Hristo Popov, violin; Per Enflo, piano in Review

Hristo Popov, violin; Per Enflo, piano
Weill Recital Hall at Carnegie Hall; New York, NY
March 13, 2013 

Violinist Hristo Popov and pianist Per Enflo have an extensive performance history as a duo, including many recordings and recent performances of all ten Beethoven violin sonatas.  Eastern Europe was the focal point of their recent concert, with music from Bulgaria, Romania, and Hungary.

The first half of the program consisted of two works by the Bulgarian composer Pancho Vladigerov (1899-1978). Vladigerov was one of the  founding fathers of modern Bulgarian music and many believe him to be the most influential Bulgarian composer ever. Chant, from the Bulgarian Suite, Op. 21, No. 2 opened the concert. This work, by a 28-year-old Vladigerov, is a good example of the composer’s evolution towards a national musical idiom based on folk material. The violin part has an improvisatory quality throughout.  Mr. Popov played with sensitivity and his singing tone in the high register was unfailingly exceptional. Mr. Enflo was an attentive partner throughout.  The rippling piano passagework over the pianissimo trill of the violin and gradual fade to final silence were striking. It was an auspicious start.

The earlier Violin Sonata in D Major (Op.1) is unabashedly romantic in its tonal language and form.  It is a work that owes much to the Russian tradition, especially to Tchaikovsky. Mr. Popov navigated the rapid changes in moods in the opening Agitato movement with confidence.  The second movement’s long piano introduction and extended solo in mid-movement allowed Mr. Enflo a starring role. The jaunty final movement was played by the duo with energy and panache in a stylish ending.

The second half opened with the Violin Sonata No. 3 in A minor, Op.25, by Georges Enesco (1881-1955).  Subtitled “Dans le caractère populaire roumain”, this is an expressive, melancholic work presenting challenges that are not immediately perceived by the average listener. Pianist and violinist are both “treated” to fiendish difficulties in what could be called “high-risk/low reward”- not an enticing prospect. Mr. Popov conveyed the lament of the first movement, the haunted dreams and poltergeist-like sounds of the second movement, and the grotesque, mocking march of the finale with intelligence and consummate skill. It would be so easy for a lesser player to lapse into over emotive despondence and turn this work into a mishmash of cheap effects better suited for a silent film soundtrack. This was a performance that separated the men from the boys, so to speak. It was the highlight of the concert, and it was especially gratifying to see the audience react with such enthusiasm.

Rhapsody No. 1 for Violin and Piano, Sz. 87, from Béla Bartók ended the program. Dedicated to the legendary Hungarian violinist Joseph Szigeti, the Rhapsody uses the slow–fast (lassú—friss) paired movements of the popular Hungarian dance verbunkos. The Lassú is folk music given Bartók’s characteristic treatment and was played by Mr. Popov with charm. The Friss movement continues the folk element, with one tune having a passing resemblance to “Simple Gifts”- a la Bartók, of course.  The duo built momentum to a frenzied pitch. A temporary respite in the form of bell-like tones on the piano set the stage for a winding up of the momentum once again.  Mr. Popov played with fire, and the final cadenza-like passage had  true demonic flair. It was an outstanding performance from start to finish.

Hristo Popov is a musician’s musician. Eschewing any empty showmanship, he invests his considerable skills in giving performances that place substance over effect.  It might not always be exciting to watch, but whatever “excitement” the eyes have been denied, the ears have not. He has a worthy collaborator in Mr. Enflo and it would be a pleasure to hear this fine duo in the future.

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

MidAmerica Productions presents “Vienna Meets Paris” in Review

MidAmerica Productions presents “Vienna Meets Paris”
Patrick Gallois, flute; Maria Prinz, piano
Weill Recital Hall at Carnegie Hall; New York, NY
March 4, 2013
 
Patrick gallois and Maria Prinz

Patrick gallois and Maria Prinz

 

French flutist Patrick Gallois and Vienna- based pianist Maria Prinz combined their talents in a program called “Vienna Meets Paris”, the first half dedicated to Vienna, and the second half, Paris. Their no-nonsense manner upon entering the stage reflected the lives of busy professionals, but from the first sterling tones it was obvious that this was going to be something memorable.

Opening with Mr. Gallois’s arrangement of the Sonata in F major, K. 376 of Mozart, the duo gave notice that they were one with this piece, which one might expect as they have recently recorded this work for Naxos (http://www.naxos.com/catalogue/item.asp?item_code=8.573033). Ms. Prinz, who has collaborated with other prominent flutists, never allowed her playing to become overpowering, even though the piano was on the full stick.  It is also a credit to Mr. Gallois that he projected his playing with such ability that he was never in any danger of being covered.  Mr. Gallois has a full-bodied tone that sings and soars, but never allows any overblowing. He also has an assured technique that allows him to make short work of difficult passages. It was an auspicious start.

