Distinguished Concerts International New York (DCINY) presents: Of Life and Liberty in Review

Distinguished Concerts International New York (DCINY) presents: Of Life and Liberty in Review

Distinguished Concerts International New York (DCINY) presents: Of Life and Liberty
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Matt Oltman, conductor; James M. Meaders, conductor; Viola Dacus, mezzo-soprano
Stern Auditorium, Carnegie Hall, New York, NY
January 19, 2014

A Distinguished Concerts International New York (DCINY) concert is always a memorable experience. As I ran the gauntlet of massed chorus members from Mississippi assembled in the back area as I went to pick up my tickets, I was reminded of what the DCINY experience is all about. The excitement and nervousness of men and women of all ages in what was likely the thrill of a lifetime filled that very cramped space in such a way as to overwhelm me with a similar feeling. Any irritation I might have felt at that moment washed away when a smiling chorus member offered to sing the program if I were unable to retrieve my tickets! At last, the way was cleared, and I wished them all the best of luck.

The World Premiere of The Gettysburg Address in a new arrangement for men’s voices from Mark Hayes (b. 1953) opened the concert.  In my review in this journal from May 27, 2013 (“Requiems for the Brave”), when this work was performed in its original version for mixed voices and orchestra, I wrote the following:

“About The Gettysburg Address [the music], Mr. Hayes in his program notes writes, ‘…the challenge of creating something musically profound was overwhelming.’ These ten sentences [the address itself] 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.”

In this revised version I find my initial thoughts to be unchanged. If anything, the effect is deepened by the use of men’s voices alone.  The Testament of Freedom, from underappreciated composer Randall Thompson (1899-1984), followed. Commissioned in 1943 to celebrate the bicentennial of the birth of Thomas Jefferson, this work has become a favorite for men’s choruses. When one hears the work, it is easy to see why this is the case: hymn-like melodies, stirring text, and expert vocal writing.  Thompson used the writings of Jefferson for the text of the four movements, with a strong focus on Jefferson’s unwavering belief in the unalienable rights of man. The chorus, consisting of members from Minnesota, Illinois, Idaho, Indiana, South Carolina, Florida, Massachusetts, and Alberta, Canada sang with strength, clear diction, and fine balance throughout. The third movement, “We fight not for glory,” was the highlight to this listener, but the whole performance was excellent. The animated Matt Oltman was a dynamic conductor who coaxed every last ounce of dramatic energy from both the chorus and the Distinguished Concerts Orchestra in both works.

The second half consisted of the New York premiere of Requiem for the Living from composer Dan Forrest (b. 1978). About the title Mr. Forrest writes, “the five movements form a narrative just as much for the living, and their own struggle with pain and sorrow, as for the dead.” Mr. Forrest freely used the standard mass as a model, with the substitution of a movement he entitled Vanitas Vanitatum (quoting from the Book of Job and Ecclesiastes) in place of the Dies Irae. This work is by no means complex in the vocal writing or the harmonic language, but the net effect is one of great import. Requiem for the Living is one of the most moving works I have heard in a very long while. It is truly a case of the maximum effect from the minimum of means, the mark of a highly skilled composer. It was a performance to remember, from the quiet opening of the Introit and Kyrie, the driving energy of the sinister Vanitas Vanitatum, and the serene Agnus Dei, to the celestial influenced magic of the Sanctus and hauntingly beautiful Lux Aeterna, which slowly faded away to nothing. In the Agnus Dei and Lux Aeterna, Mezzo-soprano soloist Viola Dacus sang with a pure, radiant voice that captured the essence of child-like innocence. Conductor James M. Meaders led the Distinguished Concerts Orchestra and the chorus with meticulous restraint and close attention to detail. When he lowered his baton after the sound died away, the audience erupted into a prolonged ovation. Congratulations, my new friends from Mississippi, you were all stars today.

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by Jeffrey Williams  for New York Concert Review; New York, NY
Opus Two Presents the Music of George Gershwin in Review

Opus Two Presents the Music of George Gershwin in Review

Opus Two Presents the Music of George Gershwin
Opus Two: William Terwilliger, violin; Andrew Cooperstock, piano
Bruno Walter Auditorium, New York, NY
December 28, 2013

On an unusually warm December day, I made my way to the Bruno Walter Auditorium to hear a performance of the music of George Gershwin by the duo Opus Two. I was expecting a smaller crowd because of the holiday weekend and the early afternoon starting time. Imagine my surprise, upon arriving, at the sight of a long line of about seventy people all hoping to get in, even though the hall was already filled! Luckily, my place was reserved.  A few other lucky people in this line gained entry and were treated to what was part concert, part lecture, and part sentimental retrospective.

