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
Distinguished Concerts International New York (DCINY) presents: Defying Gravity: The Music of Stephen Schwartz and Eric Whitacre in Review

Distinguished Concerts International New York (DCINY) presents: Defying Gravity: The Music of Stephen Schwartz and Eric Whitacre in Review

Distinguished Concerts International New York (DCINY) presents: Defying Gravity: The Music of Stephen Schwartz and Eric Whitacre
Distinguished Concerts Singers International; Eric Whitacre, composer /conductor; Stephen Schwartz, special guest artists; Ashley Brown, Sara Jean Ford, special guest performers; Tali Tadmor, piano
Avery Fisher Hall, Lincoln Center; New York, NY
March 30, 2014

 

A concert featuring the music of the legendary Broadway composer Stephen Schwartz paired with the music of the wildly popular and dynamic Eric Whitacre was destined to be a sure-fire winner.  Distinguished Concerts International New York (DCINY) brought this concept to Avery Fisher Hall on March 30, 2014 in a concert entitled “Defying Gravity” (a reference to a song from Stephen Schwartz’s smash Broadway hit Wicked). Eric Whitacre was to conduct his own works and those of Stephen Schwartz, with Tali Tadmor at the piano. Special guests Ashley Brown and Sara Jean Ford were also to have featured roles. The full hall was buzzing with excitement as family members looked for their “star”, hoping to get onstage photographs.  These young (and not so young) performers were ready to be part of something special that each one would treasure forever. I have witnessed this excitement countless times, but it still delights me.  DCINY “defies gravity” each concert they give, lending wings to the musical dreams of countless persons from around the world.

The first half chorus consisted of High School ensembles from China, Georgia, New Jersey, California, Pennsylvania, Colorado, “and individuals from around the globe,” as the program notes state. Eric Whitacre bounded onto the stage to launch the afternoon by leading an energetic and engaging performance of Mr. Schwartz’s Defying Gravity. One could see joy in the faces of so many of these young performers, setting the tone for the rest of the concert.  Next up was Mr. Whitacre’s Lux Aurumque, one of his earlier works (used for the initial “performance” of Whitacre’s famous Virtual Choir: Eric Whitacre’s Virtual Choir- Lux Aurumque).  The chorus handled well the challenges of the close harmonies and the divisions of voices.  It was a bit top-heavy at times, not at all surprising considering the young women outnumbered the young men in a ratio of about three to one, but was the net effect was still beautiful. The next work, Mr. Whitacre’s the city and the sea, part of the DCINY Premiere Project, uses the texts of five poems by E.E. Cummings. Three selections, the jaunty No.1 i walked the boulevard, the nostalgia-tinged No. 3 maggie and milly and molly and may, and the furiously hectic No.5, little man in a hurry were given strong characterizations. Mr. Whitacre told the humorous story behind the next work, Seal Lullaby, with text from Rudyard Kipling, originally intended for a DreamWorks project that was abandoned in favor of Kung Fu Panda. Mr. Whitacre’s setting would have been DreamWorks gold if the project moved forward. The tune is simple, yet very moving, and the timbre of young voices was simply perfect in a touching performance. What If, from Mr. Whitacre’s upcoming musical (on which he has been working on for more than a decade) Paradise Lost: Shadows and Wings, followed. My enjoyment of this work was affected by both the missing lyrics in the program and the accompanying pre-recorded track, which overwhelmed the chorus. If over two hundred singers were not able to overcome this track, then it was WAY too loud, and it should have been dialed back a notch or four.

After this, Mr. Whitacre introduced Stephen Schwartz, who took over at the piano for his own works.  The first song, Testimony, was inspired by the “It Gets Better” project, which was created by Dan Savage to give hope to bullied LGBT youth around the world. Testimony takes words from actual interviews of those who lived through the pain and the horrors of being bullied. Moving from despair to hope to acceptance to celebration, the message is clear: hang on, it will get better, and life is full of wonders waiting to be found.  It is a powerful message, and the music reflected this in an inspired performance that had many audience members in tears.  For the last two songs of the first half, Spark of Creation and Ain’t It Good, from Children of Eden, Broadway superstar Ashley Brown unleashed a passion-filled performance that closed the half with a bang, bringing the audience to its feet.

