Jeffrey Williams | New York Concert Review, Inc.

The Second Coming in Review

The Second Coming

Ensemble du Monde, Marlon Daniel, Music Director and Conductor

Gwendolyn Howard, violin

Special guest: Hampson Sisler, composer

Society for Ethical Culture, New York, NY

December 14, 2013

World Premiere of the Oratorio The Second Coming by H. Sisler

In a concert to celebrate the release of the CD recording of The Second Coming by Hampson Sisler (b. 1932) on the MSR Classics label (MSR 1489: www.msrcd.com), Ensemble du Monde, with forces fifty strong under the direction of Marlon Daniel, gave a promotional performance of this new work. Those hearty souls who braved a snowstorm to get to the Ethical Culture concert hall were rewarded with not only the concert, but a reception afterwards to meet the performers.

Gwendolyn Howard, violin and Ensemble du Monde

Also on the program was Max Bruch’s Scottish Fantasy, featuring fifteen-year-old violin soloist Gwendolyn Howard, First Prize winner of the Ensemble du Monde Young Artists Concerto Competition. The modest and self-effacing Ms. Howard shyly took to the stage, giving no hint to the miraculous transformation that was about to take place. Once the music began, Ms. Howard reflected the assurance of the professional that she is. She plays with a beautiful tone and pairs that with the technique to toss off virtuosic passages with the greatest of ease. Make no mistake: this young lady is a force to be reckoned with! It was winning from start to finish.

Gwendolyn Howard, violin, Marlond Daniel, conductor and Ensemble du Monde

Clocking in at nearly one hour, the three-part oratorio The Second Coming is a music depiction of both the foreshadowing of Judgment Day (freely quoting the New International Version Bible: Matthew 24: 1-51), and the Apocalypse, as written in the Book of Revelation (freely quoting the NIV Bible: Revelation 6:1-17, 7: 6-13, and 16: 2-21). The three parts are entitled Prologue, The Seven Seals, and Bowls of Wrath. The composer was inspired by a conversation with Marlon Daniel about what was expected by some to be the Second Coming on October 20, 2012, along with Mayan prophecy’s End of Days, December 21,2012. *Spoiler alert*- Both dates were wrong.

World Premiere of the Oratorio The Second Coming by H. Sisler (the composer is congratulating the conductor)

All joking aside, the subject matter is powerful and worthy of musical depiction. Mr. Sisler originally composed an orchestral work based on The Four Horseman of the Apocalypse. He took further inspiration from the subject matter and not only expanded the original work to include all seven seals, but also added the Prologue and Bowls of Wrath, both which include chorus, to form the complete oratorio. Mr. Sisler, having conceived the work in a modular fashion, has made it possible for the work to be performed in a number of different ways. The program notes make reference to five possibilities, increasing performance opportunities depending on the available forces. The modular aspect of the work, on the other hand, has the net effect of leaving uneven quality between the sections. It is natural to expect some of that in a work of this magnitude, but I did feel that the sections added later were more compelling and stronger in their conception than the earlier part. The addition of the chorus was partly responsible.

Hampson Sisler and the conductor Maron Daniel after the performance

In terms of style, one would expect a work using such terrifying imagery to be full of fire and brimstone – the Verdi Requiem comes to mind as an example. Even the artwork on the CD cover, with the Four Horsemen of the Apocalypse and the opening of the Heavens, suggests terror. Mr. Sisler has a different interpretation, that while he incorporates moments of strife, his rendering is largely a philosophical examination of the causes and effects of events rather than a dramatic rendering of the events themselves. While I did not find this approach to be immediately compelling, it was nonetheless an interesting conception that did give one pause to reflect.

World Premiere of the Oratorio The Second Coming by H. Sisler (The Cake for the party!)

The writing is highly chromatic, and while there are moments of stridency and dissonance, it is always tonally accessible. The choral writing is simple in form, with large amounts of recitativo throughout. The first section, Prologue, has stylistic similarities to Copland (especially Lincoln Portrait) and in my opinion is the strongest section of the work. My objections are strictly on stylistic preference; Mr. Sisler is a composer of skill and craftsmanship, whose music appeals to a wide audience.

Hampson Sisler is signing CDs after the World Premiere of the Oratorio The Second Coming .

Conductor Marlon Daniel was an attentive and steady guiding force. The Ensemble du Monde, with the exception of a few mishaps, most notably some cracked notes in the brass, gave The Second Coming an excellent performance. The composer joined the performers at the end for well-deserved congratulations.

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

Aleyson Scopel, Pianist in Review

MidAmerica Productions Presents: Aleyson Scopel, piano

Weill Hall at Carnegie Hall, New York, NY

November 23, 2013

MidAmerica Productions has a long history of presenting talented artists in venues around the globe. The honor of the 1200^th concert worldwide was given to the Brazilian pianist Aleyson Scopel in a program featuring Mozart, Schubert, and his countryman, Almeida Prado. Mr. Scopel dedicated his performance “To Alys Terrien-Queen, the first to believe in me.” Terrien-Queen may have been the first believer, but after this performance, he added countless others, including this listener, as those “in the know.”

Opening with Mozart’s Rondo in A minor, K. 511, Mr. Scopel demonstrated his mature understanding of this highly introspective and melancholy work. He played with refinement and sensitivity, but without superficiality or glibness that lesser players sometimes display in Mozart. His control was excellent, the voicing clear, and contrasts rendered decisively. His was the playing of an artist, pure and simple.

