Distinguished Concerts International New York (DCINY) presents a cappella NEXT in Review

Distinguished Concerts International New York (DCINY) presents a cappella NEXT in Review

Distinguished Concerts International New York (DCINY) presents a cappella NEXT
Harmonia Chamber Singers, Robert Pacillo, director; Choeur de Chambre du Québec, Robert Ingari, director; Elore Festival Singers, Noel Edison, director
Weill Hall at Carnegie Hall, New York, NY
March 13, 2015

For the superstitious, the idea of a concert on Friday the 13th might be considered to be an ill-advised undertaking to be avoided at all costs. While those with paraskevidekatriaphobia stayed home, the hall was filled with those intrepid souls who refuse to subscribe to such beliefs, and they were rewarded with a truly outstanding concert. On March 13, 2015, Distinguished Concerts International New York (DCINY) presented a concert entitled a cappella NEXT, an evening dedicated to contemporary choral chamber music. Featuring the talents of three choruses, one from New York and two from Canada, it was a night filled with the sounds of some old classics and exciting new works.

I had the privilege of reviewing the 2014 a cappella NEXT concert ( a cappella NEXT 2014 review), so I was looking forward to this year’s edition. Without taking anything away from the talented ensembles that sang so well in 2014, the three ensembles this year not only met the high standards of their predecessors, but moved the bar up several levels.

The Harmonia Chamber singers opened the concert. Led by Robert Pacillo, this New York based ensemble got the night off to a fine start with a rock-solid performance of My Soul, There is a Country, an anthem by the composer best known for Jerusalem, Hubert Parry. Eulogy, by Rob Deemer, with text by Brian Turner, followed. Eulogy is a written account of a solider’s suicide in Iraq. With pitch bends and near bi-tonality at times, suggestive of the waves of heat on the battefield, the pause after the solider shoots himself, and the tight harmonies as the work ends in almost a whisper, Eulogy is hauntingly moving. Mr. Deemer was present in the audience and must have been pleased by the superb performance of his piece. The next work, She Walks in Beauty by Lord Byron, was skillfully set by Jeffrey Trenchard, a member of the ensemble. Mr. Trenchard was visibly moved to tears when he stepped forward to acknowledge the audience after a lovely performance. Goin’ Home, using the Largo movement from Dvořák’s Symphony No.9 “From the New World” and a playful Nelly Bly by Stephen Foster brought the Harmonia Chamber Singers’ portion of the program to a close. An appreciative audience loudly cheered for this fine ensemble.

After a short break, Choeur de Chambre du Québec took the stage. As one would expect from an ensemble from Québec, their entire portion (dix chansons) of the program was sung in French. The details of their entire set, plus translations, can be viewed by clicking the following link: a cappella NEXT program 2015. Conductor Robert Ingari not only led his ensemble with careful attention to details of timbre, but proved to be an accomplished composer as well. His settings of the poetry of Paul Verlaine in Chanson d’automne and Soleils Couchants were compelling. Not to be overshadowed by their maître, ensemble members Guillaume Boulay and Jean-Charles Côté contributed fine works as well, all performed with flawless intonation, balance, and style. French, and French-Canadian composers (Debussy, Poulenc, Lionel Daunais, and Mark Sirett) rounded out their program. Choeur de Chambre du Québec sang these works with the native flair that a non-francophone would be hard pressed to emulate. After the last sounds of Sirett’s ravishing Ce beau printemps faded away, the audience reacted with a standing ovation for this first-rate ensemble. Bien joué, Choeur de Chambre du Québec!

After another short break, the Elora Fesitval Singers took the stage for the last set. Based in Elora, Canada, they are led by the able Noel Edison. Their opening piece, Immortality, by Timothy Corlis, was for this listener, the highlight of the evening. A crowd-pleaser from start to finish, it is a work with something for everyone- driving energy, brilliance, spine-tingling moments, sublime beauty, and a build-up to a climax that explodes before fading away. It was a great lead-off work, but I believe this placement was a tactical error- it should have been the last work on their program. Two well-known and popular works from Eric Whitacre followed- Sleep and Her Spirit Soars. The close harmonies that are so characteristic of Whitacre, were delivered precisely by the ensemble, making for a truly wonderful performance. Gloria Deo per immensa Saecula, by Healey Willan, closed the concert. This motet was the product of a challenge from a colleague about the lack of new five-part works (two other examples of similar challenges readily come to mind J.S. Bach’s Musical Offering and Thomas Tallis’s Spem in alium). It is a remarkable work and was given a remarkable performance- a real tour-de-force that might be better appreciated by choral specialists than by the average lay listener. In any case, my reservations about sequence are a matter of preference, and in no way detract anything from the fine performances. The audience gave the Elora Festival Singers a well-earned standing ovation.

Congratulations to all three ensembles. It was a lucky Friday the 13th indeed!

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
Mirror Visions Ensemble presents Journeys in Review

Mirror Visions Ensemble presents Journeys in Review

Mirror Visions Ensemble presents Journeys
Mirror Visions Ensemble- Vira Slywotzky, soprano
Scott Murphree, tenor
Jesse Blumberg, baritone
Grant Wenaus, piano
SubCulture, New York, NY
March 10, 2015

 

To celebrate the upcoming release of their CD entitled The Three-Paneled Mirror (Centaur Records CRC 3381/3382), comprised entirely of commissioned works, Mirror Visions Ensemble presented a program called Journeys at SubCulture in New York City. Featuring works from the standard repertoire paired with premiered commissioned works from contemporary composers (not included on their CD), it proved to be a trip filled with wonder and whimsy.

Mirror Visions Ensemble, directed by Tobé Malawista, has stated their mission as “performing and commissioning musical ‘mirror images’- multiple settings of the same text by one or more composers,” and presenting programs that are “built around themes and always include new works commissioned by the ensemble.” Each member of Mirror Visions has an impressive list of accomplishments and credentials as soloist and was featured as such in at least one work in the program.

Journeys included works about exploring the sea, islands, and forests, letters from friends, as well as visits to churches and several hotels. There were sixteen works total on the program with the earlier being songs from Hugo Wolf, Hector Berlioz, Joseph Haydn, Felice Blangini, Henri Duparc, 20th century masters Samuel Barber and Francis Poulenc, and popular composers Cole Porter and Stephen Schwartz. The newer were commissioned works by Gilda Lyons, Scott Wheeler, Deborah Fischer Teason, Tom Cipullo, and William Ryden.