Beethoven’s National Airs with variations, Op.105 and Op. 107 were commissioned by the Scottish folk-song collector and publisher George Thompson. A Schüsserl und a Reindel, Op. 105, No. 3 and St. Patrick’s Day, Op 107, No. 4, were featured. As per the request of Thompson (“You must write the variations in a familiar, easy, and slightly brilliant style, so that the greatest number of our ladies can play and enjoy them”), Beethoven gives the pianist the bulk of the difficulty in some brilliant writing. Even “easy” pieces can be dangerous, but Mr. Gallois did not fall into this trap. He played with finesse, adding his own touches of brilliance, while Ms. Prinz’s star shone brightly in what really are piano works with flute added. Ending the first half, three Schubert songs, Gute Nach, Das Fischermädchen and Ständchen, as transcribed by Theobald Böhm (1794-1881). Böhm, who can be considered the father of the modern Western flute and the corresponding fingering system still In use, did for the flute what Liszt did for the piano in his transcriptions of these songs.  Mr. Gallois and Ms. Prinz played these songs with flair, but also with sensitivity.  It was a thoughtful and melodious departure from Vienna.

The second half took the listener to Paris with three works by French composers written explicitly for the flute. Philippe Gaubert (1879-1941) wrote in the style of his great contemporaries Franck, Debussy, and Ravel.  His Sonata for Flute and Piano No. 2 is unmistakably impressionistic in its tonal form and written with idiomatic detail that one would expect from one so familiar with the flute. Mr. Gallois captured the singing lines, the magical, and the mystical with what seemed to be the greatest of ease. This is not at all surprising considering the connection Mr. Gallois has with this work. The baton has been passed through the generations when considers the musical genealogy – Gaubert to his student Marcel Moyse to his student Joseph Rampal, to his son Jean-Pierre, to Jean-Pierre’s student Gallois.

La merle noire (The Blackbird) from Olivier Messiaen followed. Written in 1952 as a test piece for the Paris Conservatoire, this short composition was one of Messiaen’s earliest works to use the concept of notated birdsong, which was a life-long fascination of him. Mr. Gallois captured the warbling element with great imagination, and both he and Ms. Prinz conveyed its dizzying effects in a captivating performance. The Sonata for Flute and Piano by Francis Poulenc closed the program. This work is among the best-loved and most frequently performed works in the flute repertoire. It was composed with Jean-Pierre Rampal in mind. In his memoirs, Rampal mentions a phone call from Poulenc- “Jean-Pierre,” said Poulenc, “you know you’ve always wanted me to write a sonata for flute and piano? Well, I’m going to, “he said. “And the best thing is that the Americans will pay for it! I’ve been commissioned by the Coolidge Foundation to write a chamber piece in memory of Elizabeth (Sprague) Coolidge. I never knew her, so I think the piece is yours.”  Brimming with brilliance, this work is vintage Poulenc, and a successful performance requires a player who can “do it all”. Mr. Gallois brought out the bursts of optimistic energy with confidence in the first movement, the longing, wistfulness of the second movement, and the joyous whimsy of the “off to the races” finale. Ms. Prinz was with him every step of the way. Played with élan, it was a winning performance. Encores followed, of which I especially liked the “Meditation” from Massenet’s Thaïs, played with delicate beauty.

A final thought – it was particularly striking how synchronized Mr. Gallois and Ms. Prinz were throughout. It was as if they were of the same mind, a “mind-meld” that found them in perfect ensemble without any visual contact or physical cues such as nodding.  I have seen other duos that had excellent rapport, but this was truly something above and beyond the norm.  This is a pairing that has unlimited potential if they decide to continue as a duo.

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

MidAmerica Productions presents Irrera Brothers in Review

MidAmerica Productions presents Irrera Brothers
John Irrera, violin; Joseph Irrera, piano
Weill Recital Hall at Carnegie Hall; New York, NY
February 22, 2013
 
Irrera Brothers- Carnegie Hall

Irrera Brothers at Carnegie Hall

 

The Irrera Brothers, violinist John, and pianist Joseph, list many credentials separately as soloists, but in Weill Hall this February they joined together in a performance as a duo. It is always interesting when talented soloists play together, but when they are siblings, there is an additional layer of interest. One would expect a connection between the players that would be hard to match. By and large, I found this to be the case.

Beethoven’s Sonata for Violin and Piano in G major, Op. 96 opened the program. There were balance issues at the very beginning, with the piano covering the violin, and the playing was somewhat tentative. The notes were all there, and there were moments of beauty, but I was hoping for more. Perhaps there was some nervousness at first. The Chaconne in G minor from Italian composer Tomaso Antonio Vitali (1663-1745) followed the Beethoven and whatever nerves might have present prior had happily abated. The balance was excellent, the shaping of the dramatic lines was strongly realized, and the brothers were right with each other as they built the tension into a fever pitch.

The second half opened with the World Premiere of “Bow Shock” by Russell Scarbrough (b. 1972). Written for the Irrera Brothers in 2012, this is a work that showcases their individual and duo talents to the hilt. The composer in his program notes stated, “the term ‘Bow Shock’ comes from the field of aerodynamics and refers to a curved shock wave that proceeds a solid body moving through the atmosphere at supersonic speeds. It’s a great image for this music…and I couldn’t resist the double-entendre with the word ‘bow’.” It is a jazz-tinged, driving, hyper-energetic work that invites the listener to fasten his seatbelt for the ride. It was a win-win-win: the Irreras can be well pleased that this work shows them to such great advantage. Scarbrough should be delighted with such accomplished musicians giving his music such a dynamic performance. Finally, the listener gets the best of both worlds! After this wild ride, it was time to come back to earth with Three Romances for Violin and Piano, Op. 22 from Clara Schumann (1819-1896). These works were composed as a gift for the legendary violinist Joseph Joachim. These pieces might at first glance seem light works for the salon, but they require subtlety from the violinist and pianist alike. The Irreras clearly grasped this concept and delivered a performance full of grace, wit, and charm. Ending the program was the Sonata for Violin and Piano in D major, Op. 94a by Sergei Prokofiev (1891-1953). Originally scored for flute and piano, it was modified for violin by the composer at the request of his close friend, the great violinist David Oistrakh. This work, although “classical” in form, is unmistakably Prokofiev with its humor, lyricism, and driving energy. The Irreras evidently have a special affinity for this work, as it was a riveting performance. It was the highlight of a very successful concert.