Opus Two boasts the combined talents of William Terwilliger, violin, and Andrew Cooperstock, piano. This well-travelled duo with performances around the globe is especially renowned for championing American music and composers. What could be more American than the works of George Gershwin? Opening with Jascha Heifetz’s arrangement of “Summertime”, from Gershwin’s masterpiece Porgy and Bess, the duo gave the audience a taste of what was to follow. The performers then introduced themselves and alternated turns at the podium as they spoke of Gershwin. They included a few well-known anecdotes, including the oft-quoted one from Maurice Ravel (when Gershwin sought composition lessons from the French genius): “Why do you want to be a second-rate Ravel when you are already a first-rate Gershwin?”  It was time for the concert proper to commence.

First up came Selections from Porgy and Bess as arranged by Jascha Heifetz. The renowned Heifetz had been quick to recognize the appeal of Gershwin’s music and was savvy enough to capitalize on that demand by making arrangements that highlighted his own virtuosic talents. Porgy and Bess is the best known of these arrangements and continues to delight listeners to this day. The playing from Opus Two was assured, from the restless “Summertime” (yes, again), to the laments of “My Man’s Gone Now”, to the joyous “Bess, You is My Woman Now’, to the biting irony of “It Ain’t Necessarily So”. Images by African-American period photographer, Richard Samuel Roberts, were projected on a large screen behind the performers and were a perfect visual accompaniment to the music.  It reminded me of the style of Ken Burns in his various documentaries and was an inspired touch. This was the sort of imaginative conception that one hopes for, even expects, when two exceptional musicians who really are of the same mind and spirit join together.  Opus Two fulfilled this expectation throughout the concert.

Short Story, for Violin and Piano, was the only work originally written for this combination by Gershwin himself. The violinist Samuel Dushkin, a friend of Gershwin and a renowned performer in his own right (Stravinsky wrote his Violin Concerto for Dushkin in 1931), offered technical advice on the violin part.  Gershwin and Dushkin premiered this three-minute work, which has all the hallmarks of Gershwin’s style- rhythmic vitality and catchy tunes (in this case laced with the blues and ragtime).  But, for whatever reason, it never caught on with other performers and disappeared in oblivion. While admittedly not up to the standards of his later mature works, it is still worthy of attention, and the fine performance from the duo made that point clear. Kudos to Opus Two, for both their sophisticated reading and for sharing this little-known gem, which should gladden the heart of any Gershwin fan.

The Three Preludes for Piano, also arranged for violin and piano by Heifetz, followed and were played with stylish assurance. While I prefer the original, this arrangement was highly effective.

Excerpts from An American in Paris, which were partially arranged by Heifetz and later expanded by Ayke Agus in 2005, were introduced by a short talk and video selection from the movie featuring Gene Kelly and Leslie Caron dancing a pas de deux (as choreographed by Kelly) to set the mood. The players’ casual commentary included the remark, “They don’t make them like that anymore!” No, they sure don’t!   Violinist William Terwilliger joked about how he would be simulating the sounds of car horns with his violin. This work shows the ever-maturing Gershwin’s progress from song plugger to “serious” composer, with French influences (Debussy and Ravel), yet in his own highly characteristic voice.  Opus Two played with appropriate elegance and wit in yet another winning performance.

Composer Eric Stern continued the Heifetz tradition with his own arrangement of Selections from Girl Crazy, written especially for Opus Two.  Another video, this time Judy Garland singing “Bidin’ My Time” from the movie version of Girl Crazy, was played and brought smiles to all as a reminder of a golden age.  Returning to their performance, Opus Two presented Stern’s arrangement with panache.  Including the unforgettable classics, “Embraceable You” and “I Got Rhythm”, this transcription was destined to be a crowd pleaser. The same energy and commitment with which the duo started the concert were still very much in effect, in even more refined playing. The lazy drawl of “Bidin’ My Time”, the enchanting “Embraceable You”, and an electric “I Got Rhythm” ended the piece and the concert in triumph. The audience demanded more, so for an encore, Opus Two offered a favorite from another one of America’s most loved composers, Aaron Copland, “Hoedown” from Rodeo.  Played with brio, it was a fitting close to a most enjoyable concert.