The world premiere of Cartes Celestes XV (Celestial Charts XV) by Almeida Prado followed the Mozart. José Antônio Rezende de Almeida Prado (1943-2010) composed eighteen sets of pieces he called Cartes Celestes , works depicting the sky and universe, using a harmonic language the composer called “transtonality.” Cartes Celestes XV was finished in 2009 and dedicated to Aleyson Scopel. Subtitled “The Expanding Universe”, it is divided into six movements. The opening GRB090423, a musical depiction of a supernova 13 billion light years from the earth, was played by Mr. Scopel with harrowing effect, from the rumbling of the unstable stars to the brilliant explosion of light. The other movements (Eskimo Nebula, Pictor Constellation and Extrasolar Planet, The Bird of Paradise Constellation, Planetary Nebula NCG 3195, and Solar Wind) were further examples of the genius of this composer and his visionary conceptions. Almeida Prado pays tribute to his teacher Messiaen in Bird of Paradise. One can also detect some intergalactic Debussy (imagine La cathédrale engloutie in outer space!). The use of tonality without a tonal center, which the composer called his “pilgrim harmony”, was highly effective. Mr. Scopel took the listener on a tour of the stars in a spellbinding performance full of power, passion, and lyricism. After he had finished, Mr Scopel pointed to the sky in tribute to the composer. It was a touching gesture, and I am confident that Almeida Prado was listening with joy from somewhere in the vast universe he loved so much. Given that Mr. Scopel has recorded other of the Cartas Celestes, it is a reasonable hope that he will, at the very least, add this set to the mix, but I would very much like to see him record all eighteen Cartas Celestes. It would do honor to both Mr. Scopel and Almeida Prado.

After intermission, Mr. Scopel offered Schubert’s Sonata in A major, D. 959. This Sonata, completed only months before Schubert’s death, is a monumental work that is majestic, pathos filled, and nostalgic (especially in the finale’s look back to a theme from his Sonata in A minor, D. 537). Mr. Scopel continued to share his artistry with a well-considered and executed performance of this massive work. His playing was crisp and accurate. The contrasting moods were dynamically realized, the laments were moving in their simplicity, and the finale had unflagging energy. One must also contend with the virtuosic elements throughout, and Mr. Scopel was more than capable of dealing with those as well, which he did in an unpretentious and understated way. This was fine Schubert playing, and would have served as an excellent example to students on what constitutes a reference performance.

Aleyson Scopel is a first-rate pianist. Anyone who values substance over style should make it a point to hear him in performance. I look forward to hearing him again.

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

The Music of Dinos Constantinides in Review

Distinguished Concerts International New York (DCINY) presents Distinguished Concerts Artists Series: The Music of Dinos Constantinides

Louisiana State University soloists: Michael Gurt, piano, Griffin Campbell, saxophone, Brett Dietz, percussion, Penelope Shumate, soprano, Johanna Cox, oboe, Lenora Cox Leggatt, violin

Weill Hall at Carnegie Hall, New York, NY

November 24. 2013

Greek-born Dinos Constantinides is the head of Composition and Music Director of the Louisiana State University. He is presently Boyd Professor, the highest academic rank at LSU. Mr. Constantinides has composed over 250 works, including six symphonies, two operas, and music for a wide variety of instruments and voices. His writing style is all-encompassing, from the simplest of forms to the ultra-complex, and from the strictly tonal to the acerbically atonal and serial. He is especially adept in his use of Greek influences, such as Greek poetry from both ancient and modern sources, and Greek modal harmony. With the help of six exceptionally talented colleagues from Louisiana State University, his audience was privy to a broad survey of his varied style, including two world premieres, in ten works.

Pianist Michael Gurt led off the evening with the Sonata for Piano, LRC 49, a work that could be described as a journey through a post-apocalyptic world. It is not for the faint of heart, and Mr. Gurt was heroic as he wended his way through the nightmares and the desolation in a riveting performance. Mr. Gurt was stalwart all evening in his work with colleagues, demonstrating fine and attentive playing as a collaborator.

The lyric playing of saxophonist Griffin Campbell, especially in the Four Songs of Epirus, LRC 264 (World Premiere), was also outstanding. Oboist Johanna Cox handled all technical obstacles with apparent ease, and when her sister, violinist Lenora Cox Leggatt, a formidable talent in her own right, joined her with Mr. Gurt in Reflections V for Violin, Oboe, and Piano, LR 108, the effect was magical. It was the highlight of the evening to this listener. Brett Dietz displayed his amazing dexterity with his stick technique in the Moto Perpetuo for Marimba Alone, LRC 263 (another World Premiere) – it was a performance worthy of Paganini! Finally, soprano Penelope Shumate closed each half with performances filled with passion, charm, and coquettishness.

There is something apt in the saying about having too much of a good thing, and I am of the opinion that it would have been judicious to have shortened the program. Mr. Constantinides is at his best in his Greek-influenced works, and a program devoted to those works would have been most effective.

At the end, Mr. Constantinides joined his colleagues on the stage to offer them his congratulations, shaking hands with each performer. All joined together for a final bow to the appreciative audience.

