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
Distinguished Concerts International New York (DCINY) presents Celebration and Reflection, Part 2 in Review

Distinguished Concerts International New York (DCINY) presents Celebration and Reflection, Part 2 in Review

Distinguished Concerts International New York (DCINY) presents Celebration and Reflection, Part 2
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Bob Chilcott, conductor; Danielle Talamantes, soprano, Christian Reinert, tenor
René Clausen, conductor
Alice Tully Hall, Lincoln Center; New York, NY
May 26, 2014

 

The Distinguished Concerts International New York (DCINY) presentation of the two-part concert series “Celebration and Reflection” continued with Part 2 on May 26, 2014 at Alice Tully Hall. Headlining this concert was the Requiem by Bob Chilcott, and the World Premiere of Festival Te Deum from René Clausen, with the added dimension of having both composers conducting their own works. The afterglow of Part 1 was still very much with me, and I was hopeful that the high standards would continue in Part 2. With chorus members from California, Georgia, Minnesota, New Jersey, New York, Ohio, Virginia, Italy, Korea, The Netherlands, Spain, and “individuals from around the globe,” there to lend their collective talents, it had the makings of an enjoyable evening.

The first half consisted of the Requiem by Bob Chilcott (b. 1955). Requiem was commissioned for performance in concert with Beethoven’s Mass in C major, and Mr. Chilcott followed Beethoven’s example in using the same orchestration of double woodwinds, trumpet, timpani, and strings. The traditional Latin Mass text was used, but the Dies Irae and Libera me were omitted and in their place, Mr. Chilcott used text from the Book of Common Prayer, “Thou knowest, Lord, the secrets of our hearts.” It was Mr. Chilcott’s stated goal to write a piece that “could be sung by singers of all abilities.” Drawing upon his own extensive experience as a singer and conductor, Mr. Chilcott has succeeded in the realization of his goal. Requiem is gentle and reflective, with accessible harmonic language and effective vocal writing that allows lesser-skilled singers to shine. There are moments of breathtaking beauty, most notably the Lux aeterna, but the entire work is uniformly excellent, in what this listener is now adding to his list of “finds.”

Mr. Chilcott proved himself to be an able conductor, who was completely immersed in the work. One could sense that he was performing the choral parts in tandem with the chorus. Soprano Danielle Talamantes and tenor Christian Reinert were revelations as well in their refined and emotionally powerful performances. The last measures of the Lux aeterna, featuring a soft ascending figure in the upper register, were sung by soprano Danielle Talamantes with a perfect diminuendo al niente, or to complete silence, and a child-like innocence that was exquisitely controlled and crystalline in its clarity. It was as if an angel were ascending into the heavens – a simple, but stunning effect. The audience immediately leapt to their feet to reward the composer with a justly earned ovation.

After a brief intermission, Grammy award-winning composer René Clausen (b. 1953), a DCINY favorite, took the podium. His work, On This Shining Night, using the poem of the same name by James Agee as text, opened the second half in a new arrangement for chorus and orchestra. Colorful and rich in melodic ideas, the scoring of the orchestra with the chorus enhanced the already expansive work, which was given an artistically satisfying performance.

Of his Festival Te Deum, Dr. Clausen writes, “The compositional style of the work can be rather easily classified as neo-Romantic, with straightforward rhythms, harmonic language that does not significantly move beyond traditional tension/resolution, and vocal and instrumental writing that is idiomatic, yet takes full advantage of instrumental and vocal capabilities.” These qualities are a hallmark of Dr. Clausen’s works and the reason why he is a great favorite of choral ensembles of all levels. As the title implies, this is a festive work full of vitality, optimism, and celebration. This listener, already an admirer of Dr. Clausen’s work, was impressed by both the piece and the first-rate performance. Festival Te Deum is yet another example of the gifts Dr. Clausen possesses as a composer, and is a work that is sure to enjoy extensive performances, as it will surely enter the standard repertoire.

As a final reminder of the occasion, An American Hymn by Cecil Effinger, with orchestration by René Clausen, closed the evening. This setting of America, The Beautiful was given a stirring reading, which ended the concert with a splash.

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents Celebration and Reflection, Part 1 in Review

Distinguished Concerts International New York (DCINY) presents Celebration and Reflection, Part 1 in Review

Distinguished Concerts International New York (DCINY) presents Celebration and Reflection, Part 1
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Aimee Beckmann-Collier, DCINY Debut conductor; Rachel E. Copeland, soprano; Rachel Arky, mezzo-soprano; Shawn Mlynek, tenor; Jeremy Galyon, bass
Bradley Ellingboe, guest conductor; Dann Coakwell, tenor
Avery Fisher Hall, Lincoln Center; New York, NY
May 25, 2014

Memorial Day is a time for reflection and to give our thanks to all the men and women who gave their lives so we can enjoy the liberty that their sacrifices made possible. Distinguished Concerts International New York (DCINY) presented a two- part concert series entitled “Celebration and Reflection” to commemorate those heroes.  Avery Fisher Hall was the venue for Part One, the first half of the program being Mozart’s “Coronation“ Mass, and second half, the World Premiere of Star Song, by Bradley Ellingboe.