As much as I would like to give a detailed account of all the songs, I will concentrate mostly on the commissioned works. For the older works, I will mention three highlights: Baritone Jesse Blumberg dynamic, full-bodied performance of Hugo Wolf’s Auf einer Wanderung, tenor Scott Murphree’s hilarious take on Cole Porter’s Tale of the Oyster, which had the audience roaring with laughter, and Samuel Barber’s setting of James Joyce in Solitary Hotel performed in Film Noir style, with soprano Vira Slywotzky taking the part of the femme fatale as she slinked to the front of the stage – it was campy to be sure, but how very effective it was!

Moving on to the commissioned works, Great Barrier Reef by Gilda Lyons, from “recent studies, adapted by the composer,” featured swirling sounds of the waves, as the music “flowed” from one performer to the next in rapid sequence, and with some added sound effects. It was an ingenious work given a polished performance.

Letters to Isabella, by Scott Wheeler, uses the texts of three letters written to art collector and museum founder Isabella Stewart Gardner. The first from Henry James (for tenor), the second from Paul Bourget (for soprano), and the last (for baritone) from Kakuzo Okakura, ostensibly written to his cat, who was “visiting” with Ms. Gardner. Mr. Wheeler expertly captured the tone of each letter, from the longing sighs of James, to the world-weary Bourget (who found Florida especially odious), and the playful teasing of Okakura, and the performers projected those qualities with consummate grace.

The Bells at Saint-Aignan by Deborah Fischer Teason, using text from Jeffrey Greene, was to this listener the highlight of the commissioned works. As told in the program, each bell at this church has three names, the first the name of a noble woman, the second after bees or wasps, and the third for the notes they sounded. This commemorative piece was conveyed with haunting tonal ambiguity in both the vocal and piano writing, never straying too far toward atonality, but remaining unsettled throughout. It was a mesmerizing effect, given an equally mesmerizing performance.

At the Windermere Hotel, by Tom Cipullo, with text from Nightmare at the Windermere Hotel by Edna St. Vincent Millay, was a sure-fire crowd pleaser. The audience was in stitches as the quest for an elusive cup of coffee from room service took an absurdly comic route. Even pianist Grant Wenaus got into the act – when he called out “Kitchen Speaking,” the audience howled in laughter. This was just pure fun and Mirror Visions played it for all it was worth.

William Ryden’s The Owl and the Pussy-Cat, using Edward Lear’s verses, was a delight and brought the program to a successful finish.

It was gratifying that all the composers of the commissioned works were in attendance and able to be acknowledged for their compositions by the appreciative audience.

The Ghost of Madame de Sévigné at the Carnavalet, by Christopher Berg, was offered as an encore, after which the Ensemble greeted the many people who wished to see them. Mirror Visions Ensemble is not only highly accomplished musically, but also pulls in their listeners with their winning personalities on both the individual and group level. Add those qualities to the great service they do for contemporary composers by their continual commissioning and performing of new works, and the end result is a win for everyone. I look forward to hearing more from and about Mirror Visions Ensemble.

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents Two Cultures, One Dream in Review

Distinguished Concerts International New York (DCINY) presents Two Cultures, One Dream in Review

Distinguished Concerts International New York (DCINY) presents Two Cultures, One Dream
Jonathan Griffith, DCINY Artistic Director and principal conductor; Jie Yi, Debut Conductor
Earnestine Rodgers Robinson, visiting composer; Heather Sorenson, arranger, orchestrator and accompanist
Ana Isabel Lazo, soprano; Ting Li, tenor; Tshombe Selby, tenor; Chai-Lun Yueh, baritone; Brian Wahlstrom, baritone and narrator; James T. Meeks and Michelle R. McKissack, narrators; Jiaju Shen, pipa
Distinguished Concerts Orchestra; Distinguished Concerts Singers International
Stern Auditorium, Carnegie Hall, New York, NY
February 16, 2015

 

Two Cultures, One Dream was the title of the concert presented by Distinguished Concerts International New York (DCINY) on February 16, 2015. While the “two cultures” were only implied as East and West, the “one dream” was explicit – freedom from oppression and the triumph of the people against their oppressors. With singers from Connecticut, Illinois, New Jersey, New York, North Carolina, Ohio, Texas, Washington, Canada, China, New Zealand, Taiwan, and “individuals from around the globe,” the stage was set for that at which DCINY excels – the “big show.”

The first half of the program was the Yellow River Cantata (which was reworked in 1969 at the instigation of Madame Mao into the well-known Yellow River Piano Concerto, by a “committee” of five Chinese composers) by Xian Xinghai (1905-1945). Xian was one of the first Chinese composers to have adopted western influences, having studied composition with Vincent D’Indy and Paul Dukas in Paris, and no doubt with Soviet composers during his time in the Soviet Union in the 1940s. Given the honorific “The People’s Composer” by Mao Zedong, Xian’s legacy rests largely his with his more “populist” works, the Yellow River Cantata being his best-known work with western influences.

 

Act-2_Exodus_2

Distinguished Concerts International New York (DCINY) presents Two Cultures, One Dream

 

The “original” Yellow River Cantata was written in 1939, which, according to Xian’s daughter, took only six days to complete. Using the poetry of Guang Weiran as the text, there are four performed versions, with seven to nine movements. The version performed on this occasion is the most frequently played, with seven movements. The writing is tonal and bears the influences of Mr. Xian’s western studies, sometimes in a derivative way. The melodic material is largely folk-influenced and uncomplicated. The work is to exhort the Chinese people to resist and repel the Japanese invaders who were occupying China at the time (1939). The idea of a musical work to rally the people is not unique (Shostakovich’s Symphony No.7 “Leningrad” being one of the most obvious examples), but it is chiefly this context that makes Yellow River Cantata effective. Each movement begins with a male narrator exhorting the people to action, using the Yellow River as a symbol of Chinese identity.