The brothers offered two encores, The first was an arrangement of Chopin’s Nocturne in E-flat major, Op. 9, No. 2 (“for Chopin’s birthday,” stated Joseph Irrera, although Chopin himself always stated his birth date as March 1). The second was “Danse espagnole” from Manuel de Falla’s La Vida Breve,  as arranged by Fritz Kreisler in 1926.

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

Na Young Kim in Review

New York Concert Artists and Associates presents
Na Young Kim, piano
Merkin Hall, Kaufman Music Center; New York, NY
February 21, 2013
 
Na Young Kim

Na Young Kim

 

Winner of numerous competitions, appearances throughout the world, and the full complement of degrees and diplomas from Seoul National University, New England Conservatory, Cleveland Institute of Music, and The Ohio State University, pianist Na Young Kim gave her New York debut on February 21, 2013 at Merkin Hall.

The first half of the program was all Beethoven, the Andante favori, WoO 57, and the Sonata No. 32 in C minor, Op. 111. The Andante Favori was originally intended as the middle movement of the “Waldstein” Sonata, but Beethoven replaced it with a shorter movement after being criticized for the length of the sonata.  As it stands on its own, the decision was well considered and served to improve the dramatic effect of the “Waldstein”.  As for the name Andante Favori, Beethoven’s famous pupil Czerny stated, “because of its popularity (for Beethoven played it frequently in society) he gave it the title Andante favori (“favored Andante”).  Ms. Kim gave a controlled and confident performance, bringing out the singing tone without allowing its charms to degenerate into something cloying.  It was a good start to the evening.  The Sonata No. 32 in C minor, Op. 111, Beethoven’s final piano sonata, is a work overflowing with stormy drama and transcendent beauty. With a rich performance history, including many of the legends (e.g. Richter, Kempff, Arrau),  its programming begs the question of what a new performer is going to “bring to the table”.  Happily, Ms. Kim showed herself to be up to the challenge.  The opening movement, Maestoso – Allegro con brio ed appassionato, was rendered by Ms. Kim with driving energy, clarity of lines and balance, and excellent pacing throughout.  The second movement, Arietta: Adagio molto, semplice e cantabile, was played with steady restraint. Ms Kim showed herself to be a player who patiently brings out Beethoven’s transcendent writing with understanding of the architectural and dramatic demands of this movement.  Her pianissimos were amazingly clear, even capturing a music-box sound near the end of the work.  It was an inspired performance of one the greatest works of the piano repertoire.

The second half consisted solely of Rachmaninoff’s popular Sonata No. 2 in B-flat minor, Op. 36. Originally composed in 1913, it was revised by the composer in 1931. It is the version that is most often performed today (in addition to that of Vladimir Horowitz, who with Rachmaninoff’s consent made a hybrid version of the 1913 and 1931 versions in 1940). It is a work requiring power, passion, and tremendous technique, which Rachmaninoff had in abundance. Was Ms. Kim up to the demands? From the ferocious way she attacked the opening bars, it was obvious that she was. Sterling technique throughout, power without pounding, and strong dramatic sense abounded in Ms Kim’s reading, making it all seem so easy, perhaps too much so.  It was an “A” performance that could have been “A+” with a touch more fire, but a performance of which Ms Kim can well be proud.

Ms. Kim projects an image of calm inner confidence. Everything seems to have been well thought out, planned carefully, and executed with the utmost precision. Not for a moment did she ever appear to be anything but completely in control, which may have led a visually oriented audience to fail to give her the proper respect for her technical prowess. There is little doubt that Ms. Kim has the technique and the intellect to tackle all challenges, but if I had any suggestion, it would be that she could take a few more risks and savor the adventure of her already excellent playing.

For encores, Ms. Kim played the Chopin’s “Minute” Waltz with sparkle and Robert Schumann’s Träumerei from Kinderszenen with tenderness. It was a gentle end to a memorable concert. Na Young Kim is a musician to watch.

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

Bluegrass 57@7: The Music of Pepper Choplin, Joseph M. Martin, and Carol Barnett (DCINY) in Review

Distinguished Concerts International New York (DCINY)
Bluegrass 57@7: The Music of Pepper Choplin, Joseph M. Martin, and Carol Barnett
Distinguished Concerts Singers International, Monroe Crossing, Guest Artists
Stern Auditorium, Carnegie Hall; New York, NY
February 18, 2013
 
Distinguished Concerts International New York (DCINY): Photo credit: DCINY Production/Hiroyuki Ito

Distinguished Concerts International New York (DCINY) : Photo credit: DCINY Production/Hiroyuki Ito

 

In a concert with the title “Bluegrass 57@7” (the 57 referring to 57th Street, the location of Carnegie Hall, and the 7 referring to the 7:00PM start time), Distinguished Concerts International New York (DCINY) presented a program dedicated to the Bluegrass genre and its various sub-genres.  Featuring Bluegrass quintet Monroe Crossing, it had the makings of an interesting and educational evening.