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

Anna Han, Pianist in Review

The Stecher and Horowitz Foundation present 2012 New York International Competition First Prize Winner, Anna Han, piano

SubCulture Arts Underground, New York, NY

November 21, 2013

In the first of three scheduled concerts at the SubCulture Arts Underground, the Stecher and Horowitz Foundation presented sixteen-year-old pianist, Anna Han, the first-prize winner of their 2012 New York International Competition. The foundation should be commended for looking beyond the usual concert halls in selecting this unconventional venue for classical music. In this day and age, anything that can be done in order to capture new listeners, who might not otherwise attend, should be explored.

A few words about SubCulture Arts Underground are in order. As its name implies, the hall is in the basement of a larger facility. It has the feeling of a club, with a small stage and intimate seating for the audience. For more casual events, a full-service bar is open throughout the performances. Lest anyone think that “underground” means somewhat less than savory environs, let me state that this hall is a place in which even the fussiest person would feel comfortable. While perhaps not a place designed with traditional classical artists in mind, it is nonetheless suitable for classical soloists and small ensembles. My sole reservation was with the piano, of which I will speak later.

Anna Han sports a resume of competition victories and concerto performances that is quite impressive for such a young musician. What interested me the most was how this young player was going to handle her varied and eclectic program. Was this going to be a display of sheer technique, which so many young players seem to have in abundance, or was it going to be something more? The answer was forthcoming almost immediately.

Starting her program with the Bach-Siloti Prelude in B minor, BWV 855, Ms. Han showed the sensitivity of a real musician. She gave this work a performance with meticulous control, restraint, and attention to voicing. After this fine start, Ms. Han took on the Variations on a Theme by Paganini, Op. 35, Book 1, of Brahms. These fourteen variations of the famous 24^th Caprice are unabashedly virtuosic, giving the performer ample opportunity to display her technical prowess. Ms. Han certainly has the technique, but the larger variations seemed to lack something in power and projection. While I found the lighter variations to be done with style and wit, I never had the sensation of the intensity this work possesses. I do believe that this can be accounted for by the piano, which was not a 9-foot concert grand, but a much smaller instrument. This unfortunately somewhat undercut Ms. Han, who I do believe would have made a huge splash on a larger instrument. That being said, it was still an excellent performance.

Suite for Piano, a four movement by Michael Brown (b.1987) was commissioned by the Stecher and Horowitz Foundation and given its World Premiere by Ms. Han. It is a work filled with moments of both playfulness and poignancy. The second movement, Chant, was moving in its simplicity, while the third movement, Fugue, was a hilarious contrapuntal rendering of a theme that could be called “Bach Goes the Weasel”. Ms. Han played the former with the right amount of somber introspection, while the latter conveyed delightful wit and whimsy. Mr. Brown was in attendance, seeming to approve wholeheartedly of Ms. Han’s interpretation. Ending the first half was the Liszt transcription of Liebestod, from Richard Wagner’s Tristan und Isolde. I have mixed feelings about this work, as I find that the “accepted” performance practice of it is overwrought, overly loud, and a brutalization of the piano. The hall piano was probably a blessing here, as any ideas of blowing down the walls with sound were not going to happen. Ms. Han did a commendable job, but I prefer that the pathos and lament be the focus, with less emphasis on the heaven storming.

After intermission, Ms. Han played a set of pieces also commissioned by the Stecher and Horowitz Foundation, Three Etudes, by Avner Dorman (b. 1975). The three etudes are all modeled in the style of György Ligeti. Snakes and Ladders is “Ligeti meets Boogie Woogie”, Funeral March is a study of tonal despair in a deceptively simple form, and Sundrops over Windy Waters, a shimmering and hyperactive display of velocity. These three pieces, much like those of Ligeti, call for a player with not only a great technique, but an uncommon intelligence that probes for hidden meanings. Ms. Han is such a player, and when one stops to consider that she is only sixteen years old, one must marvel at such musical maturity at such a young age. It was exceptional. Beethoven’s Sonata in E-flat major, Op. 31, No. 3 was next, and Ms. Han continued to show the fine sense of style and architecture in her playing, a joy from the opening of the Allegro to the end of the Presto con fuoco. The Beethoven was the high point of the recital. Ms. Han is a sensitive and poetic player beyond her years.

Ending the recital was the Sonata No. 3 in A minor, Op.28 of Prokofiev. It was well played, but the issues of projection were once again problematic. The crowd was less sensitive to this issue, and gave Ms. Han a justly deserved ovation. She offered three encores, a lyrically played Etude No. 4, based on Gershwin’s “Embraceable You”, by Earl Wild, a quicksilver “Flight of the Bumblebee” that wowed the crowd, and Rachmaninoff’s Lilacs as a final note of artistry.

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

Ensemble: Périphérie in Review

Distinguished Concerts International New York (DCINY) Artists Series presents: Ensemble: Périphérie

Weill Recital Hall at Carnegie Hall, New York, NY

October 26, 2013

As part of DCINY’s Artists Series program, Ensemble: Périphérie (EP) was invited to perform at Weill Recital Hall at Carnegie Hall in what was their New York debut. Established in 2010 by composers Joseph Dangerfield and Luke Dahn, EP consists of a core group of performing artists based in the Midwest. One of the primary goals of EP is to bring greater exposure to composers and works that are underperformed and neglected, or on the periphery, so to speak. They cite a quotation of Henri Dutilleux: “For me the only new music would be music that a composer of genius successfully created on the periphery of all the movements of our time and in the face of all current slogans and manifestos. Generally speaking, whatever the intellectual movements in force, not enough attention is paid to matters of temperament and originality…”.