The Patriot Brass ensemble returned again this year and entertained the audience members as they entered the hall with a pre-concert selection of marches, popular tunes, and Americana.  As the chorus members from Iowa and Kansas (and “individuals around the globe”) filled onto the stage, the mood was set for a festive evening.

Mozart’s Mass in C major is called “Coronation” because it is believed that this work was performed at a coronation in Prague. Some claim it was used for the coronation of Leopold II in 1791, while others state it was used for Franz II in 1792. In any case, written in 1779, the Coronation Mass remains fresh and vital 225 years later, another testament to Mozart’s genius.

Conductor Aimee-Beckmann-Collier took to the podium, and it was apparent from the start that the chorus, soloists, and orchestra were all well prepared.  Attacks were precise and crisp, and the chorus sang with clear diction and good ensemble balance. Maestra Beckmann-Collier was a superb leader in her no-nonsense approach – passionate, but never out of control. It was also notable that she “kept it all together” during the Credo, when a stampede of approximately forty late comers made for their seats in a manner better suited for the Running of the Bulls at Pamplona! One must also commend the soloists, soprano Rachel E. Copeland, mezzo-soprano Rachel Arky, tenor Shawn Mlynek, tenor, and bass Jeremy Galyon in their standout performances as individuals, and in duet and quartet settings. Each voice was clear and projected with power to overcome the large forces behind them, without one overshadowing the others.  This was truly a winning performance on all accounts.

Star Song is a work built on a fascinating idea. The idea that “everything vibrates” and the implications of that idea all the way to the atomic level captured Mr. Ellingboe’s imagination. He writes, “The stars -and the atoms we share – were my muse. This is the central premise of Star Song. It is a big concept, and something I have pondered for a long time and probably always will, until the atoms that comprise me are off being something else.” The twelve-movement work features poems from Juhan Liv, John Milton, Saint Hildegard, Rainer Maria Rilke, Siegfried Sassoon, Billy Collins, Walt Whitman, thoughts from Vincent Van Gogh, and texts from traditional Hebrew and Algonquin. On paper this is very impressive, but how would it all translate to actual performance? In some instances, it was realized with excellence, but I was less taken with some sections.  The music is eclectic, but the more whimsical selections (most notably the Questions About Angels from Billy Collins) projected glib, Broadway-tinged writing, which in itself is not necessarily a bad thing, but a style that undercut the import of other sections. Mr. Ellingboe is a skilful composer with a wealth of ideas, so I was hoping for more. I do believe that he will continue to refine Star Song, and it will be interesting to hear a later performance.  The star of Star Song was tenor Dann Coakwell, who handled all the various styles with remarkable ability. It did not matter whether the style was a recitative, an arioso, or just slapstick, the end result was one of excellence. Mr. Ellingboe is also an engaging conductor as he led his composition with the enthusiasm he projects in abundance. Congratulations to the chorus members from New Mexico, Arizona, Illinois, and Virginia who gave their all as well in a committed performance. The large audience responded to Star Song with a heartfelt ovation.

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents A Breath of Fresh Air in Review

Distinguished Concerts International New York (DCINY) presents A Breath of Fresh Air in Review

Distinguished Concerts International New York (DCINY) presents A Breath of Fresh Air
Alice High School Honors Band, Arnold Garza, director; Del Mar Master Chorus and Concert Choir, Corpus Christi Chorale
Dennis S. Richardson, Ross C. Bernhardt, directors
Special Guest: Khorikos, Jesse Mark Peckham, director
Stern Auditorium at Carnegie Hall; New York, NY
May 23, 2014
 

A program entitled A Breath of Fresh Air, featuring both band and choral ensembles, was presented by Distinguished Concerts International New York (DCINY) at Stern Auditorium at Carnegie Hall on May 23, 2014. As one who is quite familiar with the DCINY experience, I was looking forward to an evening of music from talented groups from all parts of the country.

As any regular reader of this journal would already know, the wind ensemble (‘band”) is a great favorite of this listener. I admit, though, to a large amount of skepticism in the quality of a prospective performance featuring High School players. The typical High School band usually has the following issues to deal with: An overabundance of core instruments ( i.e. trumpets, flutes, clarinets) with a corresponding shortage of other instruments ( i.e. tuba, bassoon, French horns, etc.), a wide variance in playing abilities within and between sections, and difficulties with ensemble intonation-YouTube is littered with countless examples of “intonation optional” performances. As the Alice High School Honors Band filed onto the stage, I could not help but smile as I watched a young lady stride confidently to her seat carrying her contrabass clarinet. My inner “band geek” was reawakened and I found myself eagerly anticipating the first notes.

Led by Arnold Garza, himself an alumnus, the Alice High School Honors Band boasts an impressive number of contest wins. Much like a successful sports program, an exceptional band program is one that feeds from earlier successes and attracts the most talented students. It was immediately obvious that my concerns above were unfounded as the young players launched into The Circus Bee, by Henry Fillmore (1881-1956) – it was delightful. This work, written in 1908, was a well-chosen opener – a crowd pleaser and hyper-energetic piece, which allows a young group to put the adrenaline rush of performing to good use.