After intermission singers from Michigan, Connecticut, Canada, Italy, “and individuals from around the globe” took the stage. With the exception of a few very young performers, this chorus was composed of college-age and older singers. Mr. Whitacre returned to the stage and told the story behind his Sleep, which opened the second half. Originally written using Robert Frost’s Stopping by Woods on a Snowy Evening, Mr. Whitacre was denied permission by the Frost estate to use the text in any form, including performance, until 2038 (when the work would enter the public domain), and was threatened with legal action.  Luckily for Mr. Whitacre, his friend Charles Silvestri was able to provide him with a metrically identical poem, for which Mr. Whitacre was able to use the already written music. It was a given a winning performance.

Mr. Whitacre’s Animal Crackers, Vols. 1 and 2, followed, and had the audience howling with laughter. The composer used Ogden Nash’s hilarious animal poems (Volume 1- The Panther, The Cow, and The Firefly: Volume 2- The Canary, The Eel, and The Kangaroo) in ways that were every bit as witty as Nash himself. Mr. Whitacre read each poem before it was performed by the chorus. The “mooooooo” in a slow yodel during The Cow, the “ew!” building in intensity to a soft, staccato “yuck! for The Eel, the incessant repetition of “never varies” in The Canary, and the Tchaikovsky B-flat minor Piano Concerto/ O Christmas tree mashup in The Kangaroo, had this listener laughing every bit as loudly as the audience.  These five or six minutes were the highlight of the afternoon to this listener.  A Boy and Girl, with text from Octavio Paz followed this merriment, and the shift of gears was handled seamlessly in another satisfying performance. It is always amazing that these ensembles are able to put forth such polished readings with such short rehearsal time. Sara Jean Ford, Broadway star and no stranger to DCINY events, came to the stage to sing Fly to Paradise, which was the selection for the fourth performance of the Virtual Choir.  Her voice truly soared in a dynamic performance.  Once again, a pre-recorded electronic track was added to the mix, and once again it was too loud. Ms. Ford was able to triumph over the decibel levels by virtue of her strong voice and the use of a microphone. The chorus was more audible as well.  Even Mr. Whitacre made a joke about the volume, saying, “Choral music is LOUD!”

Stephen Schwartz returned to the stage and took the piano again to close the half and the concert with three of his works. The first, Keramos, is a setting of a portion of Henry Wadsworth Longfellow’s poem of the same name.  The chorus took the audience on a moving life journey through Mr. Schwartz’s musically adept setting. The second song, Forgiveness’ Embrace, was sung and played by Mr. Schwartz himself as if he were telling the story of his own life journey. The last selection, For Good (from Wicked) combined the vocal talents of Ashley Brown, Mr. Schwartz, and the chorus. Ms. Brown, as the professional that she is, deftly handled a microphone malfunction by grabbing another microphone without missing a beat. The energy was electrifying in a terrific performance that brought this highly enjoyable concert to a close. The audience responded with an extended ovation. Congratulations to all!

While all the performers are to be congratulated, it was Eric Whitacre who was the star of the day. Mr. Whitacre is a one-of-a-kind talent. His music has mass appeal to an audience that normally would shun “classical” music. He is young and energetic, an ideal ambassador for the “cause”, and is one of the most charismatic individuals I have seen or heard in any field. He is a “rock star” in a decidedly non-rock world!  One could go on and on, but I will limit myself to a comment I overheard in the hall- “I would listen to Eric Whitacre read the phone book.” Any further comments would be superfluous.

 

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents: a cappella NEXT: An Evening Dedicated to Contemporary Choral Music in Review

Distinguished Concerts International New York (DCINY) presents: a cappella NEXT: An Evening Dedicated to Contemporary Choral Music in Review

a cappella NEXT: An Evening Dedicated to Contemporary Choral Music
Ad Astra Singers, John Paul Johnson, director; NOTUS: IU Contemporary Vocal Ensemble, Dominick DiOrio, director; UC Berkeley Chamber Chorus, Marika Kuzma, director
Weill Recital Hall at Carnegie Hall, New York, NY
March 21, 2014 

Distinguished Concerts International New York (DCINY) is well known for their large concert productions featuring many hundreds of performers from around the globe.  What might be not as well known is that DCINY also presents smaller concerts in much more intimate venues. Such was the case with “a cappella NEXT,” a concert focusing on contemporary choral music showcasing the talents of three outstanding a cappella ensembles in Weill Recital Hall on March 21, 2014.