This declaration reminds one of those ubiquitous pharmaceutical advertisements: WARNING! The music you are about to hear might cause momentary discomfort to persons accustomed to more traditional musical idioms. Side effects may include confusion, aural disorientation, and feelings of anger. Persons who do not well tolerate Dodecaphonical are advised not to listen. Make no mistake: EP is not interested in conventional popularity. Their repertoire is not music for the masses; they are all, however, superb musicians as individuals and have a musical rapport as an ensemble that truly believes in their mission.

Opening the concert was the New York Premiere of Cadences by Luke Dahn (b. 1976). A four-movement musical homage to Alexander Calder, scored for violin, cello, flute, clarinet, and piano, Cadences uses four Calder structures (The Crab, La Grande Voile, Lily of Force, and Three Up, Three Down) for inspiration. Mr. Dahn skillfully captured the essence of these works; the quirky nature of The Crab, the brooding qualities of La Grande Voile, the delicate lines of Lily of Force, and mobile-like aspects of Three Up, Three Down. I suspect Calder would have heartily approved of both the music and the exceptional performance from EP.

Four Songs on Poems of Seamus Heaney, also having its New York Premiere, from composer Louis Karchin (b. 1951) followed. Mr. Karchin set to music four poems of the 1995 Nobel Prize winner for Literature, poet, playwright, translator, and lecturer, Seamus Heaney (1939-2013). The poems are Lightenings iv (misspelled in the program as Lightnings twice, but correctly in the program notes), The Rain Stick, Lightenings i, and Settings xxiv. Scored for violin, cello, flute, clarinet, piano, percussion, and soprano, this work is not easily appreciated immediately, but does have many moments of beauty and import. However, balance issues overshadowed many of those moments, as the ensemble obscured soprano Michelle Crouch. I also noticed many audience members with their heads buried in the program struggling to follow the text, which meant they were focused in the wrong direction. Quite simply, either the singer must project more consistently or the ensemble needs to play more softly. As a whole, I was disappointed in this performance, not necessarily in the quality of the playing, singing, or composition, but in the overall effect.

After intermission, the second half commenced with I Hear the Sound That Has Fallen Silent by Irina Dubkova (b. 1957). Scored for violin, cello, flute, clarinet, and piano, this work is part of a larger composition entitled In the Soft Moonlight. Filled with rhythmic vitality and momentum-building intensity, this is one of EP’s signature pieces and was played with power and assurance. It was an outstanding performance of an interesting piece, and it got things back on track. Next up was Butterfly Dance by David Gompper (b.1954). Based on a Hopi Indian tune of the same name, Butterfly Dance is a two-part work scored for violin, viola, cello, clarinet, and piano. The composer conceived (in his words), “the first (part) as a preparation – although aesthetically removed but motivically based on the second part, a more straightforward rendition of the tune itself.” Clarinetist Yasmin Flores was the star of this work, from the soaring sounds of the opening section to the jaunty dance of the second.

The Wild, the New York premiere of the chamber version of the first movement of the Piano Concerto of Joseph Dangerfield (b. 1977), based on the Barnett Newman painting of the same name, ended the concert. It is a work of raw, untamed qualities and was played with a practiced edginess by the complete forces (excluding the soprano) of EP. A lesser ensemble would probably have allowed these ideas to deteriorate into amorphous cacophony, but EP made it all work. The audience left knowing that the musically unheralded and underplayed have a worthy champion, and that champion is Ensemble: Périphérie.

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

Distinguished Concerts International New York (DCINY) presents: The Beauty of Korean Song in Review

Distinguished Concerts International New York (DCINY) presents: The Beauty of Korean Song

Suwon Civic Chorale

Dr. In-Gi Min, conductor, Ami Woo, Eun-Jung Yoo, accompanists

Alice Tully Hall, Lincoln Center, New York, NY

October 19, 2013

Now in its 30^th year, The Suwon Civic Chorale from South Korea was invited by Distinguished Concerts International New York (DCINY) to perform at Alice Tully Hall. In a program featuring traditional Korean music, modern Korean music (including two commissioned works written especially for this occasion and given their World Premieres), and American favorites, it had all the makings of an interesting and educational evening.

The Suwon Civic Chorale filed on stage in traditional Korean dress. Before starting the concert proper, conductor Dr. In-Gi Min requested that the audience stand as the Chorale sang the national anthems of South Korea and the United States – a thoughtful and respectful gesture that I very much appreciated.

The first half was dedicated to the music of Korea. Arirang is to Koreans what Finlandia is to the Finnish, a much-loved, unofficial national anthem. Composer Sung-Hyun Yoon used the traditional theme with modern Western compositional technique, a musical East meets West that was given a heartfelt performance and approval from the appreciative audience. Following this setting, Jung-Sun Park’s Kyrie from the Arirang Mass was expertly performed, reflecting traditional Korean harmony and an ornamented singing technique that would be difficult for those without training in Korean singing tradition. As throughout the entire concert, Dr. Min led in an attentive and restrained manner with no showboating – the music was always first and foremost. When a work was finished, Dr. Min would retire stage left and gesture to the Chorale before taking any bows of his own, demonstrating a humility I would like to see more conductors emulate.