Now, after all this background, it is time to talk about the actual performance. This was one of the most energetic performances of any work I have seen in many years! There were no half-measures at any time; it was full tilt from start to finish by all. It was especially interesting to see how involved the chorus was in performance. It was obvious they were giving it their all, with evident pride, as if to say “This is our music, and we are proud to share it with you.” Conductor Jie Yi was a force of nature, with boundless energy and enthusiasm that won the day. Mr. Jie has star potential and charisma that reminds one of Gustavo Dudamel and the young Leonard Bernstein. The soloists were outstanding as well. Baritone Chai-Lun Yueh was confident and projected with both strength and dignity, tenor Ting Li and baritone Brian Wahlstrom in duet were well matched as Jiaju Shen set the mood with accompaniment on the pipa, while soprano Ana Isabel Lazo captured the heartbreak in “Lament of the Yellow River” with perfection. Finally, Mr. Wahlstrom’s narration was excellent, in both English and Chinese, as his voice filled the hall. The net result was, to this listener, a rare occasion where the quality of the performance exceeded the actual intrinsic value of the work itself.

After intermission, it was time for the world premiere of Exodus, a four-part oratorio depicting the story of the Israelites being held in captivity in Egypt, their ultimate escape, and their triumph in reaching the Promised Land. The story is so well known that I will not recount it here. The composer, Earnestine Rodgers Robinson, has written two other critically acclaimed oratorios, The Crucifixion and The Nativity. It is highly likely that Exodus will join these two works in similar esteem, as it is a piece of great power, worthy of the subject matter and never losing its hold on the listener in its nearly one-hour length. The vocal writing is highly effective and the first-rate orchestrations by Heather Sorenson serve to strengthen the work even more. I would like to make special mention of the setting of Psalm 23 in Part IV, which has been set by some “heavy hitters” in musical history. Ms. Robinson’s version can hold its own with any of them.

With the dynamic narrations from Pastor James T. Meeks and Michelle R. McKissack (a daughter of Ms. Robinson), the talented tenor Tshombe Selby, the return of Ms. Lazo with the hard-working Mr. Wohlstrom, and the passionate and well-prepared chorus, it was a winning performance. Led by the supremely able Jonathan Griffith, who has made an art form of leading forces of several hundred, and the fine Distinguished Concerts Orchestra, it was a great end to the evening. The audience obviously found this to be so, given the ovation and the cheers for Ms. Robinson when she came to the stage. Congratulations to all for a great concert.

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents The Music of Karl Jenkins in Review

Distinguished Concerts International New York (DCINY) presents The Music of Karl Jenkins in Review

Distinguished Concerts International New York (DCINY) presents The Music of Karl Jenkins
Karl Jenkins, composer/conductor
Jonathan Griffith, DCINY Artistic Director/Principal conductor
Lucy Knight, soprano; Mark Watson, baritone
Distinguished Concerts Orchestra; Distinguished Concerts Singers International
Stern Auditorium, Carnegie Hall, New York, NY
January 19, 2015

In what has become an annual tradition, Distinguished Concerts International New York (DCINY) presented a concert in celebration of Martin Luther King, Jr. Day featuring the music of Karl Jenkins. This edition was truly global in scope, with singers from Germany, South Africa, United Kingdom, Switzerland, Sweden, Canada, Russia, Ireland, Italy, California, and Massachusetts (including a children’s chorus). With a first half consisting of the United States premieres of Llareggub and The Healer, a second half featuring The Peacemakers, and a post-concert opportunity to greet Mr. Jenkins and have him autograph his latest CD release, it had all the makings of a special evening.

Before the concert proper, Mr. Jenkins joined DCINY conductor Jonathan Griffith on stage for an impromptu conversation about the works on the first half. There was much laughter as Mr. Griffith attempted to pronounce poet Dylan Thomas’s (invented) “Welsh” word Llareggub. Mr. Jenkins smiled as he gave what would be a “proper” Welsh pronunciation (k(ch)la-REG-gub), and then told the audience that when spelled backwards it has a very different meaning in English, a wordplay betraying Thomas’s sense of humor. I leave it for the reader to figure it out! Mr. Jenkins also expressed his admiration and thanks for the many texts written especially for him by his wife, Carol Barratt, a formidable talent in her own right. After a few closing words about Mr. Jenkins’s esteem for Terry Waite (who was captured by terrorists in January 1987 while working to secure the release of hostages, and held captive for nearly five years), who provided friendship and texts to the composer, Mr. Jenkins then took to the podium to conduct Llareggub.

Llareggub is a musical snapshot of life of the fictional village setting of Dylan Thomas’s Under Milk Wood. The three movements, Starless and Bible-Black, Eli Jenkins’ Prayer, and At the Sailor’s Arms, are played without break. Starless and Bible-Black is serene, with an atmospheric feeling that is strongly suggestive of a pitch-black night that slowly moves towards daybreak. The second movement, Eli Jenkins’ Prayer, features a quote from a hymn, “Burnt Oak”, written by Karl Jenkins’s father (not to be confused with Eli Jenkins, who was a creation of Dylan Thomas and bears no relation to the composer’s father). Concertmaster Jorge Ávila played his solo part with expressive feeling that was sentimental, but never maudlin. The finale, At the Sailor’s Arms, is a visit to the local pub, filled with chat, drinking, merriment, more drinking, brawling, and drinking until drunk. Complete with a honky-tonk piano, it was just like being there in the thick of it. One could easily imagine Dylan Thomas amongst the locals, matching them drink for drink. Mr. Jenkins led the Distinguished Concerts Orchestra with his customary understated manner, always letting the music and the musicians take center stage. Llagerggub was a delightful quarter-hour visit to the wonders and whimsy of Wales, a trip this listener very much enjoyed taking. I suspect the large audience shared my opinion, as they gave Mr. Jenkins a hearty ovation.

Karl Jenkins

Karl Jenkins

 

After this happy romp, it was time to move to the serious side with The Healer. Subtitled A Cantata for St. Luke, The Healer is a nine-movement work scored for soprano and baritone soloists, chorus, strings, oboe (doubling on cor anglais), and percussion. Taking a page from his earlier Stabat Mater, the composer uses the middle-eastern percussion instruments (the riq and darbuca) to accentuate the sounds of the ancient land. With text from the Book of Common Prayer, St. Luke (from the Authorised Version (Luke 15: 3-7) and Vulgate (Luke 2:29-32) version of the Holy Bible), William Blake, Fyodor Dostoyevsky, Carol Barratt, Vivien Harrison, and Terry Waite, The Healer is another demonstration of Mr. Jenkins’s seemingly limitless ability to capture the essence of such evocative material with the simplest of means. A perusal of the score highlights this – it is deceptively simple, but the net effect is one of great import. This is the mark of a composer who has the courage to stick to his guns in a musical world that often scoffs at such an approach as pandering to the hoi polloi.