The first half featured the vocal music of composers Pepper Choplin and Joseph M. Martin, with the able support of Monroe Crossing. I do believe the most accurate description of the selections presented would be Bluegrass Gospel. The music was mostly joyful and almost always tonally consonant. Indeed, no dodecaphonists were harmed in the making of this music.  Each composer conducted his own works. Highlights of Mr. Choplin’s pieces were the anthem-like “Circle of Love”, featuring the talented vocalist Emily Drennan, and the electrically-charged energy of “Joy on the Mountain”.  Mr. Martin’s “Coming Home” with soloist Sue Martin’s emotional vocals was touching. Then the ebullient Martin waved Choplin back to the stage, handing him the conductor’s baton as he took to the piano for his own “Great, Great Morning.” It had the feeling of a revival meeting. It brought the first half to an exuberant close.

The second half opened with selections from Monroe Crossing.  Monroe Crossing takes its name as homage to the “father of Bluegrass” Bill Monroe and the fact that his music was the common thread that brought the group together (“we crossed paths through the music of Bill Monroe”). Mandolin player Matt Thompson regaled the audience with stories about the group and its members with both humor and humility. in what was probably a well-rehearsed part of Monroe Crossing’s regular performances.  All showmanship and shtick aside, when this ensemble got down to the business of playing, they showed themselves to be not only committed to the art of Bluegrass, but also possessing some serious “chops” as well. The energy was infectious as they played four signature works.  All four pieces were crowd pleasers, but the last called “Bullet Train” was just pure fun from start to finish, and the audience roared its approval.

The final work on the program, Carol Barnett’s The World Beloved: A Bluegrass Mass, was composed with the talents of Monroe Crossing in mind. Matt Thompson told the audience about the challenges Monroe Crossing faced when first receiving their parts.  Not all Bluegrass musicians read notated music, as the art of Bluegrass is largely improvisatory, so this “jumble of dots” was a challenge that was overcome by having each player learn his part by listening to a recorded version. After much hard work, the parts were mastered, and Monroe Crossing has performed this work about “40 times”, according to Thompson. Composer Carol Barnett stated, “My highest hope is that listeners coming from one tradition, classical or bluegrass (and perhaps dubious about the other), might discover something new and wonderful in the combination”. It was an interesting thought and a worthy goal, but one also might feel that neither classical nor bluegrass enthusiasts would be fully satisfied by the end result.  The work is quite moving in sections, and the addition of Monroe Crossing added color, but it is open to debate how much “Bluegrass” was present amid some of the more sophisticated rhythms. Marisha Chamberlain’s libretto is quite provocative in sections, including an unconventional Credo, the thinly veiled 9/11/01 reference in the third verse of the ballad, and the feminization of God in the Conclusion. Conductor Nancy Menk was charged with the challenge of bringing this interesting concept to life, which she did with marked ability. Any reservations I might have had were of no concern to the audience, who responded with a prolonged standing ovation. The Gloria was repeated as an encore to the delight of the audience.  Ms. Barnett and Ms. Chamberlain joined the conductor on stage for bows.

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

The Sounds of War and Peace (DCINY): Chapter 2- The Music of Karl Jenkins

Distinguished Concerts International New York (DCINY)
The Sounds of War and Peace: Chapter 2- The Music of Karl Jenkins
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Jonathan Griffith, Music Director; Karl Jenkins, Composer-in-Residence.
Stern Auditorium, Carnegie Hall; New York, NY
January 21, 2013
 
"The Sounds of War and Peace: Chapter 2"

“The Sounds of War and Peace: Chapter 2”

“The Sounds of War and Peace,” a two-evening event begun January 20th, continued on January 21st with Chapter 2 – The music of Karl Jenkins. The United States premiere (and second performance worldwide) of Songs of the Earth was programmed with The Armed Man: A Mass for Peace and its accompanying film (also entitled The Armed Man), and it had the promise of being a fascinating evening.

The Armed Man: A Mass for Peace is probably the most frequently performed work by Karl Jenkins; in fact, it might be one of the most frequently performed works of any contemporary classical composer. Since its premiere in April 2000, The Armed Man has been performed worldwide well over 1000 times – an average of twice a week.  Although I have heard this work on recording countless times and know it well, a live performance of The Armed Man is an experience that never ceases to move me.

The Armed Man is a thirteen-movement work for orchestra, chorus and vocal soloists. Using the 15th century French song L’homme Armé as a starting point, the theme is that the armed man must be feared – an idea that is still with us in the 21st century. Using sections of the Latin Mass, the Bible, The Mahabharata, and words from Kipling, Dryden, Tennyson, Mallory, Swift, Togi Sankichi, and Guy Wilson, this hour-long work is a journey through the preparations for battle, prayers for deliverance, the call to arms, the horrors of the battle, and its aftermath, with the final declaration that “peace is better than always war”.

The accompanying film I have always had mixed feelings about. It was premiered in its current form in Johannesburg, South Africa in September 2007. The images are powerful and often disturbing, as I am sure was the intent, to highlight the horrors of war.  Quoting Jenkins, the film “greatly enhances the musical performances and inevitably leaves the audience emotionally drained, often in tears.”  I understand Jenkins’ viewpoint, but I also believe the music is powerful enough to stand on its own without any imagery.