Opening the concert was the University of California at Berkeley (UC Berkeley) Chamber Chorus. They began with a solid and well delivered selection entitled, “Let Everything that hath breath praise the Lord” from Requiem: A Dramatic Dialogue by Randall Thompson (1899-1984), who taught at UC Berkeley in the 1930s. The ensemble segued from this work into Ashes from alumni Trevor Weston (b. 1967). This work is a meditation on 9/11. The word “ashes” refers both to Psalm 102 and to the debris from the aftermath of the attack.  The program notes make reference to an aural depiction of the fall of the twin towers, an effect this listener found to be far too glib at best, especially in contrast with the actual event, still very much burned into one’s consciousness. This very large reservation notwithstanding, the work at other moments was hauntingly moving and was given a beautiful performance overall.  Awit sa Panginoon, by another alumnus, Robin Estrada (b. 1970), followed. This work uses the text of Psalm 30:1-6, set in the folk style of the composer’s native Philippines and employing extended vocal techniques. The placement of the two singers casually sitting on the stage ledge lent a certain charm to their duet and suggested an offhandedness belying the work’s challenges. It was delightful. The remaining works, Excerpts from Sephardisms II by Jorge Liderman (1957-2008),”Winter” from The Seasons by Richard Feliciano (b. 1930), and “Vesna” from Pory Roku by Lesia Dychko (b. 1939), were all given highly polished performances. The desolation and sparseness of “Winter” gave way to the joyous optimism of Spring in “Vesna”, which brought the last of the UC Berkeley Chamber Chorus’ selections to a happy close.  The energetic and personable Marika Kuzma led her ensemble through this varied program with precise attention to detail. As she wrote in her program notes about her ensemble’s eclectic selections, “it’s all good.” Not only was it “all good,” but it was all given an excellent performance.

After a short break, NOTUS, the Indiana University (IU) Contemporary Vocal Ensemble took to the stage.  They opened with the World Premiere of To The Roaring Wind from Zachary Wadsworth (b. 1983), which uses the Wallace Stevens two-line poem of the same name for the text. It is a dramatic and highly effective work that should find a place in the a cappella repertoire. NOTUS gave this work a top-notch performance, with excellent uses of extended vocal techniques, and great clarity of sound. Another World Premiere followed, Virginia: The West, by composer Aaron Travers (b. 1975). Using the poem of the same name from Walt Whitman’s Drum Taps, it was given a nuanced performance that captured Whitman’s powerful imagery. The “Passacaglia” from the 2013 Pulitzer Prize winning Partita for 8 Voices by Caroline Shaw (b. 1982) came next. NOTUS showed how prepared they were in a rendition that was at all turns simply astonishing. They tackled the multi-layered complexities with ease and delivered a performance to remember. O Virtus Sapientiae by Dominick DiOrio (b. 1984) proved that Mr. DiOrio is not only an outstanding director, but a talented composer as well. His ingenious setting of Hildegard von Bingen’s original chant was breathtaking. It was a slight disappointment that the three soloists were not positioned in the North, South, and West directions as indicated in the program notes, probably because of the limited space, but this is a small quibble that in no way detracted from the performance. NOTUS ended their portion of the program with Zephyr Rounds by Robert Vuichard (b. 1986). This clever work used the text of John 3:8. With its unconventional meter (13/8), Zephyr Rounds has a feeling of continuous, bustling motion. It was given a joyous and energy-packed performance. Dominick DiOrio led NOTUS with ebullience, weaving a tapestry of golden sounds. He is also to be commended for crediting the fine soloists from the stage, a nice gesture that this listener very much appreciated.