Angels in the Architecture followed,by concert band composer par excellence Frank Ticheli (b. 1958). This highly complex work (The Texas Band State List rates this work as level 5, the most difficult) is a challenge usually beyond the abilities of a High School ensemble. It is a struggle between the forces of light and dark throughout and quotes some well-known melodies, most noticeably the traditional Hebrew melody “Hevenu Shalom Aleichem.” The work begins with an off-stage soprano singing the Shaker song “Angel of Light,” while members of the percussion section wave what are called “whirlies,” which are flexible, corrugated tubes of rubber or plastic that produce a tuned pitch depending on the velocity at which it is rotated. It was a visually interesting touch and paired with the far away voice singing from the highest balcony, it produced an effect that was quite haunting. The young players were up to the challenge in an outstanding performance that greatly impressed this listener. I would not have guessed this was a high school ensemble by the high standard of playing, both from the various soloists, and the ensemble as a whole. The final measures ended with the return of the soprano and the whirlies fading into silence, until one could have heard a pin drop. Credit is due to the soloists (Elizabeth Elizondo, Zachary Villareal, Michael Torres, Ruben Najera, Lauren Rodriguez, and Alexandra Chapa) and the fine work of Maestro Garza.

Salvation is Created, by Pavel Tschesnokoff (1877-1944) followed. Subtitled A Chorale Prelude, this work is not technically demanding, but it does require a delicately precise ensemble balance, or else the chorale effect is destroyed. A lesser group could play all the notes with little trouble but still deliver a substandard reading. There was no danger of that here in a performance that was a virtual clinic on the art of playing a chorale. Special mention goes to French horn soloist Jordan Gonzalez. To end their program, the Finale from the Tchaikovsky 4th Symphony was played with pure joy from start to finish. Oboist Courtney Schmidt played her solo with polish. The audience responded with a well-deserved ovation.

After a short break, the Del Mar Chorus and Concert Choir and the Corpus Christi Chorale joined sixteen players from the Alice High School band in performance of Canticles of Light, by Bob Chillcott (b. 1955). It is a three-movement work using ancient Latin hymns for the text. Drawing on his extensive singing experience, Mr. Chillcott has written a work that can be performed by all levels of singers while not sounding overly simplistic. Dennis S. Richardson led the combined forces with sensitivity. The close harmonies were sung with precision, and the band provided an extra dimension of weight in what was a fine performance.

After intermission, the Del Mar Chorus and Concert Choir and the Corpus Christi Chorale returned to the stage to give the World Premiere of In Memoriam by Ross C. Bernhardt, which Mr. Bernhardt also conducted. This three-movement work was originally a single movement work written by Mr. Bernhardt using a selected text from a winning bidder at a silent auction. The text was a poem titled Póstuma Ofrenda (Final Offering), the style of which reminds one of Pablo Neruda. Mr. Bernhardt then conceived the idea of a larger work and added two movements, In Paradisum, from the Latin Requiem Mass, and The Choir Invisible, using George Eliot’s verses of the same name. In Memoriam is a quietly powerful and moving work. Mezzo-soprano soloist Hope Fairchild Thacker’s voice was sublime throughout, but her singing in the second movement Póstuma Ofrenda was heartbreakingly poignant. The chorus behind her provided excellent balance, tight harmonies, and a fade to silence that was a perfect end to the movement. It was a fine performance of a fine work.

Khorikos, led by founder Jesse Mark Peckham, took the stage to close the night. Khorikos is an a cappella group that is one of New York’s elite choral ensembles. Indeed, to judge by the performance tonight, that reputation should include anywhere! This listener has heard many excellent a cappella groups, but Khorikos was truly a cut above in a performance that was stunning from start to finish. For the record, the works performed were No llores, paloma mía (Do Not Weep, My Dove), by Guillermo Martinez, Where Flames a Word, by Kile Smith, Miserere, by Frank La Rocca, and A Song of Joys, by Nick Omiccili. Mr. Smith and Mr. La Rocca were in attendance and took well-deserved bows for their fine works.

Congratulations to all for a great night of music.

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by Jeffrey Williams  for New York Concert Review; New York, NY
Ana Maria Trenchi Bottazzi in Review

Ana Maria Trenchi Bottazzi in Review

“Yes I Can”: A Musical Soirée; Ana Maria Trenchi Bottazzi, piano
Stanley H. Kaplan Penthouse, Lincoln Center, New York, NY
May 17, 2014

 

Yes I Can. These three simple words are a declaration by the renowned pianist Ana Maria Trenchi Bottazzi, who has been physically debilitated for the last three years, that she would be the one to decide that she could play and would not give in to her conditions. The May 17, 2014 performance at the Stanley H. Kaplan Penthouse at Lincoln Center was dedicated to Ana Siero de Trenchi, Germaine Pinault, Martin Canin, Drs. Patrick O’Leary, Robert Cooper, Anne Moore, C. Ronald MacKenzie, Edward Rachlin, and the entire Bottazzi family, all of whom helped her to be able to perform again. It proved to be an inspiring evening.