Conductor Jonathan Griffith knows this work well and his mastery was immediately obvious.  His steady leadership kept everything under control, even deftly tackling a small ensemble problem in the “Better is Peace” movement that could have turned into a disaster. He brought it back on-track almost instantly. The Distinguished Concerts Orchestra played, especially the percussion section, with the fire this work demands. The chorus was well-prepared and a worthy collaborator to the orchestra. It was notable that the sopranos did not crash on the jagged rocks of “Charge!” in which the high A’s have claimed countless victims. Highlights included the cello solo in the Benedictus, and Iman Shamsi Ali in his off-stage Adhaan. The four vocal soloists were all impressive in their roles, limited though they were. My one disappointment was the surprisingly timid brass in the “Charge!” This was a time for them to really come to the fore and it just did not happen. All-in-all, it was a inspired performance that was held the listener from the opening snare drum marching cadence, to the chorus singing the healing words of Revelation 21:4, to end the work.

The Vocal Ensemble Brevis, an all-female choir from Croatia took to the stage to open the second half. Led by Antoaneta Radocaj-Jakovic, they presented works from the Croatian composers Josip Hatze (1879-1959) and Slavko Zlatić (1910-1961).  Hatze’s  Ljuven Sanak  (Sweet Dreams) was especially soothing after the emotionally demanding first half of the concert. Zlatić’s Varijacije na nardonu temu (Variations on a Folk Theme) was an interesting work that deserves to better known.  It was disappointing that the program notes omitted any information about the composers, the pieces, or the ensemble. This excellent assemblage deserved its proper recognition.  As a way to bridge the two large Jenkins works, the ensemble ended with his Adiemus, which they performed with great energy and polish.

While the orchestra and chorus members returned to the stage, Griffith invited Karl Jenkins to the stage to have an impromptu discussion about his new work, Songs of the Earth. Jenkins told the audience that the work came from a commission from the Cultural Olympics. He decided to use the idea of Greek mythology as the basis for the work. Jenkins’ “invented language”, first used in the Adiemus project, was the text for Songs of the Earth. Jenkins explained this gives the composer great flexibility in tone and rhythm in the vocal writing. The six movements were selected because Jenkins found them “musically stimulating” as opposed to following any defined story lines.

Songs of the Earth is an interesting combination of the early Jenkins (Adiemus and the jazz influences from his Soft Machine days) with the larger works, such as The Armed Man, Stabat Mater, and The Peacemakers. The opening movement,” Khaos”, is aptly titled. An improvised saxophone solo plays over the pulsating rhythms of the orchestra and the chorus. It has a primordial quality suggesting the birth of the unformed universe. The second movement, “Gaia: Mother Earth” has the chorus chanting her name over and over in a worshipful manner or ritualistic adoration. “Ouranos and the Heavens”, the third movement, has an ethereal quality, with a singing violin solo and another improvised saxophone solo. The fourth movement, “Dance of the Titans”, with its ever changing meter (one bar 7/8, the next bar 3/4, then the pattern repeats), has a quirky feeling that at times boarders on the grotesque. “Tethys, Goddess of Fountains and Stream”, the fifth movement, has a flowing, water-like feel that the title suggests and features another extended saxophone solo. The final movement, “The Pit of Tartarus” has a relentless driving energy that is strongly akin to the Paradisi Gloria from Jenkins’ own Stabat Mater.

Mr. Jenkins should be pleased at the fine performance of his new work which made it a great success. Congratulations are in order for the chorus from Pennsburry, Pennsylvania (consisting of the High School Concert and Women’s Concert choirs with the Community Chorus), the Distinguished Concerts Orchestra, and conductor Griffith, who combined their considerable talents to make it all come together. Songs of the Earth should take its place with other of Mr. Jenkins’ popular works, and I’m sure his many fans will be looking forward to future performances.

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

The Sounds of War and Peace (DCINY): Chapter 1 in Review

Distinguished Concerts International New York (DCINY)
The Sounds of War and Peace: Chapter 1
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Francisco J. Núñez, composer/conductor; Jonathan Willcocks, composer/conductor
Stern Auditorium, Carnegie Hall; New York, NY
January 20, 2013
 
DCINY

The Sounds of War and Peace: Chapter 1

 

Distinguished Concerts International New York (DCINY), well-known for themed programs, created a concert series called “The Sounds of War and Peace”.  Over two nights, each “chapter” focuses on music that expresses not only the horrors of war and its aftermath, but also the idea of peace through the idea of multi-cultural understanding and cooperation.  On January 20, 2013, Chapter 1 was performed- the first half “peace”, and after intermission, “war”.

