, Speedy Wind, has a knockout cadenza that Mr. Song dispatched brilliantly. Credit is also due to pianist T.C. Kincer for his role. The audience gave Mr. Song a very enthusiastic ovation that was well-deserved.

I wish Mr. Song good luck and continued success as he works towards his degree.

Elsewhere Ensemble: Colin Pip Dixon, violin; Alwyn Wright, violin; Arnaud Ghillebaert, viola; Kathryn Brunhaver, cello

Camille Ortiz, soprano; MacIntyre Dixon, narrator

All Angels Church, New York, NY

March 24, 2026

On March 24^th, the Elsewhere Ensemble presented a program entitled Icarus Quartet, “music, stories, and poetry brought to life,” featuring two works by Elsewhere Ensemble co-director and violinist Colin Pip Dixon, Hear My Prayer (from a larger work,  Invocation) for soprano and string trio, and the Icarus Quartet, for string quartet and narrator. Between these works was On Poetry and the Earth, two short pieces for actor and string trio inspired by John Keats, composed by Samuel Lord Kalcheim. A sizable crowd of enthusiastic supporters filled the All Angels Church to enjoy what proved to be a thought-provoking program.

Colin Pip Dixon welcomed the audience and spoke at length, some about his personal experiences in music in Poland, and some about the current state of the world (with the implication that all knew to what he was referring) and the anxiety that accompanies it. This eventually segued into the introduction of the first work on the program, Hear My Prayer. The text for Hear My Prayer was inspired by a quote from Albert Einstein (from the Russell-Einstein Manifesto), “We implore, as human beings to human beings, remember your humanity and forget the rest.” Mr. Dixon stated the “prayer” is not one of a religious nature.

This six-minute work is strongly reminiscent of Henryk Górecki’s 3^rd Symphony (“Symphony of Sorrowful Songs”). Perhaps Mr. Dixon’s time in Poland influenced his writing. It opens with an extended viola/cello duet that builds in intensity as the violin joins. The soprano enters with a plaintive “Hear my prayer”-  there are no vocal gymnastics, just simple passages which were delivered with bell-like clarity. Soprano Camille Ortiz was compelling as she brought the text to life with her radiant voice – the emotional impact was undeniable. The trio of Mr. Dixon,  violist Arnaud Ghillebaert, and cellist Kathryn Brunhaver was excellent, never overshadowing Ms. Ortiz, but rather heightening the impact with their ensemble.

Poetry by, and inspired by, John Keats formed the texts of On Poetry and the Earth, by Samuel Lord Kalcheim. The two poems were Keats’s On the Grasshopper and the Cricket, and To John Keats, at Springtime, by the Harlem Renaissance poet Countee Cullen. Mr. Dixon told the audience that Mr. Kalcheim is a great admirer of Keats’s poetry, and that the concept of adding music to these texts resembled a “dialogue across time and space” – an idea I found fascinating. MacIntyre Dixon (who is Colin Pip Dixon’s father) brought the poems to life with the practiced skill one would expect from an experienced actor. Mr. Kalcheim was most successful in his music to Keats’s poem, which had the underpinnings of the Romantics (Schumann came to mind). One might have hoped for a slightly “jazzier” Cullen, but it was still quite effective. Mr. Kalcheim was in attendance, and stood to acknowledge the warm applause of the audience.

After a short break, the final work of the program, the Icarus Quartet, was played. This nearly fifty-minute work (in ten sections) tells the story of well-known story of Icarus, recited by narrator, accompanied by string quartet. Violinist Alwyn Wright joined Colin Pip Dixon, Arnaud Ghillebaert, and Kathryn Brunhaver. The story presented here was not the familiar cautionary tale of the consequences of hubris, but a call not to impede the dreams and passion of the young. One can draw one’s own conclusions about this revisionist take. MacIntyre Dixon was the narrator, and while one might quibble with the story, there could be no doubt that he was a powerhouse. It’s no easy feat to keep a large audience spellbound for nearly an hour, but he did just that.

How much the text depended upon the music would be debatable – to this listener, it seemed to be the opposite, that the music depended upon the text. To clarify, there were many examples of the music being a “description” of the words, which accentuated the text’s effect (in film music a quality called “Mickey Mousing”), yet without the text, the music would have not evoked any thought of the myth. This last point is moot, however,  as one could hardly expect a performance without the text. All credit to the quartet members, as it would have been quite easy to have been overshadowed by such a dynamic force as MacIntyre Dixon, but  they were quite heroic in an understated way. The audience responded with a well-earned standing ovation. As an encore, the quartet and Camille Ortiz (with the addition of pianist Miriam Leskis), offered Song to the Moon, from Antonin Dvořák’s opera Rusalka, which was the highlight of the evening for this listener. The already happy audience responded with another standing ovation. Congratulations to all!

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

Weill Hall at Carnegie Hall, New York, NY

January 19, 2026

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

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

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

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

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

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

Congratulations to all, with wishes for future successes.

Shiqi Zhong, percussion

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

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

December 18, 2025

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

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

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

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

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