Highlights for this listener were in abundance, however I will limit myself to those I found the most compelling. Soprano Lucy Knight captured the essence of “The eyes of a child” with true innocence. Baritone Mark Watson projected strength throughout, and his “The Shepherd” was particularly fine. The large chorus was well prepared, from the chant-like Prologue to the Epilogue (Nunc dimittis). Special mention goes to oboe/cor anglais soloist Ryan Walsh for his excellent playing. The Healer can well join the growing list of works by Mr. Jenkins that should enjoy widespread performances.

After Intermission, it was time for the two-part, seventeen movement The Peacemakers. Scored for orchestra, chorus, soprano soloist, bass and ethnic flutes, ethnic percussion, Uilleann pipes, soprano saxophone, and electric bass, The Peacemakers resembles his earlier works The Armed Man in its blueprint and Stabat Mater in multicultural influences. Quoting Mr. Jenkins, “One line from Rumi sums up the ethos of the piece: ‘All religions, all singing one song: Peace be with you.'” This is an ideal that our world sadly is sorely lacking, as the composer himself lamented in his program notes. The texts for The Peacemakers comes from a variety of sources, some expected (Scripture from the Bible and Qur’an, Gandhi, the Dali Lama, Nelson Mandela, etc.), some unexpected (Albert Schweitzer, Percy Shelley, Anne Frank), and of course, Carol Barratt and Terry Waite.

Unlike The Armed Man, with the duality of war and peace, The Peacemakers is singularly focused on peace. The music draws one in and holds one in its thrall, rather than grabbing and pulling one as The Armed Man does. This is not to say that there are not any martial moments in The Peacemakers, but when they appear, it is a joyful call in the name of peace rather than any warlike saber rattling. As much as I would enjoy commenting on each of the seventeen movements, I am going to single out two movements that were my favorites, the hauntingly beautiful The Dove, with Lucy Knight’s exquisite heart-melting voice, and the amazing He had a dream- Elegy for Martin Luther King Jr. with the soprano saxophone’s bluesy riffs winding in and out of the melody, complete with a quote from Robert Schumann’s Träumerei. It could easily stand alone in performance , and would be a welcome addition to any musical tributes for Dr. King. Kudos to all the soloists (Jorge Ávila, Violin, Jesse Han, Bass Flute, Premik Russell Tubbs, Bonsuri and Ethnic Flutes, from NYJAZZ: Rob Derke, Soprano Saxophone; Carlo de Rosa, Electric Bass; and Andy Blanco, Ethnic Percussion, Joseph Mulvantrey, Uilleann Pipes), the Distinguished Concerts Orchestra, and the Distinguished Concerts Singers International.

Maestro Jonathan Griffith led yet another winning performance, as I have come to expect from this fine musician. It is no surprise that Mr. Griffith was awarded the 2014 American Prize in Conducting- professional orchestra division. The ovation was long, loud, and well earned. Mr. Jenkins took to the stage and modestly bowed while saluting the performers. It was a wonderful ending to a exceptional evening of music. I am already looking forward to January 18, 2016.

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents Misatango: A Tango Mass from Argentina in Review

Distinguished Concerts International New York (DCINY) presents Misatango: A Tango Mass from Argentina in Review

Distinguished Concerts International New York (DCINY) presents Misatango: A Tango Mass from Argentina
Flutopia Wind Ensemble; Jennifer Lapple, Director
Tierra Adentro De Nuevo Mexico Dance Ensemble; Joaquin Encinias, Director/Vocalist
Pablo Christian Di Mario, Director; Martín Palmeri, Visiting Composer/Pianist; Kristy Swann, mezzo-soprano
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Stern Auditorium, Carnegie Hall, New York, NY
January 18, 2015

 

On a cold, rainy afternoon in New York, Distinguished Concerts International New York (DCINY) presented a concert entitled Misatango: A Tango Mass from Argentina. What better way to way to escape the weather than with the vibrant, lively sounds of far away Argentina, courtesy of performers from France, Brazil, Denmark, Germany, Switzerland, and of course, Argentina. Also featuring the Flutopia Wind Ensemble and the Tierra Adentro De Nuevo Mexico Dance Ensemble, the stage was set for a performance that proved to be a treat for the ears and eyes alike.

Distinguished Concerts International New York (DCINY) presents Misatango

Distinguished Concerts International New York (DCINY) presents Misatango

The Flutopia Wind Ensemble took to the stage for the first half. Led by Jennifer Lapple, Flutopia is comprised of high school wind players from the Washington, D.C., and Northern Virginia areas. As one might guess from the name, the group is heavily weighted with flutists (with nineteen flutists among the forty-nine total players listed in the program). Opening with Beyond the Horizon, by Rossano Galante (a work that bears more than a passing resemblance to Frank Erickson’s Toccata for Band) the young players of Flutopia got off to a nervous start, with intonation issues and cracked notes in the brass section. One might chalk this up to jitters, but there was also a rather timid, “play-it-safe” approach that any experienced brass player will tell you is almost a guarantee for these problems to occur. Happily, the second piece, Zoltán Kodály’s Dances of Galanta was played with precision and charm. If anything (and this was a recurring theme throughout), one wanted a lot less restraint and more extroverted, ebullient playing. The ever-popular Eric Whitacre’s October was nicely played, and David Shaffer’s Costa del Sol was just pure fun. Ending with an energetically played Danse Bacchanale (from Camille Saint-Saëns’s Samson et Dalila), Flutopia brought their many supporters to their feet in a loud ovation. No matter what reservations I might have about a performance, it is always a delight to see the beaming smiles of the young performers from the stage.

 

A Tango Mass from Argentina

A Tango Mass from Argentina

There were many individual soloists who played with great skill and polish. I would like to make special mention of the excellent (un-credited) clarinet soloist, as her playing was a cut above her talented band mates. Ms. Lapple led with a clear baton technique and demonstrative gestures to her players. Even between pieces, she took the time to step off the podium and communicate with the group. This is a well considered, nurturing approach, which can only benefit the developing young musicians. As a final thought from an eternal band geek, I would very much like to see Flutopia “go for it”, to take risks and really let loose.

After intermission, the Tierra Adentro De Nuevo Mexico Dance Ensemble, a group of young men and ladies, gave a wonderful performance of the art of flamenco. I will leave any specific commentary about the dancing to those who know better. That said, I will channel my inner Bruno Tonioli (the extremely passionate and animated judge of Dancing With the Stars), grab my score paddle, and thrust it up while shouting “TEN!”