Four traditional songs, the Stephen Foster-like Gagopa (Wishing to Return), the three-note based Saeya, Saeya (Blue Bird), the charming Sae Taryung (The Bird Song), with the four soloists singing bird calls in antiphonal style, and the work song Mokdosori (A Song of Pole Carrying), which was sung with gusto, all served as a introduction to the folk music of Korea. The joy of the Chorale members sharing their traditional melodies was apparent, both from the visual and aural aspects of the performances.

The two commissioned works were by highly accomplished Korean composers. The Dona nobis pacem by Keeyoung Kim (b. 1963) is complex, with extensive chromaticism, Korean pentatonic modes, and using a circle of thirds, instead of the traditional western circle of fifths. The Chorale gave this demanding and intricate work a praiseworthy performance. Miserere by Jeeyoung Kim (b. 1968) is a powerful work, from the quiet opening with Tibetan bowls to create what is considered the sound of Heaven in Korea, to the two solos sung in a traditional style called Jeong-Ga, to the bold middle and ending sections. The Chorale realized all of Ms. Kim’s musical ideas in what must be called a simply dazzling performance. Both composers were in attendance, and took richly deserved bows.

The Chorale returned to the stage after intermission with the women dressed in evening gowns and the men in tuxedos with tails. The second half opened with two works by the highly popular American composer Eric Whitacre, Lux Aurumque and Little Birds.

Lux Aurumque is one of Whitacre’s best-known and most frequently performed works. Anyone who is familiar with the YouTube sensation Whitacre’s Virtual Choir has seen and heard this work. The Chorale mastered the tight harmonies with precision, often with the SATB parts dividing into two, and the sopranos even into three. The balance, as the title suggests, was “golden”. Little Birds uses verses written by the Mexican poet Octavio Paz. The composer suggested in his performance instructions that the singers research real bird calls and whistles, and it seemed from the sensitive performance that his instructions were heeded. There was a feel that the sounds of the birds flowed organically and did not ever overshadow the vocals. The effect was enchanting in a nuanced way.

After the Whitacre works, it was time for something completely different, and that was the entertaining Kecak Attack. This work is based on the Indonesian monkey dance of the same name. The chorus separated into smaller sub-sections and used the sound cak-ka-cak in rhythms of various complexities, with snapping fingers and choreographed gestures in an attack-counterattack manner between the divided forces. The sense of play brought much laughter; even Dr. Min got into the act by an exaggerated “push back” of the ever-bolder faction of tenors moving forward in a mock menacing fashion. The incongruity of this spectacle and the elegantly attired performers added to the hilarity.

After this “play”, it was time to get back to serious work with Samuel Barber’s Agnus Dei, an a cappella arrangement of his masterpiece, the Adagio for Strings. The arrangement retains all the beauty of the original as well as the challenges of voicing and intonation. Both must be precise throughout, or else the entire effect is destroyed – there simply is no margin for error. Using an interesting repositioning of the singers (male-female alternating in all rows), the Chorale met the challenges and delivered a very moving performance. If I had one reservation, it was that the tempo was a bit too fast for my taste, but this was a personal preference. To end, two traditional Americana songs, Shenandoah and The Battle of Jericho were given solid readings. The full house responded with a prolonged ovation and was rewarded with three encores, the highlight of which was a nod to the Big Apple by way of the highly stylish New York, New York, complete with ballroom dancing and Rockette-style kicks. It was a huge hit.

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

MARA Society of New York presents Fall Concerto

Alexandru Tomescu, violin, Matei Varga, piano, Jesus Rodolfo Rodriguez, viola

Merkin Concert Hall, New York, NY

October 9, 2013

The MARA Society of New York is dedicated to supporting and advancing Romanian music, arts, and culture. They have joined forces with Hospices of Hope to raise funds for the completion of Bucharest’s first hospice care facility. This season they presented a benefit concert entitled “Fall Concerto” along with a silent auction – I had my eye on the private tour of Dracula’s castle in Romania! One hundred percent of the proceeds from the performance and auction were to be donated to their hospice cause. (To learn more, visit www.marasociety.com and http://www.hospicesofhope.co.uk/ .) Romanians Alexandru Tomescu, violin, Matei Varga, piano, and “honorary Romanian”, violist Jesus Rodolfo Rodriguez, lent their support by donating their time and talents in performance of works by Bartók, Brahms, Schumann, Bach, Enescu, Chopin, and Saint-Saëns.

Bartók’s Romanian Dances, six short pieces originally written for solo piano, opened the concert. Zoltán Székely’s virtuosic arrangement for violin and piano was used by Alan Arnold in his own arrangement for Viola and Piano. Mr. Rodriguez captured the essence of these dances; the sorrowful longing and the wild jubilation. The final dance’s virtuosic passages were tossed off by Mr. Rodriguez with a laser-like clarity. His playing is fearless, but never reckless. Mr. Varga provided restrained support, allowing Mr. Rodriguez the starring role, as is proper for this work.

Next, Mr. Tomescu joined Mr. Varga in Brahms’s Scherzo for Violin and Piano. The Scherzo is the third movement of the so-called F-A-E Sonata, a collaborative work of three composers: Schumann, Brahms, and Albert Dietrich, as a gift to legendary violinist Joseph Joachim in 1853. The initials F-A-E stand for Frei aber einsam (Free, but lonely), which Joachim had adopted as his motto. The young Brahms was already a master of this form, with opportunities for both violinist and pianist to assume leading roles, but also as a collaboration of equals. Mr. Tomescu and Mr. Varga realized these ideals in a sprightly and polished performance.