Ms. Bottazzi is no stranger to adversity. I remember when I was twelve years old reading an article in Reader’s Digest (“You Won’t Play The Piano Anymore,” by Robert T. Jones, November 1977) about her car accident, the horrific injuries, and the thirteen year struggle to return to the concert stage. There have also been countless surgeries and other challenges. Ms. Bottazzi was wearing a special back support brace and using a cane as she was carefully escorted to the stage. “It is easier to play the piano than it is to walk,” she quipped. She spoke at length, thanking the audience of her friends, family, students, teachers and colleagues, and doctors for their support. The message of the evening was clear- Ms. Bottazzi is a person who believes that anything she truly wants to do is possible, and she will not suffer any naysayers. Some would say that at this point in her life that retirement would be appropriate, but Ms. Bottazzi will have none of that. Doing what others say is not possible has been the leitmotif of her artistic life.

Ms. Bottazzi performed what was part concert and part spoken autobiography, with sprinklings of anecdotes and wisdom for students, musicians, and non-musicians alike. My personal favorite was advice for the student- “I cannot abide when a student hits the piano in anger. Never, ever strike the piano in anger when you make a mistake. The piano did not make the mistake!”

The first half of the concert featured two works and the life stories that were so strongly associated with these works. It would fill many pages if I were to recount the details of these stories, so I will limit myself to brief summaries. The first story, “Yes, I Can”- Paris Conservatory of Music, told of the young artist in bloom in Paris, and her great reverence for her first teacher Germaine Pinault. TheSonata in C major by Baldassare Galuppi (1706-1785) was the piece selected and it played with a delicate touch and close attention to voicing. It was simple, yet heartfelt. Next, First Encounter with my New Teacher, St. Louis, Missouri, told of a new teacher that she hated prior to meeting Martin Canin on February 13, 1970, and becoming his student. The esteemed Mr. Canin was in attendance and smiled as Ms. Bottazzi shared reminiscences about those days. Beethoven’s Sonata No. 23 in F minor, Op. 57 (the “Appassionata”) was the work that followed. It was played with a great understanding of the dramatic pacing. The Andante was especially moving. One must note that there was something lacking in power, and there were moments of struggle, but considering that it must have been extremely difficult to play while wearing a heavy back brace, one should not be overly critical. As Ms. Bottazzi herself said after finishing, “It was not as good as I can do, but under the circumstances it was quite good.”

After a long intermission, Ms. Bottazzi opened the second half with a premier of Variations from the First Sonata by a composer called “Fuchs”, the first name missing from the program. It was neither Kenneth Fuchs nor Robert Fuchs, and it was certainly not Johann, but he was a Fux, not a Fuchs anyway! After some investigation, I learned it was Helmuth Fuchs. This piece was a good parallel to the Galuppi opening, and was played by Ms. Bottazzi with a similar grace. After this, with the story Going to Miami or Haiti, Ms. Bottazzi regaled the audience about her adventures in an airport that had planes leaving and returning to the terminal in a manner worthy of an “I Love Lucy” episode. Ms. Bottazzi then played Chopin’s Nocturne in E-Flat Major, Op 9. No. 2, in a deliberate manner, slowly savoring each phase and with a delicate touch. My First Encounter With and Welcome to Juilliard told the story of Ms. Bottazzi’s struggle and success as she attempted for three years to gain admittance to the doctoral studies program at Juilliard. The Andante Spianato and Grande Polonaise Brilliante from Chopin followed. Ms. Bottazzi bravely summoned her last reserves, projecting flashes of brilliance despite evident fatigue. The musical shape and feeling were well-conceived, and I am certain that if Ms. Bottazzi were to play this again, it would more accurately reflect her artistry.

As an encore, Ms. Bottazzi dedicated Anatoly Liadov’s Music Box, Op. 32 (also commonly known as Musical Snuff Box) to her mother, in what was one of the more unusual dedications I have encountered. Suffice it to say it was a story of rebellion in keeping with Ms. Bottazzi’s feisty spirit. After the Liadov, Ms. Bottazzi was showered with flowers by a procession of students, family, and friends.

 

 

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

Distinguished Concerts International New York (DCINY) presents The Cry of Jeremiah in Review

Distinguished Concerts International New York (DCINY) presents The Cry of Jeremiah
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Robert A. Harris, composer/conductor
William C. Powell, DCINY Debut Conductor; Rosephanye Powell, composer/narrator
Alice Tully Hall, Lincoln Center; New York, NY
May 10, 2014
 
Cry of Jeremiah

The Cry of Jeremiah

 

Distinguished Concerts International New York (DCINY) presented a concert of works by prominent African-American composers and scholars Robert Harris and Rosephanye Powell in a program entitled “The Cry of Jeremiah,” at Alice Tully Hall at Lincoln Center on May 10, 2014. Mr. Powell was to conduct the New York premiere of his Gloria. The Cry of Jeremiah (also a New York premiere)was to feature the composer, Ms. Powell as the narrator, with her husband William Powell conducting. With approximately two hundred and fifty singers from Alabama, Illinois, Florida, North Carolina, South Dakota, the Bahamas, and “individuals from around the globe,” it was the tried-and true DCINY formula: Bring together talented musicians and let the magic unfold. This performance was no exception.