Misatango: A Tango Mass from Argentina

Misatango: A Tango Mass from Argentina

The last work of the evening, Misa A Buenos Aires (Misatango), is a pairing of the traditional mass with the sounds of the tango. I admit that I had my doubts about this concept, but was still intrigued about it all as I watched the three-hundred-plus singers take the stage. Misatango is a six-movement work scored for chorus, string orchestra, bandoneón, and mezzo-soprano soloist. Quoting the composer, Martín Palmeri, “…my objective in this composition was to maintain the harmonic language, rhythms, melodic designs, and all the characteristics of the tango within the orchestra score, thus allowing the chorus to have the full liberty to ‘just sing the mass.'” One can say with certainty that Mr. Palmeri succeeded brilliantly in his objective. Misatango captures the simmering tension of the tango without any kitsch in the vocal writing. Indeed, one can sense the influences of Mozart throughout with a distinctive Argentinean flavor. Of the six movements, the Credo was the most compelling to this listener, but each movement commands interest.

Special praise must go to Kristy Swann, whose voice was simply ethereal, a beacon of light that would pierce any darkness. Conductor Pablo Christian Di Mario led the chorus and orchestra with skill, keeping the huge vocal forces from covering the orchestra while allowing them equal prominence. The Distinguished Concerts Orchestra was particularly outstanding in one of the better performances I have heard from these players. The audience rewarded all the performers a loud and prolonged ovation, giving Mr. Palmeri the lion’s share of the applause.

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents With Grace: The Music of Gwyneth Walker in Review

Distinguished Concerts International New York (DCINY) presents With Grace: The Music of Gwyneth Walker in Review

Distinguished Concerts International New York (DCINY) presents With Grace: The Music of Gwyneth Walker
SoHarmoniums , Elizabeth McKinney Núñez, director
Nancy Menk, guest conductor
Gwyneth Walker, composer-in-residence
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Alice Tully Hall, Lincoln Center, New York, NY
November 29, 2014

 

SoHarmoniums

SoHarmoniums

On November 29, Distinguished Concerts International New York (DCINY) presented a concert entitled With Grace: The Music of Gwyneth Walker. There was a festive mood in the air as the audience members happily saluted their favorites. I was seated next to a group of very enthusiastic alumnae from Saint Mary’s Women’s College in Indiana, each of whom had a sleigh bell to ring with delight when the members of that school’s choir took to the stage. “The Bells of Saint Mary’s, you know,” one of these ladies quipped to me. It was yet another reminder about the DCINY experience – joy abounding for performers and audience members. One might think that this listener, a veteran DCINY concert attendee, would be jaded about this, but it still delights me, and I suspect it always will.

The first half showcased the talents of New York’s own SoHarmoniums, and the second featured the music of the well-loved Gwyneth Walker, with chorus members from Colorado, Indiana, Michigan, Pennsylvania, Virginia, and Canberra, Australia. It was a wonderful way to kick off the holiday season.

With Grace: The Music of Gwyneth Walker

With Grace: The Music of Gwyneth Walker

SoHo based group SoHarmoniums took to the stage for the first half. Led by Elizabeth McKinney Núñez, this fifty- member women’s ensemble joined with the Distinguished Concerts Orchestra, and proved to be a well-prepared ensemble that delivered excellent performances. Opening with The Tree of Peace, adapted from the poem “O Brother Man” by John Greenleaf Whittier, the tone was set- this was not to be a “glee club” performance. It was full of import, well-controlled harmonies, and tight balance. This song was followed by a polished rendering of “O Lovely Peace” from George Frideric Handel’s Judas Maccabeus. The next work, Garland, featuring four poems of Emily Dickinson (Is Heaven a physician?, Crumbling is not an instant’s act, We cover thee, and The life we have is very great), was an orchestration by Jim Papoulis of an original composition by Mark Adamo. The essence of Dickinson’s poetry was captured in many ways – there is at times an otherworldly feel, at other times hectic and harried, and often just morose; I believe, however, that this large-scale idea is less well-suited to her poetry than the original scoring. The sparseness of the poetry cries out for a similar approach. The performance, though, was truly exceptional.

 

After this, we heard the song South Sámi People (Åarjel Saemieh), by Frode Fjellheim (b. 1959), whose work has gained interest largely based on his work “Vuelie”, which is the title song for Frozen, the Disney mega-blockbuster. This piece is based on the Sámi style of yoik, an ancient chanting tradition. It is thought that there are fewer than two hundred people who still speak South Sámi today. The music has a primitive, tribal feeling, with an infectious rhythmic quality. It was an effective and clever antidote to the Dickinson work. To end the half, the SoHarmoniums let loose in an unabashedly fun-filled Joy to the World/Joyful, Joyful, which can be simply described as a “Joy to the World” and “Ode to Joy” mash-up. It was a sure-fire crowd pleaser and a happy ending that won the hearts of the audience.

 

With Grace: The Music of Gwyneth Walker

With Grace: The Music of Gwyneth Walker

After intermission, conductor Nancy Menk took to the podium to lead in a selection of works by American composer Gwyneth Walker (b. 1947). She reinforced my already favorable opinion of her work by her strongly focused approach. Ms. Menk runs a tight ship, and the results bear this out in fine performances.

Opening the half was I Thank You God, using text from E.E, Cummings. It was surprisingly weighty to me, perhaps based on my over-exposure to Cummings’s lighter works. At any rate, I was completely won over by the end. It was a great start to the half, and it gave this listener a healthy appreciation for Ms. Walker the composer.

Songs for Women’s Voices No. 1-6, from the 1992 choral cycle of the same name, followed. The texts for these songs comes from the poetry of May Swenson (1913-1989). Before each song, each poem was recited from the stage. The narrator was DCINY’s own Andrea Macy, who projected the various qualities of the poems, some sassy, some serene, others searching for meaning, with a strong dramatic sense, strong and confident, but never resorting to over-emoting or “hamming it up”. These are the works of a skilled composer, rich in melodic invention, without being trite or derivative. It is easy to understand Ms. Walker’s popularity when one hears a cycle like this. Highlights for this listener were the second song “Mornings Innocent” with its “natural”, pastoral qualities, the interweaving of voices in “The Name is Changeless [God]”, and the resigned feeling that remained unresolved on “In Autumn” [I Will Lie Down].