Playing the Stradivarius Elder-Voicu violin he received in 2007, Mr. Tomescu produces a tone that is bold and full-bodied, but never strident. He projects well at all dynamic levels and plays with a quiet, regal demeanor. This does not mean his is not a passionate performer, but rather one who invests his energy in the music and not empty histrionics. He has the poetry as well as the pyrotechnics, but I am getting ahead of myself – more about that later.

Schumann’s Fantasy for Violin and Piano, Op. 131, followed the Brahms. This work is one with fluctuating moods, from joyous to reflective and back – much like Schumann himself. It was fascinating to watch how the performers projected the identities of Schumann’s famous alter egos. The extroverted Mr. Varga matched the character of Florestan, while Mr. Tomescu represented the more introverted qualities of Eusebius. Both players shone in a spirited performance. One must say that this pairing of Mr. Tomescu and Mr. Varga is fortuitous, as their complementary personalities make for thought-provoking performances.

After a break for a presentation by Princess Marina Sturdza, the patron of Hospices of Hope, Mr. Tomescu returned to the stage for a solo performance of J.S. Bach’s well-known Chaconne from the 2^nd Partita in D minor, BWV 1004. He delivered a majestic and dramatic performance sustaining the intensity from start to finish.

The first half closed with Mr. Rodriguez’s performance of Konzertstück for Viola and Piano by George Enescu. He played with great elan, and Mr. Varga was there every step of the way. This was a pairing of simpatico personalities. The work was brought to a close with bravura playing from Mr. Rodriguez- all that was missing were sparks flying from his bow!

After a long intermission, another Enescu work, the Impromptu Concertante for Violin and Piano opened the second half. This lush, romantic work, allowed Mr. Tomescu to highlight the singing qualities of his tone, while the ever attentive Mr. Varga continued his excellent playing.

Mr. Varga then offered Chopin’s Polonaise in A-flat Major, Op. 53, the Heroic. True to his personality, Mr. Varga gave it a passionate and exciting reading. One could never accuse Mr. Varga of lacking exuberance in his playing! His infectious smiles, intense involvement with each and every note (including inaudibly singing along), and his sensitivity to the needs and wants of his collaborators, combined with his technical gifts, make him a joy to watch and hear.

Mr. Tomescu rejoined Mr. Varga to close the concert with Saint-Saëns’s Introduction and Rondo Capriccioso. This showstopper calls for the violinist to reach deep into his bag of tricks to meet the technical and musical demands. Mr. Tomescu is a master magician indeed – with the able support of Mr. Varga he fashioned a performance of wit and brilliance. The dazzling finale brought the full house to its feet in a long and well-deserved ovation – a great finish to a great evening.

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

I-Bei Lin CD in review

I-Bei Lin, cello; Jonathan Korth, piano

Mae Zenke Orvis Auditorium, University of Hawai’i at Mānoa, Honolulu, HI

April 18, 2011

I-Bei Lin Cellist

Cellist I-Bei Lin has an impressive performance history, having given recitals throughout the world, including New Zealand, Thailand, Taiwan, much of Europe, and the United States. She received her bachelor’s degree from the Eastman School of Music and master’s and doctoral degrees from Northwestern University. She is currently an Associate Professor of Cello and Chair of Strings at the University of Hawai’i at Mānoa.

This review is of an unedited, live recording of a recital from April 18, 2011, featuring works by Beethoven, Donald Reid Womack, Debussy, and Gregor Piatigorsky. In the spirit of the “live” performance, I made the decision not to listen to the recording numerous times, but to imagine I was in attendance. I believe that this is the most objective approach.

The recital opened with the Sonata for Pianoforte and Cello, Op. 102, No.1, of Ludwig van Beethoven. This work belongs to the beginning of Beethoven’s late period. It is complex and unconventional in form. Dr. Lin played with confidence, indicating her mature grasp of Beethoven’s visionary ideas. The Adagio was especially praiseworthy in its pacing and sustained intensity. It was an auspicious beginning.

fff, composed in 2011 especially for Dr. Lin and pianist Jonathan Korth by Donald Reid Womack (b. 1966), followed the Beethoven. One might be excused for expecting that the title referred to the dynamic marking fortississimo and that a very loud piece was to ensue; the title, however, refers to its three pieces (falling, floating, flying) played without pause. Womack writes, “they are bound by a common theme of groundlessness, of having air between oneself and the earth”. These pieces conveyed their respective titles in a highly effective way that capitalized on Dr. Lin’s considerable talents, including a fluid technique and wide range of expressive timbres (Womack had previously written a solo piece for Dr. Lin in 2005 titled Scherzophrenic). The end result was a mesmerizing performance from both Dr. Lin and Mr. Korth.

The Cello Sonata of Claude Debussy closed the first half. This work, written in 1915, is one of the staples of the cello repertoire and deservedly so. French cellist Louis Rosoor (incorrectly cited as Louis Rosser in the program notes) claimed Debussy told him that thematic material from the sonata was related to dramatic characters, but Debussy denied this. Rosoor’s version is plausible, as this work is extremely mercurial, with sudden outbursts and mood changes throughout. Not only must the performer deal with the stylistic difficulties, but also overcome the myriad technical demands as well. To use a popular expression, Dr. Lin “nailed it!” in a highly nuanced performance.