The first half, featuring elementary and middle school-aged performers from Georgia, Connecticut, Texas, Pennsylvania, and Maryland was conducted by the multi-talented Francisco J. Núñez.  Billed in the program as “Music for Future Peacemakers”, it was a selection of works that could be best described as having the qualities of child-like innocence, rather than having any more overt “peace “message. It was more William Blake than Mohandas Gandhi.  Opening with Kayama from Adiemus: Songs of Sanctuary by Karl Jenkins, the night got off to a good start. One of Jenkins’ earlier works, it already incorporates many elements of what could be called his signature sound – an easily sung melody combined with the flavor of diverse multi-cultural influences, especially in percussion and rhythm. The “words” of this piece are invented and are not part of any recognizable language, lending it what the program notes described as a  “tribal” sound.  It was given a joyful performance.  Dôme épais, better known as the “Flower duet”, from Leo Delibes’ Lakmé followed. The soprano and mezzo-soprano soloists (whose names were not mentioned) sang this favorite with polish in an arrangement by Núñez. The chorus was challenged by the some of the upper register sections, not at all surprising considering the age of the performers.  It did seem to be a curious selection that did not really fit in with the other works or the theme of the concert itself. Three Dominican Folk Songs, as arranged by Núñez, captured the essence of nursery songs. From the playful, to the poignant, and even to the mocking, the young performers brought it all to life.  After this whimsy, a more serious selection was in order, and selections from Misa Pequeña Para Niños (A Children’s Mass) fulfilled this. Composed by Núñez in memory of his father, it is a fitting tribute written by a composer who has a great understanding of the limitations and possibilities of the child’s voice.  The three selected movements were rendered with great feeling and in conjunction with the “big sound” of the orchestra elicited from the young performers a collective sound beyond their years.  The remaining selections brought back the spirit of joy and hope. The polyrhythmic clapping in Aaron Siegel’s The Light Come Down was a highlight of the evening and brought the crowd’s roaring approval. Sesere Eeye, complete with hands waving, jumps, and leaning forward, was the signal that the fun was back, which continued in Oye by Jim Papoulis.  Even Núñez got into the act, dancing at the podium while the singers spun around in their own dance, reminiscent of Gustavo Dudamel with the Simón Bolívar Youth Orchestra.  Ending with the anthem-like Give Us Hope from Papoulis, the hearts of the audience were won over completely. It was truly touching to see the smiles and excitement on the faces of the young performers – a memory that will be with them always.

The adults took to the stage for the “war” second half- the Carnegie Hall premier of A Great and Glorious Victory, conducted by the work’s composer Jonathan Willcocks.  This work was commissioned to mark the bicentenary of the Battle of Trafalgar. Scored for tenor soloist, chorus and orchestra mirroring Haydn in his Nelson Mass, the four movements use words from the Latin Requiem Mass, the Book of Common Prayer, and contemporary accounts of the events, including Nelson’s.

This four- movement work not only commemorates the well-known battle and it’s most famous personality, Admiral Nelson, but a much lesser-known event that occurred after the battle. A terrible storm after the battle had finished threatened all the combatants and in the spirit of cooperation and brotherhood, they put their differences aside and aided the others regardless of nationality.

The first movement, Preparation, is a solemn prelude to the coming battle. One can feel the rising tensions as there are prayers for strength and hope of victory. The second, Conflict, has the chorus singing the Dies Irae while the tenor soloist is singing the words of Nelson at the same time.  It was an inspired idea that highlighted the idea of battle.  Eventually, the battle slows and the Lacrymosa quietly ends the movement. Storm, the third movement, featured the tenor soloist singing off-stage (in this case, in the balcony) from the Book of Common Prayer asking for deliverance from the terrible storm. Finally, the last movement, Reconciliation, highlights the ideal of a new peace, where the former enemies cast aside their differences. It ends with the tenor soloist singing off-stage while his voice fades to silence. The composer refers to this movement as the heart of the work.

Willcocks proved to be an effective and engaging conductor, while tenor soloist Daniel Shirley’s voice soared over the large forces with strength and clarity. The DCINY orchestra played with intensity and brought out both the savage and the sublime. The large chorus was well prepared and sang with great fervor and passion.  A Great and Glorious Victory wasn’t composed with DCINY in mind, but it is a work they could make their own.  It was a memorable performance. 

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

Suzanna Klintcharova in Review

ArtFusion Paris Presents Suzanna Klintcharova, harp
Weill Recital Hall at Carnegie Hall; New York, NY
December 27, 2012

In a concert originally scheduled for October 31, 2012, Bulgarian-born French-based harpist Suzanna Klintcharova took the stage at Weill Recital Hall nearly two months later. Hurricane Sandy had caused an 80-ton boom from a crane to become unsecured and swing wildly across from Carnegie Hall at a height of nearly 1000 feet. Countless concerts had to be cancelled. Some will not be rescheduled, and others have been pushed back as late as June 2013.  One must commend Ms. Klintcharova for rescheduling after what had to have been a terrifying experience; not only the storm itself, but being unable to leave the city after all airports were closed as well.

Ms. Klintcharova was introduced by the Bulgarian ambassador to the United Nations, who referred to her as a friend and a national treasure. It was gratifying to see an artist honored in such a way – I would be very surprised if any American artist got a similar introduction in Sofia from one of our own ambassadors.

In a program that would be a welcome antidote after such a storm, Ms. Klintcharova presented a selection of rather conservative works. This in itself was not a bad thing, but it was a bit puzzling considering that in her biography it is stated that she is very much interested in contemporary music and improvisation. The most recent work on the program was written in 1970 and not exactly on the cutting-edge.

Opening with two Sonatas (K. 132 and K. 531) by Domenico Scarlatti (1685-1757), Ms. Klintcharova showed her meticulous attention to detail.  The Grand Sonata for harp by a composer much better known for his extensive violin output, Giovanni Battista Viotti (1755-1824), followed. Other than an awkward moment in the Allegro Brillante, Ms. Klintcharova navigated the technical hurdles with apparent ease and captured the sparkling nature of the work without any grand gestures or histrionics. It was an intelligent approach from a sensitive and thoughtful musician.