After another short break, the last ensemble on the program, the Ad Astra Singers, took the stage. Hailing from Wichita, Kansas, the Ad Astra singers take their name from the state motto Ad Astra per aspera (“To the stars through difficulties”). One can say with confidence that this fine ensemble did not show any indications of “aspera”! The World Premiere of Four Haikus by Aleksander Sternfeld-Dunn opened their program. The text for these haikus was inexplicably omitted from the program notes, which struck this listener as careless, but the work was compelling. Ad Astra showed right from the start that they are the “real deal” in a performance filled with charm and wit. Two works from Jean Belmont Ford (b. 1939) followed, “Draba” from A Sand Country Almanac, and the World Premiere of Love Song. Both are works of a highly skilled composer and both exploited the talents of Ad Astra in compelling fashion. The close harmonies were executed to perfection, and the balance of voices was superb throughout. O Magnum Mysterium from Wayne Oquin (b. 1977) was next, and the pattern of excellence continued in a precise and radiant performance.  Ending with Cantus Gloriosus by Polish composer Józef Świder (b. 1930) was a good choice, as it was yet another example of the rich voice blending and balance in which Ad Astra excels. It was a glorious end to a glorious program. One must tip one’s hat to the fine work of director John Paul Johnson, who led Ad Astra with the steady hand of a master.

A final thought – while it was good to have the English translations to the texts to most of the works, it was a glaring oversight to omit the original texts in the language in which they were written (and sung). The reason to include texts is to allow listeners to follow along, even if they do not understand the language. Connecting the strains of foreign languages to the printed English did not enhance the otherwise musically enjoyable experience.

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by Jeffrey Williams  for New York Concert Review; New York, NY
Star Concert Productions presents Carine Gutlerner, pianist in Review

Star Concert Productions presents Carine Gutlerner, pianist in Review

Carine Gutlerner, piano
Weill Recital Hall at Carnegie Hall; New York, NY
February 25, 2014
 

Pianist, choral conductor, composer of film music, and visual artist, Franco-Belgian Carine Gutlerner is a person of many talents.  One can sample her output in all these areas at her website www.carinegutlerner.com. In a program of Beethoven, Mussorgsky, Brahms, Chopin, Tessier, and Van Rossum, to  promote her two CDs on the C.E.A Musika label- Franck/Mussorgsky (2011) and Beethoven/Brahms (2014), Ms. Gutlerner performed at Weill Recital Hall on the evening of February 25, 2014. I have heard Ms. Gutlerner in recital previously at Merkin Hall, and was left with mixed feelings. On that occasion there were moments of inspiration and beauty (especially in the works by Brahms) mixed with a lax approach to detail. How I would find this performance? It is always an interesting experience to hear the same performer twice.

It should be said that there was considerable doubt this recital was even going to take place.  Ms. Gutlerner only arrived several hours before the 8:00PM start time, having been subjected to the bureaucracy of those agencies responsible for issuing her a visa. I must express my admiration and respect to Ms. Gutlerner for “going on with the show” under such trying circumstances.  Other artists have cancelled concerts for much less compelling reasons, but Ms. Gutlerner showed she is made of sterner stuff.

Ms. Gutlerner opened with the United States premiere of Chant de l’Aube by French composer Roger Tessier (b. 1939). A short piece that could be described as Robert Schumann making a guest appearance in a Messiaen-like work, it was played by Ms. Gutlerner with commitment and special attention to detail, bringing the Schumann quotes out with tenderness. Beethoven’s monumental Sonata No. 32 in C minor, Op.111, followed and reinforced my earlier impressions. Ms. Gutlerner has her own ideas about this work and does not seem to be overly concerned with the smaller details in a reading that at times was sublime and at other times, erratic and unfocused. One wanted, even needed, more pathos and power in the opening movement and more subtlety in the Arietta. Chopin’s Ballade No.2 in F major, Op. 38 followed and was lacking the fury of the stormy second theme one hopes for, but overall, Ms. Gutlerner’s performance was solid, if somewhat undifferentiated. Twelve Miniatures, Op. 10, by the Belgian composer Frederik Van Rossum (b. 1939) followed the Chopin – No.1 (Prelude), No.9 (Toccata), No. 10 (March), No.11 (Elegy), No. 12 (Finale). These works all have strong similarities to Prokofiev and Shostakovich (The Finale I would jokingly refer to as “Son of the Prokofiev 7th”, as in the famous sonata’s finale). Ms. Gutlerner played these works with the right sense of biting humor and sarcasm in a nice end to the first half of her recital.

After intermission, Ms. Gutlerner offered two selections from the Klavierstücke, op 118, of Johannes Brahms: The No.5 Romance in F major, and the No. 6 Intermezzo in E-flat minor. Ms. Gutlerner’s playing of these Brahms pieces was exceptional. She seems to be possessed of a special affinity for his works, and I hope that she will dedicate her considerable talents for Brahms’s music more extensively. These were far and away the highlights of her recital to this listener.