Opening the concert was the Gloria. It is a five-movement work scored for chorus, soprano soloist, and orchestra. The movements are Gloria in excelsis Deo, Laudamas Te, Domine Deus, Qui tollis, and Quoniam tu solus sanctus. As is stated in the notes, any of these movements could be performed independently. Often this modular approach leads to some unevenness, but the five movements mesh together well. Gloria is a work filled with brilliance and poignancy. Gloria in excelsis Deo is strongly reminiscent of the opening movement of John Rutter’s Gloria in both the brass and vocal writing. Soprano soloist Heather Hill was exceptional in her role in the Domine Deus and Quomium tu solus sanctus movements. Her upper register was crystalline in its clarity and beauty, with an exquisitely controlled vibrato that was perfect for this work. This listener found the Qui tollis to be particularly compelling both harmonically and stylistically. The bold final movement dies away to a quiet ending with the word Amen delivered almost in a whisper. Mr. Harris is a no-nonsense conductor, who led with understated restraint.It was a performance of which the chorus, orchestra, and soloist could be proud.

The Cry of Jeremiah tells the story of the prophet Jeremiah’s struggles as he is abused and imprisoned for his prophecies. This four-movement work is scored for narrator, chorus, organ, and orchestra, and freely uses the 20th chapter of the book of Jeremiah for the text. Those movements (and corresponding verses) are entitled Is Not His Word Like a Fire (Jeremiah 20:9), O Lord, You Have Deceived Me (Jeremiah 20:7-9), Cursed Be the Day (Jeremiah 20: 14-18),and Hallelujah! (Jeremiah 20:11-13).Each movement opens with the narrator speaking as Jeremiah before the chorus and orchestra enter.

As well as being an accomplished composer, Ms. Powell is an exceptional orator. She became Jeremiah as the words came forth with raw emotion. Those words were at turns despairing, raging, and finally, exultant. The power of her oratory was spellbinding, deepening the meaning of the music that followed. One wonders, with the narration so inextricably bound to the music, whether a less passionate narrator (or omitting the narration) might possibly nullify the power of the music, but such is the case with many similar compositions. In any case, this work most likely was written with a very specific audience in mind, and while it is an effective work for the concert stage, it is an emotionally supercharged work that would enjoy great success in performances at churches or houses of worship.

The music of The Cry of Jeremiah is eclectic. There is Baroque-influenced contrapuntal writing mingling with jazz harmonies and rhythms, and African-American spiritual/gospel vocal styles. Combined with the narration, this is a theatrical work that demands not just to be heard, but to be experienced in all its glory. Conductor William Powell led the Distinguished Concerts Orchestra and chorus with the quiet strength and confidence of one who is in full command. The chorus radiated the emotions of the spoken words with equally passionate ensemble singing. The audience was so taken by this work that they greeted the end of each movement with enthusiastic applause, in spite of the request in the program to hold all applause until the end of the final movement.

When soprano Brandy Woods came to the front of the stage in the Hallelujah! and unleashed a improvisatory solo while the chorus swayed and clapped in a frenzied joy, it brought the already excited audience to a fever pitch. When the last note was sounded the audience sprang up as one in a thunderous ovation, saving the greatest appreciation for Ms. Powell, who was the star of the evening. Ms. Powell joined Ms. Woods in a jubilant gospel-style improvisation as the chorus encored the last section of the Hallelujah. The audience clapped and swayed along to bring the evening to a triumphant close.

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents Vocal Colors in Review

Distinguished Concerts International New York (DCINY) presents Vocal Colors in Review

Distinguished Concerts International New York (DCINY) presents Vocal Colors
Alice Tully Hall, Lincoln Center; New York, NY
April 12, 2014

 

What does one call a concert with 243 singers drawn from seven choirs from Alabama, Georgia, and Indiana, singing fourteen works by fourteen different composers? The presenting organization Distinguished Concerts International New York (DCINY) called it “Vocal Colors,” in what was a night filled with a wide variety of music, some playful, some poignant, but all performed with commitment and a sense of joy.

The honor of opening the concert was given to the Alabama A&M University Concert Choir. Led by Horace R. Carney, Jr., they offered six works that showcased their versatility in a wide range of styles. Humor abounded in Paul Carey’s Play With Your Food, featuring some clever skits (including a serenade to a box of instant mashed potatoes), which had the audience laughing out loud. Water Night by Eric Whitacre was done with sensitivity, but the gospel inspired works were a cut above the rest. The opening work, Lift Every Voice and Sing from Roland Carter, immediately established that this choir was the real deal. Hehlehlooyah from James Furman allowed the choir to demonstrate their mastery of more contemporary complexities, and Stacy Gibbs’ setting of Psalm 46 in Be Still and Know was given a quietly powerful and assured performance. Maestro Carney extolled his choir to pull out all the stops in Moses Hogan’s Elijah, a dazzling tour-de-force that ended their set in triumphant style. The audience loved it and showed the appreciation for this high-octane finale with a well-served standing ovation. I must admit that I would have expected an ensemble of this caliber to close the concert. The high-level of their performance no doubt inspired the two choirs that followed.