The second half began with Lolita the dancer, more commonly known as Lolita la danseuse, the third piece from Images-1st suite, Op. 29, written in 1925 by the French composer and harp pedagogue Marcel Tournier (1879-1951). Ms. Klintcharova captured the essence of a temperamental diva with her incisive playing; Lolita pouts, she flirts, she stomps her feet, she laughs and cries, and she soars all in the space of three minutes. It was a delight. Archipel 5A, composed in 1970 by  André Boucourechliev (1925-1997), Bulgarian-born but considered a French composer, followed. Archipel 5A is the harp part from a larger work, Anarchipel, for six players, composed in the same year and separated as a stand-alone work. It is an aleatory work that the composer owes much to his time spent in the United States exploring the form and his encounters with proponents of chance elements in music, such as John Cage.  Ms. Klintcharova is as much at home in this form as in the more conventional. Her performance took the spirit of a dream, albeit a rather tormented, uneasy dream. It was skilfully conceived and executed in its details. As a finale, another nod to the impressionistic style of Tournier, the less frequently performed Sonatine No. 2, Op. 45, was played with elegance and refinement. The appreciative audience called Ms. Klintcharova back to the stage with loud applause.  As final thanks for her audience, she played the Moderato movement of the Sonata in C minor by Giovanni Battista Pescetti (1704-1766), as transcribed for harp by Carlos Salzedo. A beautiful piece, it was played beautifully as well, and Ms. Klintcharova closed the evening in fine style.

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

The Center for Musical Excellence Presents Winter Benefit Concert and Silent Auction in Review

Featuring Min Kwon, Alexander Beridze, Ming Xie, Heegan Lee Shzen, Diyi Tang, Miao Hou, Sydney Lazar, Lachlan Glen, and Erickson Rojas
Steinway Hall; New York, NY
December 18, 2012
 

Min Kwon

The Center for Musical Excellence (CME) is dedicated to the ideal of helping gifted artists of all nationalities realize their potential by providing them not only with top-notch training and mentoring, but with practical assistance in areas such as housing, language, and securing necessary documents.  Originally conceived to assist pianists, CME has now branched out to also accept players of all instruments and vocalists as well. Founder, Artistic and Executive Director Min Kwon headlined a group of talented artists in a benefit concert to raise money for this fine organization.  A silent auction with a variety of items, from the expected (a private concert from Ms Kwon) to the unexpected (an opportunity to watch an open-heart surgery!) awaited the highest bidders.

Such group concerts are always great fun for the audience members, who get to enjoy a variety of talented performers in crowd-pleasing works; it is a lot more stressful for the artists, however, who have to come in “cold” and be ready to go immediately.  To be judged on a few short minutes where anything can happen can be a frightening prospect. It is also difficult for the reviewer, who must make snap judgments and avoid the temptation to compare performers. If all goes well – and it did – the festive nature of the occasion rules the day.

Min Kwon and Alexander Beridze opened the concert with Variations on a Theme of Paganini for Two Pianos by Witold Lutosławski (1913-1994). Played with panache and style, this much-loved work got the night off to a great start.  Ming Xie followed with the “Alborado del Gracioso” from Miroirs of Maurice Ravel (1875-1937). At only eighteen years of age, he played with involvement and mastery far beyond his years. This is a young man who bears watching.  Heegan Lee Shzen followed with Etude –Tableaux in E-flat Minor, Op. 39, No. 5 by Sergei Rachmaninoff (1873-1943, not 1891-1953 as the printed program stated twice– those dates are Sergei Prokofiev’s!).  Mr. Lee did not begin serious studies until age fifteen. This late start makes his achievement all the more remarkable when one considers that most players of his caliber usually began at the age of four or five. He seemed to gain confidence as he played and finished strongly.  He is a diamond in the rough who will be a pleasure to follow.  Closing the first half, Diyi Tang treated the audience to Ce qu’a vu le Vent d’Ouest (What the West Wind Has Seen) from the Préludes, Book I from Claude Debussy (1862-1918). This virtuosic tribute to Percy Shelley’s Ode on the West Wind was played with fiery intensity – a stormy wind full of raging aggressiveness.  This I believe to be the most effective approach and not the understated interpretation that I have heard from many others.  It was an exciting close to the half.