Mussorgsky’s Pictures at an Exhibition ended the concert, at moments commendable and other times dangerously close to coming off the rails. High points included Bydlo, played with the just the right touch of heaviness, the Ballet of the Unhatched Chicks, played with humor and grace, and the Catacombs, which was excellent. On the other side, The Hut on Fowl’s Legs (Baba Yaga) was at times nearly unrecognizable, while The Great Gate Of Kiev was beset with wrong notes and overall messiness. Ms. Gutlerner has her own ideas about this work, most of which I find to hard to embrace, but the audience seemed to be pleased with her interpretation and gave her an enthusiastic reception.

Ms. Gutlerner is an artist who paints with broad strokes.  Those strokes are often seemingly careless and imprecise, but few would disagree that the larger conception is what matters the most. When one stands back and looks at the canvas, one sees the whole picture, not so much the individual brush strokes. The “whole picture” in this recital was one that provoked thought, and one of them, especially in this day and age of “production line” players, is that artists, even performers, are human beings.

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by Jeffrey Williams  for New York Concert Review; New York, NY
Michigan State University College of Music presents Michigan State University Wind Symphony in Review

Michigan State University College of Music presents Michigan State University Wind Symphony in Review

Michigan State University Wind Symphony
Kevin L. Sedatole, conductor; Lindsay Kesselman, soprano
Stern Auditorium, Carnegie Hall; New York, NY
February 22, 2014

 

In a performance billed as “commemorating the 10th anniversary of the premiere performance of John Corigliano’s Symphony No. 3, Circus Maximus,” the Michigan State University Wind Symphony concluded their five-city tour at Stern Auditorium at Carnegie Hall. In addition to Circus Maximus, another Corligiano work, Mr. Tambourine Man: Seven Poems of Bob Dylan, and Traveler by David Maslanka were on the program. The combination of one of my favorite wind ensemble composers (Maslanka) with one of my favorite composers period (Corigliano) held the promise of being a very enjoyable concert.

This listener is a great fan of the wind ensemble, having cut his musical teeth, so to speak, playing some of the works of the great composers of “band” music (e.g. Clifton Williams, W. Francis McBeth). With this experience also come some very strong opinions and high expectations. What actually transpired far and away exceeded my original hopes.

Opening the concert was Traveler (2003) by Michigan State University alum David Maslanka (b. 1943). Written in honor of the retirement of Mr. Maslanka’s friend and colleague, Ray C. Lichtenwalter, Traveler is a musical rendering of a life journey. The energetic first section, as the composer states, is  “depicting an engaged life in full stride.” The second and final section becomes quiet and meditative as the soul’s final preparation for the end of one journey and the beginning of the next. Mr. Maslanka has frequently alluded to his great admiration for J.S. Bach, so it is not altogether surprising that a Bach chorale, Nicht so traurig, nicht so sehr (Not so sad, not so much), BWV 384, is quoted in the opening of Traveler. The end of the journey need not be considered sad. Quoting Mr. Maslanka, “[In] our hearts, our minds, our souls- We travel from life to life to life- In time and eternity.”

Conductor Kevin L. Sedatole strode onto the stage and within seconds unleashed the dynamo that is his ensemble, setting the standard for the entire concert. Intonation was precise, and the playing was crisp and clearly articulated in the opening section’s rapid passages, which I have heard less skilled ensembles muddy up into an amorphous musical blob. The energetic percussionists dashed about as several players took on multiple roles. The final section was rendered with an otherworldly serenity that was simply breathtaking. As the music slowly faded away, disappearing into silence, the audience was spellbound.