The second half opened with a set of Taiwanese Folk Songs, which served a dual purpose. The most obvious was that Dr. Lin was honoring the music of her native Taiwan, but the second was the idea of bringing the audience back down to earth after the atmospheric fff and the emotional roller coaster of the Debussy. These pieces were played by Dr. Lin in a sincere and unpretentious manner.

Paganini’s 24^th caprice for violin has been the basis for brilliant variations by many great composers. Piano works by Liszt, Brahms, and Rachmaninoff readily come to mind, but why should pianists have all the fun? The legendary cellist Gregor Piatigorsky (1903-1976) decided to write a set of variations on this caprice that allowed him to showcase his justly renowned technical prowess to the hilt. Dr. Lin took up the challenge of Piatigorsky’s Variations on a Theme of Paganini to end the recital. Taking a page from Edward Elgar, Piatigorsky wrote fourteen variations as musical portraits of famous friends. They are, in order, Pablo Casals, Paul Hindemith, Raya Garbousova, Erica Morini, Felix Salmond, Joseph Szigeti, Yehudi Menuhin, Nathan Milstein, Fritz Kreisler, Gregor Piatigorsky, Gaspar Cassado, Mischa Elman, Ennio Bolognini, Jascha Heifetz, and Vladimir Horowitz. The variations are often witty, but many take the form of inside jokes, as it is not always readily apparent how each variation connects to its named inspirations (for example, the Hindemith variation sounds nothing like Hindemith the composer). This is a virtuoso work that projects much better live than in recordings, as the visual aspect is an integral part of the experience. In any case, it is a highly pleasurable tour-de-force for the cellist. Dr. Lin tossed off the challenges with ease in a confident performance. The rousing finish ended the concert in style and the audience reacted with loud applause.

I must commend excellent pianist Jonathan Korth as an outstanding collaborator to Dr. Lin, ever sensitive to balance issues and flexible to the cellist’s every impulse.

In 2005, the late Edith Eisler wrote in the pages of this journal that Dr. Lin “is a very fine cellist.” In 2013, I must tip my hat to her and wholeheartedly agree with her assessment. Dr. Lin is a fine cellist, equally at home in wide-ranging styles and possessing the technique to make it all seem so easy.

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

Yumi Suehiro, Pianist in Review

Yumi Suehiro, piano

“Chromatic Journey”

Tenri Cultural Institute, New York, NY

June 15, 2013

Yumi Suehiro, pianist

In a recital entitled “Chromatic Journey,” pianist Yumi Suehiro presented a program that was challenging to both performer and listener. It featured Scriabin’s White Mass Sonata, Ligeti’s Autumn in Warsaw Etude, and the New York premiere of Football in Marja by American composer Alex Burtzos (b. 1985).

Opening with J. S. Bach’s Prelude and Fugue in B-flat minor from the Well-Tempered Clavier, Book Two, Ms. Suehiro showed straight away that she has her own ideas about the style and approach to this work. Perhaps her marimba experience helped shape these ideas, but whatever the case there was an overall percussive quality to her approach. Aaron Copland’s Passacaglia followed. Written in 1922 and dedicated to his teacher, Nadia Boulanger, this work was born of her insistence that her students “master traditional forms.” Featuring an eight-measure theme with eight variations, this work reflects Copland’s mastery of form, and it was given a well-conceived and taut performance, Ms. Suehiro built the intensity until it exploded in the last two variations. Football in Marja, written in 2011, is a musical portrait of Marja, a town in Afghanistan. The “football” is, of course, soccer, and is represented musically by hyper-energetic tritone motifs. The difficulties of everyday life are depicted with cluster chords. Ms. Suehiro championed this work with passionate commitment. With driving energy in the motoric sections, cascades of jagged clusters, and the final blast of sound, it was riveting from start to finish. Mr. Burtzos was in attendance and was obviously very pleased with Ms. Suehiro’s performance, as one would expect. The half ended with Improvisations on Hungarian Peasant Songs, Op. 20 by Béla Bartók, an eight-movement work characterized by thorny, angry motifs and driving rhythms throughout. While the seventh movement is dedicated to the memory of Debussy, there is nothing remotely Debussyian about any of this work. It has moments of lyricism, but it is not an easy piece for audiences to warm up to. Ms. Suehiro played these variations with an aggressiveness that at times bordered on the savage, but also brought out some of the more lyrical elements with sensitivity. It was an intriguing, if not fully satisfying, performance.

After a short intermission, Ms. Suehiro offered Alexander Scriabin’s Piano Sonata No. 7, Op. 64, the White Mass. Composed in 1911, this highly chromatic work walks the tightrope between tonality and atonality throughout. It was composed as an “exorcism” against the darkness of the Piano Sonata No. 6, Op. 62, which Scriabin believed to be fraught by demonic forces. He subtitled the work White Mass to signify the clearing of the darkness. Ms. Suehiro took the listener on a twelve-minute journey packed with moments of harrowing terror, beauty, and heaven storming. It was a journey I was glad to go on, in what was the highlight of the evening. Etude No. 6, Book 1 –Autumn in Warsaw from György Ligeti ended the recital. Ms. Suehiro remarked that she finds this work “funky and groovy” and a “weird and interesting piece.” It was the first time I had ever heard Ligeti referred to as funky and groovy and I admit it made me smile. In any case, this is one of Ligeti’s more accessible works, and Ms. Suehiro played it with polish. The audience rewarded Ms. Suehiro with a standing ovation. After all the thorns, it was time for a rose, which came in the form of Rachmaninoff’s Prelude in D major, Op. 23 No. 4, which Ms. Suehiro played as a encore with grace and sensitivity.