It was a good programming to follow with the light, happy feelings in This Train. Crossing the Bar was a simple, poignant, “heart-on-sleeve” piece that was magical. Ms. Walker came to the stage at the end of the piece to the cheers of the audience.

SoHarmoniums

SoHarmoniums

SoHarmomiums joined with the Distinguished Concerts Singers International in a spirited performance of How Can I Keep From Singing? to end the night with a bang. The audience loved it and jumped to their feet to salute the performers, and Ms. Walker, who returned to the stage once more to collect her richly deserved accolades from the appreciative audience. It was a fitting close to a most enjoyable evening.

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents Carmina amoris: Songs of Love in Review

Distinguished Concerts International New York (DCINY) presents Carmina amoris: Songs of Love in Review

Distinguished Concerts International New York (DCINY) presents Carmina amoris: Songs of Love
Lehigh University Department of Music; Lehigh University Choral Arts
Steven Sametz, Artistic Director/Conductor/composer; Sun Min Lee, Associate Director
Distinguished Concerts Orchestra
Carmen Pelton, soprano; Tami Petty, soprano (off-stage); William Burden, tenor
Stern Auditorium, Carnegie Hall, New York, NY
November 21, 2014

 

Distinguished Concerts International New York (DCINY) is well-known for bringing talented groups from around the globe to New York to appear on the stages of venues such as Alice Tully Hall, Avery Fisher Hall, and of course, Carnegie Hall. On November 21, 2014, DCINY presented a program entitled Carmina amoris: Songs of Love. Featuring the music of Steven Sametz and the vocal talents of Lehigh University, from Bethlehem, Pennsylvania, it proved to be a richly rewarding experience for performer and listener alike. On the program were two works: I Have Had Singing, and Carmina amoris (Songs of Love), in its New York premiere. Mr. Sametz conducted his own works.

Carmina Amoris: Songs of Love

Carmina Amoris: Songs of Love

As the chorus members filed onto the stage, my eyes were drawn to something I had not previously experienced at a DCINY concert. Suspended above the stage was a very large LED device on from which the audience could read the lyrics to the works displayed in letters at least a foot high. Not only did this display help draw the eyes from the printed program to the stage, but also had the added benefit of completeness, as the printed program could not reasonably have included all material in a cost-effective way.

The program opened with I Have Had Singing, a short work that takes it lines from the words, quoted by writer Ronald Blythe, of an aged horseman from Suffolk, England, who in the middle of telling the story of his rather hardscrabble life, stopped to say, “but there was always singing; the boys in the fields, the chapels were full of singing. I have sad pleasure enough; I have had singing.” Mr. Sametz’s work captured the essence of these words with fitting musical simplicity and poignancy. Bolstered by the voices of singers who sang from within the audience (a large number only a few feet from me), this music was an enchanting start to the night.

Carmina Amoris: Songs of Love

Carmina Amoris: Songs of Love

Carmina amoris (Songs of Love) is an hour-long, six-movement Choral Symphony, which could be subtitled “Do those who love create dreams for themselves?” – a recurring line in the work. Mr. Sametz carefully selected writings from epigrams, marginalia, and letters from clerics and nuns from the fourth to thirteenth centuries. These medieval texts prove that while we live in an age of technological wonders, in matters of love we are no more advanced than our so-called “dark ages” ancestors. One could even say that we could learn much from the reading of these beautifully written texts, in our age of 140-character missives and acronym-laden sentences.

The opening movement, Quo fugis amabo? (Where do you flee?), is the longest of the works six movements, at twenty minutes. It tells story of lovers separated by the sea, with the sounds of the waves landing on the shore expressing the longing for each other across the distance. Introduced in the first movement is Ausonius’s fourth -century text: “But do we believe that those who love create dreams for themselves?” Tenor soloist William Burden projected the emotions with great feeling and a powerful voice, although he was at times overwhelmed by the large forces behind him. Soprano Carmen Pelton handled the demands of her part, with its frequent forays into the stratospheric range, with the polished technique and confidence of the excellent artist that she most assuredly is. The second movement, Tarantella- Veni, dilectissime (Come, dearest love) is a three-minute outburst of adolescent ardor in the style of the frenzied dance. Mr. Burden delivered his words in a rapid-fire manner, but the diction and clarity were razor sharp- no small achievement! The third movement, Planctus (Lament) is a largely wordless song for an off-stage soprano. The distant sounds and the sparse text are strongly suggestive of the idea that one without love is like a voice without sound. Soprano Tami Petty sang from the very top balcony, hidden in the corner, stage left. She delivered a performance of great beauty, conveying heartbreak as she navigated the extremes of register with brilliance. The movement ends in a nightmarish way, as the chorus ends with the words “a voice without sound.”

Carmina Amoris: Songs of Love

Carmina Amoris: Songs of Love

The fourth and fifth movements take the form of letters and prominently feature Ausonius’s motto at the end of each movement. The fourth movement, entitled Philomele (To Philomela), is filled with the songs of birds and once again featured Ms. Pelton’s amazing coloratura voice, while the fifth movement, entitled Ego per te (I for you), begins as a duet between lovers before the oft-asked question appears again. Ms. Pelton and Mr. Burden were sublime in duet.

 

Carmina Amoris: Songs of Love

Carmina Amoris: Songs of Love

The sixth and final movement, Invehar in Venerem (Venus be damned!) was a turn in a completely different direction! Gone is the lamenting, the longing, the romantic- this is a ten-minute romp filled with displays of temper, vase-breaking, chair-throwing, and hot-blooded passion. The percussion section of the Distinguished Concerts Orchestra set the mood with a fortissimo rhythmic display on a full battery of drums, punctuated by frequent explosive outbursts of sound. The chorus hissed the text in a most sinister fashion, only to be temporarily interrupted by Ausonius’s motto. This interruption was short-lived, though, and the mood shifted back to the angry ranting, building into a wild cacophony with the chorus, orchestra, and soloists building to a fever pitch until all finally exploded. It seemed counter-intuitive to end with such a fiery movement after the others, but after giving it some thought, it seems to me perfectly placed, and in any case, it was a great crowd pleaser, as evidenced by the reaction of a long and raucous standing ovation. Camina amoris is a work that I highly recommend that the reader hear if he ever has the opportunity to do so.