Mr. Tambourine Man: Seven Poems of Bob Dylan (2000/2009) by John Corigliano (b.1938) followed. Scored for soprano soloist, and (in this arrangement) wind ensemble, the seven songs are Mr. Tambourine Man, Clothes Line, Blowin’ in the Wind, Masters of War, All Along the Watchtower, Chimes of Freedom, and Forever Young. The concept of taking lyrics of Bob Dylan’s songs and recasting them without any reference to the original musical material is a bold undertaking, even for a composer of the skill of Mr. Corigliano. The question of whether or not this “works” has a highly subjective answer. I would speculate that listeners who are very familiar with the original songs by Bob Dylan and the “hard-core” Dylan fans might experience more difficulties in “letting go”. To this listener, the settings were effective in the sense of capturing the power of the lyrics as if they had never had music associated with them. Soprano soloist Lindsay Kesselman made these songs her own in a performance filled with passion. Her diction was excellent and the colors of her voice really brought out the meanings of Dylan’s lyrics. There were countless moments of excellence, but I will mention just one that caught me off guard. The last line of Masters of War (‘Til I’m sure you’re dead) was delivered with a bone-chilling, angry hiss that I was not expecting from such a radiant voice! She was a joy to watch and hear, and when she finished Forever Young, the audience gave her a richly deserved and prolonged ovation. Mr. Corigliano came to the stage and shared his enthusiasm for the superlative performance the amazing Ms. Kesselman gave of his work.

After the intermission, it was time for the showstopper: Corigliano’s Symphony No. 3, Circus Maximus (2004). Scored for wind ensemble on-stage, off-stage players throughout the hall (in this case in each tier of the auditorium), including a small marching band, it is an approximately thirty-five minute work in eight sections that are played without pause. Those eight sections are entitled Introitus, Screen/Siren, Channel Surfing, Night Music I, Night Music II, Circus Maximus, Prayer, and Coda-Veritas. As Mr. Corigliano writes, “The parallels between the high decadence of Rome and our present time are obvious. Entertainment dominates our reality, and ever-more-extreme ‘reality shows’ dominate our entertainment.” Circus Maximus is a musical depiction of this decadence, and a shockingly effective one at that. It is at turns brash, monstrous and grotesque, ear-splittingly loud, but also filled with humor and moments of poignancy. It grabs the listener by the throat and holds him there for the entirety of the work.

I am quite familiar with this work, but this is the first time I have seen it staged live. The word staged is not a mistake, as this massive work is not something one just hears, but experiences in every sense of the word. Although there is an excellent recording of this work on the Naxos label conducted by Jerry Junkin (the commissioner and dedicatee of Circus Maximus) and the University of Texas Wind Ensemble, it simply cannot compare to a live performance. The infrequency of performances of this incredible work is regrettable, but understandable, given the ferocious difficulty of the music and the complexity of managing all the aleatoric elements with widespread forces.  I must express my admiration for the work of conductor Kevin Sedatole, who was the ultimate ringmaster for this circus! (There is an excellent 2010 performance lead by Maestro Sedatole on video that one can view by clicking here.)

The playing of the Michigan State University Wind Symphony was outstanding from the opening calls of the Introitus to the last notes of the Coda. This was playing of a level that I would rate as being in the top five of all wind ensembles I have heard or played in (and there have been some heavy hitters on the list). I was transfixed in a way I can’t recall experiencing, and while the brilliance of the work was a factor, it is the players that make it all happen. It’s self-evident – it doesn’t matter how good the work is if the players are not good.

Highlights abound and I could go on and on, but I will limit myself to a few things I found to be particularly striking.  Channel Surfing, with the constant stops, starts, and interruptions from all locations around the hall was really as if someone with a remote control were pushing buttons every few seconds in a sonic depiction of Attention Deficit Disorder. The use of soft mallets on the interior of the piano on the low A string in a continuous tremolo during Night Music I gave this section an eerie atmospheric aspect that was mesmerizing. The marching band wending its way down the aisles, onto the stage, past the conductor, and back up the aisles in the Circus Maximus section delighted all. I especially enjoyed the spectacle of this merry band passing directly by my seat. The Prayer section was hauntingly serene after the preceding chaos.

At the end of the Coda, a gunshot (yes, a gunshot!) ends the work. After the report of the gun, the stage went instantly to black, which was an inspired touch. The lights slowly came on to find Maestro Sedatole with his baton still suspended in midair as if he were frozen in time. The audience did not wish to wait for the customary lowering of the baton before exploding into an immediate standing ovation. One did not need to be a music reviewer to know they had just experienced something awe-inspiring. After a ten-minute standing ovation (in which Mr. Corigliano was called back to the stage multiple times), Maestro Sedatole led the ensemble in a rousing MSU Fight Song, to the delight of the many Michigan State University students, parents, and alumni in attendance.