After a short pause, four choirs from Indiana joined together under the direction of Scott R. Buchanan. They were the Cathedral High School Singers, the Elkhart Memorial Chamber Choir, the Indiana State University Concert Choir, and the Terre Haute South Chamber Singers. They offered seven works. As with the Alabama singers, versatility was very much a theme. The simple (F. Melius Christiansen’s Praise to the Lord and Blow Ye the Trumpet by Kirke Mechem) and the complex (Hosanna in excelsis from Brent Pierce) were delivered with equal measures of skill in very polished performances. Not to be overlooked were the lovely Autumn by Joshua Shank, using Rainier Maria Rilke’s poem of the same name for the text, and Jeffery L. Ames’ achingly poignant In Remembrance, including piano and violin accompaniment,written after a tragic accident that took the life of one of the composer’s students and two members of her family. Maestro Buchanan steered his forces through these diverse works with careful attention to the subtle details. The highlight of their set was Ritmo by Dan Davison, which was a treat for both eyes and ears. Complete with polyrhythmic hand clapping and stomping, the choreographed movements were in perfect synch, which added an extra dimension to a lively, exciting work. In a final touch of showmanship, the singers executed the “wave” to the delight of all. They brought their set and the half to a festive close with Damon H. Dandridge’s energetic Rockin’ Jerusalem, which was rewarded with a standing ovation.

After intermission, The Combined Choral Ensembles of Davidson Fine Arts School and Westminster Chorale took the stage. Hailing from Georgia, these young singers were led by Timothy Michael Powell in his work Saint George and the Dragon. Many are familiar with the legend of Saint George rescuing the captive Princess Sabra from the evil dragon Ascalon and saving the Kingdom of Silene.  In this version, with libretto by Charles Anthony Silvestri, the story is given a new telling fitting for today’s world. The Princess is someone who wishes to explore everything, but her father gives her up in ignorance to what he thinks is a monster. The dragon is a force for good and sets the Princess free and offers to carry her around the world so she might explore. Finally, our erstwhile hero George is an awkward teenager who is sincere but completely misguided what he believes to be his duty. He is not very bright, but eventually the dragon teaches him with compassion that there is more to things than meets the eyes. George grows into a hero worthy of sainthood, and Sabra and Ascalon fly off to explore the world.  The message is clear:  1. Women do not need saving, they are strong and smart. 2. Appearances can be deceiving. 3. We are all capable of rising above long-held prejudices if we open our minds and hearts to do so.  Mr. Powell has written a work that allows younger singers to showcase their developing talents, without making it sound pandering, a mark of a skilled composer who understands the voice in all stages of development. Including a piano and violin accompaniment, this work was led with the steady guiding influence of Mr. Powell. It was given a standout performance by some up-and-coming talents. It is always a treat to see the smiles on the faces of these young performers as they give it their all. It is an image I never tire of, and when it is paired with a polished performance, it is all the better. The audience loved it and rewarded the group with a standing ovation, ending what was a great evening of music.

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents Bridges to the Future in Review

Distinguished Concerts International New York (DCINY) presents Bridges to the Future in Review

Distinguished Concerts International New York (DCINY) presents Bridges to the Future
The University of Southern Denmark Symphony Orchestra, Saul Zaks, director
Hershey Symphony Orchestra, Sandra Dackow, director
Stern Auditorium at Carnegie Hall, New York, NY
April 22, 2014
 

Distinguished Concerts International New York (DCINY) is justly renowned for presenting groups and performers from around the world in New York’s famous concert halls – and to enthusiastic audiences. On April 22, DCINY presented not one, but two orchestras, the University of Southern Denmark Symphony Orchestra and the Hershey Symphony Orchestra in a concert entitled “Bridges to the Future.”

The University of Southern Denmark Symphony Orchestra took to the stage to start the concert. “Dance of the Cocks” from the opera Maskarade (Masquerade) by Carl Nielsen (1865-1931) was the first piece. What could be more natural than a Danish orchestra playing a selection from Denmark’s national opera and from the pen of the man most consider to be Denmark’s greatest composer? This spirited piece was played with an extroverted and expansive sound, from the bold, decisive attacks in the opening bars to the rousing finish. The string section was especially strong in some very fine ensemble playing. The winds had moments of less than precise playing, but the overall effect was excellent. Conductor Saul Zaks led with a steady hand, never allowing the exuberance of Nielsen’s conception to become overblown.