Miao Hou joined Diyi Tang to open the second half with two selections of two-piano works. The first included “Meng Songs” and “Miao Dances” from China West Suite by Chinese composer Chen Yi (b. 1953). These two movements could be described as Béla Bartók and Prokofiev mingling with the sounds of China; the Meng Songs being poignant in simplicity and the Miao Dances infectious in their energy. The pianists then swapped pianos and offered the Valse from the Second Suite for Two Pianos of Rachmaninoff. It sparkled with optimism and brightness in the hands of these two very sensitive musicians.  The youngest performer of the evening, soprano Sydney Lazar followed. Ms. Kwon told of how Ms. Lazar won the hearts of the Viennese when she was a participant in CME’s ConcertoFest in Vienna.  Her performance of “Bel Piacere” from Rinaldo by George Frederic Handel (1685-1759) showcased her lovely voice, but it was her performance as Adele singing the “Mein Herr Marquis” aria (probably much better known as “Adele’s Laughing Song”) from Die Fledermaus by Johann Strauss II (1825-1899) that made it completely obvious how she won over the Viennese.  Projected with coquettish charm, it was a winning performance from start to finish. Ms. Lazar is personality plus and should have a bright future.  Her accompanist, Lachlan Glen was a star in his own right; any singer would be happy to have him as a collaborator. Erikson Rojas followed and proved to be an impressive performer in his own right. Playing Ante el Escorial by Ernesto Lecuona (1895-1963), Mr. Rojas gave an impassioned and intensely committed performance; the intensity of his performance made me forget that I am not especially fond of this piece – no small achievement! To cap off the night, Ms. Kwon joined Mr. Rojas for Libertango of Astor Piazzolla (1921-1992), played with Piazzolla’s characteristic fire.  All the performers came back for a group bow before the enthusiastic audience. Congratulations are due to all the performers and especially Ms. Kwon, whose energy and dedication has made the difference in the musical lives of so many through CME.

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

Distinguished Concerts International New York (DCINY) in Review

“Messiah…Refreshed!”
Distinguished Concerts International New York (DCINY): Distinguished Concerts Orchestra, Distinguished Concerts Singers International, Jonathan Griffith, Music Director; Penelope Shumate, soprano; Doris Brunatti, contralto;
Jorge Garza, tenor; Liam Moran, bass.
Avery Fisher Hall; Lincoln Center, New York, NY
November 25, 2012

Written in the space of 24 days in 1741, George Frideric Handel’s Messiah is a work with a storied performance history.  Premiered in Dublin in 1742, it has been a mainstay of the repertoire since. Using a libretto from Charles Jennens, Messiah is the story of Christ’s incarnation, death, and resurrection.

Messiah is no stranger to reworking and revision. Handel himself rearranged and rewrote sections to suit his needs; selections could be added or deleted based on the talents available. Mozart produced a version in 1789 that is still in use today, although nineteenth-century critic Moritz Hauptmann caustically remarked that Mozart’s revisions were “stucco ornaments on a marble temple.”  The controversy has not abated. There have been “sing-a-long” editions and even a rock version performed and recorded. The version performed at today’s concert is generally attributed to Sir Thomas Beecham and Eugene Goossens, although Beecham’s contribution was overstated for many years by his widow.  It was not until the 1990s that Lady Beecham’s claims were refuted; the score was completely Goossens’s work.

Beecham commissioned fellow conductor and composer Goossens to re-orchestrate Messiah to utilize the full forces of the Royal Philharmonic Orchestra. He felt that larger forces were needed to project the sound in increasingly large venues.  Beecham recorded this version in 1959; it is still available on CD today, and it continues to be controversial.  Purists who believe that Handel’s conception should remain true to the original find the Goossens version to be vulgar, while its defenders argue that the greater forces enhance the grandeur of the work.

Make no mistake; this is not your great-grandfather’s Messiah. It is brash, extroverted, and at times bombastic.  It is not Messiah – it is MESSIAH, with double the sound, new and improved, with cymbals and triangle! It is Messiah on steroids, the epitome of the saying “Go big or go home.”  This version is tailor-made for DCINY; an organization that never fails to pull out all the stops in putting on a big show.

Conductor Jonathan Griffith led the orchestra and 200-plus chorus with a sure hand. It would have been easy to lose control of these large forces, but Griffith was up to challenge of delivering the big sound without losing focus on the music itself.  The playing was excellent throughout and the exuberance of the percussionists was a special joy to see and hear. The trumpet playing in Behold, I tell you a mystery was particularly striking in its clarity and beauty of tone.  The chorus was well balanced and strong in its supporting role.

The four soloists had the biggest challenge, to sing their demanding parts while having to project enough to be heard over the large forces behind them. There were moments when each singer was in peril of being drowned out, but happily, they all overcame the dangers and delivered fine performances.  I believe each soloist became stronger and more confident as the performance progressed, as they made adjustments to project their voices.  Soprano Penelope Shumate was confident and assured; There were shepherds abiding in the field was a highlight of her performance. Contralto Doris Brunatti was compelling in her role; Behold, a virgin shall conceive was her best of several excellent solos. Tenor Jorge Garza sang his role with total involvement; one could feel the venom in the word “rebuke” in his solo, Thy rebuke hath broken his heart.  It was his He that dwelleth in heaven, though, that was the highlight of his performance to this listener. Finally, the talented Bass Liam Moran was not to be overshadowed by his fellow soloists. His solo, Why do the nations so furiously rage together?, was the high point of his outstanding singing.

One would be remiss if not making special mention of the Hallelujah chorus. It did not disappoint, delivered in a manner that could be described as over-the-top, complete with young members of the Distinguished Concerts Singers International joining in from the second tier in the audience (in what is becoming a signature feature of DCINY concerts). The audience stood spontaneously as they often do for the Hallelujah, and many could be seen singing along.  At the close, the audience roared its approval for several minutes.  The closing chorus, Worthy is the lamb that was slain, was performed with similar spirit. The excitement built to such a fever pitch that one bass in the chorus jumped in a moment early after a dramatic pause. The work was brought to a rousing close, and the audience responded with five minutes of thunderous applause, eliciting several curtain calls for the soloists and conductor Griffith. It was a well-deserved ovation to a memorable concert. Congratulations to DCINY for yet another winning performance.

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