There are concerts that one enjoys, but those memories often fade as time passes. There are others one remembers for negative reasons. The instances of concerts that years later still fill my memory with wonder are rare indeed. This is a concert that will remain as one of the highlights of my concert-going experiences. Congratulations to Maestro Sedatole and the superb Michigan State University Wind Symphony.

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
International Performing Artists presents Xiayin Wang, Piano in Review

International Performing Artists presents Xiayin Wang, Piano in Review

International Performing Artists presents Xiayin Wang, Piano
Escher Quartet: Adam Barnett-Hart and Aaron Boyd, violin; Pierre Lapointe, viola; Dane Johansen, cello
Merkin Concert Hall, Kaufman Music Center; New York, NY
January 27, 2014

 

In a concert presented by International Performing Artists, pianist Xiayin Wang joined with the Escher Quartet in works by Fauré, Piazzolla, and Schumann. Both Ms. Wang and the Escher Quartet are much in-demand performers who have appeared in venues around the world and enjoy countless accolades. This pairing of highly accomplished artists had the promise of being an evening filled with masterful music making.

The Piano Quartet No. 1 in C minor, Op. 15 by Gabriel Fauré (a last minute change from the scheduled Piano Quartet No.2 in G minor, Op. 45 by the same composer) opened the program. There were intonation issues at the beginning of the Allegro molto moderato that got things off to a problematic start, especially in contrast to the pristine piano work. Eventually, this all came under control.  The excellent solos from the string players were highlights of the opening movement.  The Scherzo sparkled, and the sorrowful Adagio was beautifully played. It is said this movement was influenced by Fauré’s heartache about his broken engagement to Marieanne Viardot, and one can feel it.  The ending impression was mixed – the notes were there, and the playing (other than the intonation issues) was polished, but the feeling of a true ensemble was not altogether present. It did seem like a case of three plus one, instead of a true quartet. Ms. Wang is a fine pianist, and her playing in this demanding work was truly exceptional, but her laser-like focus on the virtuosic aspects of her part gave the impression of a mini-concerto performance as opposed to chamber music.  One can speculate why this was – perhaps the last minute change of program? In any case, it was a solid, if less than completely satisfying, performance.

Three works from Astor Piazzolla, Otono Porteño, Oblivion, and Libertango, in arrangements by the composer-pianist Clint Edwards, followed the Fauré.  Mr. Edwards captured the essence of these pieces in his effective arrangements.  From the pizzicato opening of Otono Porteño, through the poignant laments of Oblivion, and finally the tease of a lugubrious opening of the Libertango that finally burst into the saucy tango style that Piazzolla was so famous for, it was played with a perfect mix of spice and substance. It was an enjoyable end to the first half that showed both Ms. Wang and the Escher to great advantage.

After intermission, the Piano Quintet in E-flat major, Op. 44 from Robert Schumann was the only work on the second half. Written for and dedicated to Schumann’s wife, Clara, during a period when the composer had finally won his battle to marry his beloved, this work is the product of a musician at the height of his powers and with seemingly limitless creative energy. The history of this 1842 work is highly interesting in many ways. The idea of combining a piano part with a standard string quartet had never be done prior to this work; the excellent program notes state that this was the first piano quintet written, but that is technically not entirely accurate, because other composers, notably Schubert in the Trout Quintet, wrote for quintet using the double bass in place of the second violin. In any case, one must credit Schumann with the invention of a new form of chamber music. Incidentally, during a private performance prior to the public premiere, Clara was too ill to play, so Felix Mendelssohn stepped in and sight-read the piano part! Mendelssohn also suggested an addition of a second trio in the scherzo, which Schumann added.

Whatever reservations I had about the interaction of Ms. Wang with the Escher were not an issue during the Schumann.  Ms. Wang was fully engaged with her partners at all times in a performance that was worthy of this great composition. Ms. Wang made short work of the difficult piano part with ease, as one would expect from a player of her caliber, but with the added dimension of a true collaborator instead of soloist in an ad hoc role. This was the synthesis of dynamic forces that I had been hoping for earlier. It was “all-for-one, and one-for-all” playing that I would normally associate with players who have an extensive history together.  The end result was a performance that was well conceived in its bold, joyful, and optimistic outlook. I am still basking in its afterglow.

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