Following the Nielsen was the Piano Concerto in A minor, Op. 16, by Edvard Grieg. Of course Grieg was Norwegian, not Danish, but one can make allowances for the Scandinavian connection. Christian Skovgaard Flarup was the un-credited soloist (this I was able to figure out from the personnel listing of the orchestra and connecting his appearance at the piano in a later work). In what can only be described as a curious choice, the first two movements were the only ones played. I am familiar with the idea of playing a single movement of a concerto (usually as a time-saver or time-filler, or for a young artist to play with orchestra as a special reward), but to offer two movements, while omitting the third strikes me as a poor decision. One can speculate on the reasons for this – the most plausible (based on a last-minute quality to the performance) might be that the soloist had not as yet mastered the finale. The net effect spoiled the work, and it would have been better either to omit the second movement as well or to have not played the work at all. There were moments in the first movement when orchestra and soloist were out of synch, but Maestro Zaks worked very diligently to keep everyone together. Mr. Flarup gave a credible performance, but the cadenza in the first movement was played with excessive caution, which stripped all the drama away. He has undeniable talent, but there is still much work to do, based on this concert.

Following the Grieg came music from the 1942 ballet Tolv med Posten, Op.37 (“Twelve by the Mail,” based on the Hans Christian Andersen story of the same name), by Estonian-born, Danish composer Knudåge Riisager (1897-1974). Three selections were offered, full of charm and whimsy, but also including some brilliant writing for the brass. The excellent string playing was joined by equally dynamic work from the winds and brass. In the closing measures of the last selection, the entire winds and brass sections stood, bringing this delightful set to a joyful close.

As a last-minute addition to the program, Oblivion, by the Argentine tango master Astor Piazzolla, ended the half. After the happy-go-lucky Riisager, it seemed to be an odd choice to end the half with this melancholic piece. Perhaps it was meant as a warm-up for the second portion of their program. In any case, the cello soloist was rewarded with a standing ovation for his sensitive performance. Sadly, his name was only hastily announced before the start of the program as the large audience was at its pre-concert loudest, drowning out any hope of actually hearing it.

Before moving on to the second half, I must address a serious issue. The complete omission of any program notes, biographical information for composers, and soloists’ names (especially in a Piano Concerto!) was at best an unaccountable carelessness that I am not prepared to excuse (not to mention the misspelling of Danish national treasure, Hans Christian Andersen). This concert was a big event for this orchestra, playing in one of the finest concert halls in the world, so it is mind-boggling that these amateurish oversights occurred. It is disrespectful to the listening audience, who should not be expected to have expert knowledge of these works and the composers. It undercuts the efforts of these fine musicians, who, of course are not responsible for this, but nonetheless are assigned the guilt by association. They, as well as the audience, deserve better.

The Hershey Symphony Orchestra hails from Hershey, Pennsylvania. Led by the energetic Sandra Dackow (who provided program notes for her group’s works), they took the stage to open the second half. Their program consisted of two works, Danzón No. 2 by the Mexican composer Arturo Márquez (b. 1950) and the much-loved Polovtsian Dances from Prince Igor of Alexander Borodin.

Danzón No. 2 is a work overflowing with rhythmic vitality that captures the energy of the Cuban and Mexican dance style that it is named for. While it was premiered in 1994, its explosion of popularity can be attributed to Gustavo Dudamel’s programming of this work in 2007 for a North American tour with the Simón Bolívar Youth Orchestra. Maestra Dackow was an ebullient tour guide as she led her ensemble in what can be called a ten-minute journey of unbridled fun. The playing was passion-filled, and at times even overzealous in terms of volume, but no doubt the Hershey players were captured by the adrenaline rush of the moment. In any case, I’ll happily take some over-exuberance to a lackluster reading every time.

Next up was Borodin’s Polovstian Dances. Themes from these dances were used in the musical Kismet, the most famous being the unforgettable Stranger in Paradise. From the hauntingly beautiful opening and first theme, to the final notes, this was another performance filled with animated conducting and playing. Aside from occasional intonation issues, this was a fine performance of which the Hershey Symphony can be proud. One could sense that both Maestra Dockow and the orchestra were having the performance of their lives. One often hears of athletes “being in the zone” when they are performing at an exceptionally high level. The Hershey Symphony was in the zone, and it was wonderful to see Maestra Dockow pump her fist in exaltation at the end of the Borodin. The audience agreed and responded with a raucous standing ovation.

After a small pause, The University of Southern Denmark Symphony Orchestra returned to the stage for the second portion of their program, which was dedicated to the art of the tango. This might seem an odd choice from a Danish orchestra, but one considers that Maestro Zaks was born and raised in Argentina, it all makes sense. Bandoneon player Paolo Russo was the soloist in works by Piazzolla, Eduardo Rovira, Carl Nielsen (in an arrangement Mr. Russo made) and a work from his own pen called Corrientes y Callao. Maestro Zaks has taught his orchestra the art of the tango well in performances that transported the audience to the cafes and clubs of Buenos Aires. Mr. Russo was an engaging soloist, capturing the mood with both his skillful playing and his charismatic stage demeanor. All the stops were pulled out for the last piece of the night, Piazzolla’s popular Libertango, which closed the tango set with a bang. The audience members roared their approval.