Congratulations to Mr. Sametz, who not only proved to be a gifted composer, but an excellent and animated conductor. The Lehigh Chorus was well prepared and it showed in a fine performance. Kudos go as well to the fine playing of the Distinguished Concerts Orchestra.

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents “I Believe… Remembering the Holocaust” in Review

Distinguished Concerts International New York (DCINY) presents “I Believe… Remembering the Holocaust” in Review

Distinguished Concerts International New York (DCINY) presents “I Believe… Remembering the Holocaust”
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Jonathan Griffith, conductor
Donald McCullough, conductor/composer, Zane Zalis, visiting composer
Sara Jean Ford, soprano/”Tova”; Rachel Arky, mezzo-soprano; Peter Kendall Clark, baritone, Alexander Gemignani, “Reinhardt”; Drew Gehling, “Aaron”
Alice Tully Hall, Lincoln Center, New York, NY
November 9, 2014

As one who has been to many concerts given by Distinguished Concerts International New York (DCINY), I am very familiar with the “formula” employed; a joyful and/or uplifting theme presented on a large-scale, with world-class guest artists and exciting new compositions with singers of all ages from around the globe. The concert entitled “I Believe…Remembering the Holocaust” captured some of those ideals, but to call a performance in remembrance of what was arguably the most horrific example of cruelty in mankind’s history “joyous” would be inconceivable; it was, however, a thought-provoking and emotionally charged evening that would have been moving even to the hardest heart. A portion of the ticket sales went to benefit the Holocaust Resource Center of Temple Judea, in Manhasset, New York.

Singers from Connecticut, Washington DC, Florida, Virginia, California, Austria, Germany, Canada, and “individuals from around the globe” joined together with the Distinguished Concerts Orchestra in the United States premieres of two works- In the Shadow of the Holocaust and I Believe.

In the Shadow of the Holocaust is a thirteen-movement work featuring music from the archives of Holocaust survivor Aleksander Kulisiewicz (1918-1992), an amateur singer and songwriter, and compiler of songs from his five years of imprisonment. Donald McCullough selected and arranged music from this archive, but also decided to include articles and letters as well to be read before each section. Opening with a sorrow-filled lament played by a cello soloist, the tone was set for a work of sadness, strength, dignity in the face of unspeakable horror, and undying hope. Mr. McCullough proved himself to be not only a capable arranger, but also an effective and sensitive conductor. In my opinion, the selected readings gave the work the foundation of its power. The readers were all excellent, but I must single out Janet Snell in her reading of Letter to Mom. Her reading was so convincing that I am still emotionally devastated – it was absolutely one of the most heartbreaking things I have ever heard. The cello soloist was Caitlin Sullivan, who played with the skill of a first-rate performer and the understanding and emotional projection of a true artist throughout the work. Vocal soloists Sara Jean Ford, Rachel Arky, and Peter Kendall Clark were not to be overshadowed in their featured roles. After the end of the last movement, the silence hung in the air for what seemed an eternity. Mr. McCullough silently closed the score, set his baton down on the podium and turned to face the audience. It almost seemed that to applaud would have been inappropriate after this emotionally draining journey, but at last the silence was broken, and a justly deserved ovation was given to the performers.

I Believe, composed by Zane Zalis, was the second half. This twelve-movement work is well over an hour in length (the program listing it as sixty-five minutes) and has been called a “Holocaust Oratorio”. This designation is apt, but not in the conventional sense of the word. I consider I Believe to have much more in common with Broadway songs then the operatic styles of a conventional oratorio. Far from being a criticism, this quality is in my opinion the strength of this piece, the element that makes it “work.” It is accessible and has appeal to a wide range of listeners. I Believe follows the timeline of the genesis of the Holocaust through the aftermath. It would be beyond the scope of this review to detail each movement, but I highly recommend the reader to visit http://www.ibelieveproject.org/about-excerpts-chapter01.php to explore the story behind each movement.

Broadway singing sensation Sara Jean Ford was an ideal choice for the role of Tova. The child-like innocence of Tova was captured with the added dimension of a soaring, beautiful voice for songs that demanded a singer with her qualities. Alexander Gemignani, as the vile Reinhardt, was a revelation. He was so effective in his role that I found myself despising him with a vengeance each time he spoke, especially when he spewed out the hate-filled rants of Adolf Hitler. Drew Gehling, as Aaron, projected dignity and hope with a voice that reminded me very much of Josh Groban, a singer I enjoy hearing.

Conductor Jonathan Griffith led the large forces with a steady hand in yet another excellent performance I have come to expect as par for the course from this excellent musician. The complexities of the vocal polyphony went without a hitch from the well-prepared chorus members, including a very talented children’s chorus. Barely had the last note died away when the audience leapt up in an ovation. When Mr. Zalis took to the stage, the ovation went from a thunder to a roar. It was a well-earned reaction for an amazing performance of a power-packed work.

 

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
O’ Fallon Township High School, O’Fallon, Illinois, and Bob Rogers Travel present An American Musical Tapestry in Review

O’ Fallon Township High School, O’Fallon, Illinois, and Bob Rogers Travel present An American Musical Tapestry in Review

O’ Fallon Township High School, O’Fallon, Illinois, and Bob Rogers Travel present An American Musical Tapestry
O’Fallon Township High School Combined Choir. O’Fallon Township High School Select Choir; Cristina Nordin, conductor; Phillip Wilhelm, accompanist
O’ Fallon Township High School Symphonic Band, O’ Fallon Township High School Wind Ensemble; Melissa Gustafson-Hinds, Mark Donahue, Sean Michael Harris, conductors
Stern Auditorium, Carnegie Hall; New York, NY
May 27, 2014

 

On May 27, 2014, the O’Fallon Township High School music program, consisting of two choirs and two bands, took the stage in Stern Auditorium in Carnegie Hall with a program entitled “An American Musical Tapestry.” With selections of folk favorites, gospel, popular songs, and Americana, it was a program designed to be crowd-pleasing. For the sake of full disclosure, this reviewer was not present for the concert, but was sent a live, unedited recording of the performance. In the spirit of the live performance, I only listened to the recording a single time, which I believe is the most objective way to review this performance.

The first thing that struck me was the rather large number of selections offered. It is usually my goal to mention every work, but as there were twenty-three works performed, I will focus on the highlights for each of the groups. A second observation, after reading through the printed program, was the very clear concept of the status of the groups – one could liken it to junior varsity/varsity squads in sports. The main difference as I can tell, is that there is no limit on the numbers of players/singers at the “junior varsity” level, while the elite “varsity” numbers were much smaller.