The evening left me with some reservations. First, the venue’s acoustics are not ideal. Even though the piano was on the half-stick, the volume was at times oppressively loud. Ms. Suehiro’s bold “all-in” approach would have been ideal for a larger venue, but not this one. I assume that Ms. Suehiro became oblivious to this issue in the heat of the moment; otherwise, I believe that she, being the intelligent and deeply committed musician that she is, would have made adjustments. Second, it might have been beneficial for Ms. Suehiro to offer some sonic relief; though the unifying theme was explicitly one of chromaticism, the “journey” would have benefited from more contrast. Third, although some would say this is nitpicking, the artist’s name was misspelled on the cover of the program, and there were factual errors in the program notes as well. Considering Ms. Suehiro’s careful attention to musical details, I was disappointed that these errors were not caught in the proofs.

Yumi Suehiro is an intense musician, one who invests every ounce of her energy, passion, and intellect into her performances. She should have a promising future.

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

Distinguished Concerts International New York (DCINY) presents: Requiems for the Brave in Review

Distinguished Concerts International New York (DCINY) presents: Requiems for the Brave

Distinguished Concerts Orchestra, Distinguished Concerts Singers International

Jonathan Griffith, DCINY Principal Conductor; Mark Hayes, Composer/Conductor

Avery Fisher Hall, Lincoln Center; New York, NY

May 27, 2013

Dr. Jonathan Griffith for the Durufle Requiem

On Memorial Day, May 27, 2013, Distinguished Concerts International New York (DCINY) presented a concert entitled “Requiems for the Brave”, dedicated to the men and women of our Armed Forces. With chorus members from Arkansas, California, Connecticut, Georgia, Iowa, Kansas, Massachusetts, Missouri, New Jersey, New York, Ohio, Texas, Canada, and Dubai performing, there was feeling of excitement as the hall filled.

The first half was the Requiem, Op. 9 of French organist, pedagogue, and composer Maurice Duruflé (1902-1986) in the original 1947 version. This serene work is largely devoid of the fearsome elements of the requiem mass (i.e. Dies Irae), but uses Gabriel Fauré’s Requiem as a model. Conductor Jonathan Griffith led the large forces in a highly nuanced performance. His patience at the podium as he waited for the stampede of latecomers to find their seats after the Kyrie was commendable, but after almost five minutes, the Domine Jesu Christe was delivered with a boldness that was worth the wait! The Agnus Dei was delivered with tranquil beauty, and the child-like innocence of the In Paradisum, which ended in a whisper, was breathtaking. Baritone soloist Andrew Garland projected strength and confidence. Mezzo-soprano Holly Sorenson was sublime as she captured the essence of the hauntingly beautiful Pie Jesu. The chorus was very good throughout in what was a well-conceived performance.

During the intermission, The Patriot Brass Ensemble entertained the audience with a steady stream of Sousa marches and patriotic tunes from the balcony. As the singers in the chorus for the second half filed onto the stage, the Patriot Brass ended their set with a medley dedicated to the Armed Forces. It was a strong reminder about what Memorial Day is really about to see the servicemen and women stand when their hymn was played. Some were young, others older, but all proud and steadfast. What was said to them through music was simply “thank you for your service to our nation.”

Mr. Mark Hayes for his Requiem & The Gettysburg Address

Mark Hayes (b. 1953) led the second half in performance of his works: the New York premiere of The Gettysburg Address and the World Premiere of his Requiem. About The Gettysburg Address, Mr. Hayes In his program notes writes, “…the challenge of creating something musically profound was overwhelming.” These ten sentences are filled with sadness, hope, challenge, and triumph in what is probably the most famous speech in American History. Mr. Hayes’ conception captures all of these elements, from the bold opening, played with a brash exuberance, to the somber colors of the sorrows of war, to the final build-up in a martial style culminating with repeated declarations of “for the people” from the chorus. It is a powerful work that does justice to Lincoln’s immortal words. After this stirring piece, it was time to pull back into a quieter, contemplative mood, for which the Requiem from Mr. Hayes filled the bill. Dedicated to the memory of Mr. Hayes’ parents, this work takes inspiration from Brahms, Fauré, and Duruflé in its six movements. Mr. Hayes freely uses the English translations of the Latin text in addition to the Latin itself in an interesting and effective way. He parts company with Fauré and Duruflé in a pathos-filled Dies Irae, which did at times bear an uncanny resemblance to O Fortuna from Carl Orff’s Carmina Burana (i.e. substitute Dies Irae/Dies Illa and Confutatis maledictis for O Fortuna/Velut Luna, with the same strong timpani replies, etc.). Baritone Andrew Garland was again a force to be reckoned with in his solo work. The Agnus Dei was to this listener the highlight of the work, showing Mr. Hayes expressive melodic gifts. The final movement, the Lux Aeterna, much like the In Paradisum of Duruflé, ends in a fade to silence. When Mr. Hayes lowered his baton, the audience gave him a richly deserved standing ovation, which ended the successful evening.

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