 

 

 

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

Distinguished Concerts International New York (DCINY) presents The Drop of Dawn in Review

Distinguished Concerts International New York (DCINY) presents The Drop of Dawn
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Jonathan Griffith, Music Director; Christopher Tin, composer-in-residence
Stern Auditorium at Carnegie Hall, New York, NY
April 13, 2014
 

In a concert entitled The Drop of Dawn, Distinguished Concerts International New York (DCINY) presented the music of Christopher Tin. The title makes reference to the two works on the program, Calling All Dawns, and the World Premiere of his latest work, The Drop That Contained the Sea. Featuring eight vocal soloists and chorus members from Georgia, North Carolina, Illinois, Washington, California, Wisconsin, Vermont, Indiana, Pennsylvania, Canada, England, and “individuals around the globe” (the program listed 543 singers!), it was what I have come to expect from DCINY – an extravaganza.

Christopher Tin (b. 1976) is a composer whose works cover diverse genres. Mr. Tin has written for orchestra, electronica, film and television, and video games. Calling All Dawns won two Grammy awards, for Best Crossover Classical Album and Best Instrumental Arrangement Accompanying Vocalists (for Baba Yetu).

The concert opened with Calling All Dawns. This is the second time DCINY has programmed this work, the first time at Avery Fisher Hall on April 7, 2013. I had the privilege of reviewing that performance for New York Concert Review. For information about the background of Calling All Dawns and my impressions of that performance, interested readers can refer to that review by clicking here: Calling All Dawns in Review April 7, 2013. Since that occasion, I have had the opportunity to hear the recording of this work and study parts of the score, and have found my initial reaction to this crowd-pleaser to be mostly unchanged.

What was especially interesting about this performance was that the soloists often took multiple roles (in multiple languages), whereas the prior performance had featured a multitude of soloists in singular roles. This was no mean feat, considering that many of the languages were not ones that one would usually encounter in the concert hall. Tenor soloist Saum Eskandani was at times inaudible in the Baba Yetu and Rassemblons-Nous movements, which I would attribute to excessive exuberance from the orchestra (especially the percussion section) coupled with the failure to quickly correct a microphone level that was too low. When Mr. Eskandani could be heard clearly, he delivered emotionally charged performances. Fadista Nathalie Pires and Mongolian vocalist Nominjin invested every last ounce of passion in their songs, while Anonymous 4 singer Jacqueline Horner-Kwiatek and Indian Classical vocalist Roopa Mahadevan showed everyone why Mr. Tin had selected them for the Calling All Dawns recording. Finally, Jerome Kavanagh delighted the audience when he came on stage in Maori tribal dress, chanting in Maori and dancing in the final movement.

Conductor Jonathan Griffith led the large forces with his customary skill, while the chorus was having the time of their lives swaying to the music as one. It was everything a performance should be – polished technically and delivered with uninhibited joy by individuals who truly love what they are doing.

At the start of the second half, Jonathan Griffith and Christopher Tin joined together for an impromptu conversation onstage about The Drop That Contained the Sea. Mr. Tin stated that he had been travelling around the world seeking the specific vocal sounds of different cultures to use for this work. The Drop That Contained the Sea is a ten-movement work. As with Calling All Dawns, each movement is in a different language, those languages being Proto-Indu-European, Turkish, Bulgarian, Xhosa, Mongolian, Portuguese, Sanskrit, Ancient Greek, Old Norse, and Lango. Even though one can say that the blueprint is similar, the end product is reflective of Mr. Tin’s deepening maturity as a composer. While retaining his marked ability for writing music with a wide appeal, he has also formed his own distinct voice without any obvious influences (including from his own Calling All Dawns). The Drop That Contained the Sea is a powerfully dramatic work, well-conceived and skillfully realized. For those persons unable to attend (or for those who want more), a recording of The Drop That Contained the Sea (due for release on May 8, 2014) is available for purchase at www.christophertin.com

The soloists had smaller roles than in Calling All Dawns, but all delivered strong performances. It was especially gratifying that Saum Eskandani’s voice was consistently heard here in its full resonance. Nathalie Pires, Roopa Mahadevan, and Nominjin returned and were joined by Mezzo-soprano Charity Dawson, who proved herself to be a powerhouse. This was a winning combination of talents, and one might hope they appear on the soon-to-be released recording.

The chorus handled the demands of the often complicated writing and the diverse languages with remarkable ability, and the Distinguished Concerts orchestra was very effective in handling the different colors and moods, from the serenity of Devipravaha (Goddess River) to the fierce Viking-like intensity of Haf Gengr Hríðum (The Storm-Driven Sea). Once again, one must praise Jonathan Griffith for leading an excellent first performance of a complex and emotionally charged work.

The final movement Waloyo Yamoni (We Overcome the Wind) ended with all the soloists, the on-stage choir joined by several hundred more singers in the balconies, and the full orchestra in an explosion of sound bringing this fine work to a exultant conclusion. Recalling what I had written in the April 7, 2013 review, “The audience reacted after the final notes with the loudest and longest standing ovation I have ever heard at any concert. Mr. Tin was called to the stage and the ovation became deafening.” The reaction tonight moved the bar up many decibels! It was a fitting end to a wonderful evening, and I eagerly await the next collaboration between Mr. Tin and DCINY.

 

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