The Combined Choir opened the performance with “Simple Gifts”, in what was a charming start to their program. They exuded energy in “Seize the Day” from the hit musical Newsies,in what the highlight of their selections to this listener. They ended with a lovely rendition of “America.” To be sure, there were issues with the intonation, mainly with the sopranos whenever the music went above the staff, and ensemble-wise in loud sections, both which are not to be unexpected for younger singers. Praise must be given to conductor Cristina Nordin for her musical selections, which were designed both to be entertaining and to showcase the emerging talents of her young singers.

The Select Choir was up next and showed their quality in another excellently chosen group of works. One could feel the languor in Gershwin’s “Summertime” and the jubilation of “Saints Bound for Heaven”, but this listener was especially taken with Billy Joel’s “And So It Goes”, in an excellent arrangement by Bob Chilcott. The intonation was mostly precise throughout, and the ensemble balance was excellent in what was a most enjoyable performance.

After intermission, it was time for the bands to take to the stage. This leads me back to an observation I made in a previous review in this journal about High School bands, specifically the challenges in regards to instrumentation. With nineteen flutes, eleven clarinets and alto saxophones, and twelve trumpets listed on the roster, it would seem the Symphonic Band is rather top-heavy, but one is also a bit surprised there are more tuba players than trombones. Normally, I would have serious reservations about this, but as I am sure it is an “everyone plays regardless of instrument” situation, I will try to refrain from making any more of this issue. Opening with Vaughan Williams’s Flourish for Wind Band, the Symphonic band showed signs of their potential intertwined with some moments of what might have been nervousness. I was pleased that William Latham’s Brighton Beach was much tighter and more focused in performance, bringing back some happy memories for this listener, who played the piece in his own band days long, long ago. The highlight of their commendable performance was the Emperata Overture, by one of the greats of band composition, Claude T. Smith. I am sure many of these talented youngsters will fill the roster of the Wind Ensemble in the near future.

The Wind Ensemble took the stage and immediately affirmed their “varsity” status in a polished performance of Bernstein’s Overture to Candide, one of the staples of the advanced band repertoire. It had the right touch of irony without ever crossing into mockery. However, their performance of David Maslanka’s Requiem was not only the highlight of their selections, but far and away the highlight of the entire concert for this listener. Regular readers of this journal are aware of my admiration for Maslanka’s works, but with that admiration come high expectations in performance. It truly was exceptional – a performance that was profoundly moving from start to finish.

To conclude the concert, the combined forces of all four groups gave a stirring performance of United We Stand, a medley of patriotic songs.

Music is alive and well in the O’Fallon Township, and all the young performers can feel justly proud. One must also acknowledge the fine work of Cristina Nordin, Mark Donahue, Sean Michael Harris, and Melissa Gustafson-Hinds in their leadership and development of a fine music program.

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
Camerata Virtuosi New Jersey presents “Dream High” Discovery Series II in Review

Camerata Virtuosi New Jersey presents “Dream High” Discovery Series II in Review

Camerata Virtuosi New Jersey presents “Dream High” Discovery Series II
Orchestra of Camerata Virtuosi; Byung-Hyun Rhee, music director and conductor
Special Guest: Quartet PIRI
Merkin Concert Hall. Kaufman Center; New York, NY
June 22, 2014

 

In a program entitled “Dream High,” the Camerata Virtuosi New Jersey presented four young soloists in selections of works by Mozart, Haydn, and Accolay. As preludes to each half, the Camerata and special guest Quartet PIRI, a clarinet quartet, contributed their own selections in addition.

Opening with a spirited reading of the Allegro of Mozart’s Divertimento in D major, K. 136, the Camerata Virtuosi got the night off to a good start. The playing was precise and well articulated, with balance that was excellent throughout. These qualities would serve well in the subsequent works.

Nine-year-old violinist Katelyn Moon (yes, nine-year-old!) took to the stage. It appeared that she was using a three-quarter-size violin. She played the Violin Concerto No.1 in A minor (written in 1868), by Jean- Baptiste Accolay (1833-1900). A one-movement work commonly referred to as a “student concerto,” it is a showpiece without extreme technical demands. Before one gets the impression that this piece is not worthy of performance, let one be reminded that many famous violinists have played it long after their student days were over, most notably Itzhak Perlman. One is naturally hesitant to pass judgment on such a young player, but certainly one can say that Ms. Moon is remarkable for her age; she tackled the work without difficulties and projected well in a steady performance. I should like to hear her again in three or four years playing a more challenging work, with a full-sized instrument.

Ann Jinee Youn followed with the Allegro spiritoso of Haydn’s Concerto for Oboe in C major, Hob. VIIg:C1, the only concerto Haydn composed for the oboe. Ms. Youn played with confidence, nimbly navigating the demanding passagework, and with a rich tone and solid intonation. Not only were the technical demands met, but subtler aspects of artistry are clearly emerging. Ms. Youn has a musicality beyond her years, and it was a most enjoyable performance.

Conductor Byung-Hyun Rhee was effective as a conductor and very attentive to the needs of his young soloists. From the basics, such as occasionally instructing when to bow (something easily forgotten by a nervous young performer), to the more critical points, keeping the orchestra in balance and synch with the soloists, he was an ideal collaborator.

After intermission, Quartet PIRI offered selections of Bizet, Piazzolla, and Luis Bonfa (1922-2001). Led by the personable Hana Kim, this clarinet quartet displayed style, commitment, and charm. Highlights were Piazzolla’s Oblivion, and the Manha do Carnaval from Bonfa, which got the audience into the act with finger snaps, as prompted by Mr. Kim.

The final soloist of the evening, Heesoo Yim, had the honor of playing the entire Concerto for Flute in G Major, K. 313 by Mozart. Ms. Yim is a complete player, combining technical facility, careful attention to matters of musicality, and clear projection. Her playing has a light, butterfly-like touch in the rapid passages, but without any of the “breathiness” of tone that so many young players have. Her playing in the Adagio was expressive without being affected, avoiding another pitfall of many lesser players. The Rondo was just the finishing touch on a top-notch performance. Ms. Yim was rewarded with an enthusiastic ovation from the audience.

These young performers should all have bright futures and I look forward to following their progress.

 

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by Jeffrey Williams  for New York Concert Review; New York, NY