 

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
USA-Japan Goodwill Mission Concert in Review

USA-Japan Goodwill Mission Concert in Review

USA-Japan Goodwill Mission Concert
New York Festival Orchestra, Beethoven Memorial Chorus
Hideaki Hirai, Music Director and Conductor; Hideyuki Tsuji, Choral Conductor
Naomi Satake, soprano; Francesca Lunghi, alto; Paul Williamson, tenor; Katsuji Miura, bass-baritone
Stern Auditorium at Carnegie Hall, New York, NY
December 26, 2013

In order to raise money for the victims of Typhoon Haiyan in the Philippines, a benefit concert entitled “USA-Japan Goodwill Mission Concert” was held at Stern Auditorium at Carnegie Hall on the evening of December 26, 2013. Raising money for a good cause is always a welcome activity, and I commend the organizers for this. It is thus with reluctance that I take issue with the chosen program. It seemed that there were two concerts slapped together to be one, without any thought as to the appropriateness of having Beethoven’s Symphony No. 9 in D minor, Op. 125, the Choral, paired with a motley assortment of popular songs.

I am not a music snob. I love the popular music of the 1980s and can probably identify within a few seconds any song from that era that received airplay. I love music of all genres and eras.  I also love the 9th Symphony of Beethoven. As one who does, I find the idea of “Meet the Flintstones“ on the same program as the Beethoven to be bizarre in the extreme. The clashing of Schiller’s “Götterfunken!” with Hanna-Barbera’s “Wilmaaaaaa!” is still filling my ears with horror, as the ghost of Kafka smiles with a knowing nod. “O Freunde, nicht diese Töne!” To have any work follow this monument of the Western music canon shows a lack of respect to the sheer magnitude of this masterpiece, but to follow it with show tunes, popular music performed in a style strongly akin to a Glee episode, and Barbershop with slapstick, was the musical equivalent of Marcel Duchamp’s treatment of La Gioconda in his L.H.O.O.Q.  I would have been perfectly content with either half standing alone, but NEVER paired together.

My programming objection in no way is meant to disparage the performers in the second half, as they were all very entertaining and gave energetic, crowd-pleasing and wholly committed performances. The No Borders Youth Chorus, an all-male a cappella chorus with young men from the United States, Canada, and China, led by Joe Cerutti, was delightful, and the barbershop quartet, Lunch Break, was hilarious in their set. It was just a shame that the net effect of each mismatched half was to nullify the value of the other through the pairing.

The program did not list the movements of the Beethoven, nor include the text of the Ode to Joy. If there was an assumption of familiarity as a reason for the omission, it proved to be completely unfounded.  Applause between the movements and ear-shattering yelling from the audience from the start of the Alla Marcia section in the finale (for a good ten seconds), were proof enough of not only a lack of familiarity with the work, but a lack of familiarity with how to behave at a classical concert. Enthusiasm is good, but yelling loudly is never appropriate. To his credit, conductor Hideaki Hirai endured these interruptions with grace and did not allow them to distract him or the orchestra.

The New York Festival Orchestra, consisting of players from throughout the United States, was specially formed for this concert. Usually one expects some roughness from groups of this nature, and while there were a few instances of this, the playing overall was polished and the ensemble remarkably unified, as if they had been together for a long period of time. From the tremolos that open the work, to the timpani bursts in the Scherzo, the sublime Adagio in the third movement, to the Prestissimo of the final bars of the epic last movement, it was a highly satisfying performance.

The Beethoven Memorial Chorus was made up of singers from Japan and the United States, all with extensive experience performing the 9th Symphony. This experience showed in their rock-solid performance. Bass-Baritone soloist Katsuji Miura projected with a powerful voice that easily filled the hall with its bold resonance. Soprano Naomi Satake’s voice soared with passion, while Tenor Paul Williamson and Alto Francesca Lunghi enriched the textures with their considerable talents.

Maestro Hirai was especially impressive. Conducting from memory, he demonstrated his deep knowledge of the score with unflagging energy and intense concentration. He was dynamic, confident, and completely engaged for the entire 75 minutes.  It was especially interesting to me that he “sang” along with the chorus with evident joy on his face.  It was among the best of the live performances I have heard of this work and justly deserving of the standing ovation it was accorded. Bravo to all!

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by Jeffrey Williams  for New York Concert Review; New York, NY
Gil Sullivan, Pianist in Review

Gil Sullivan, Pianist in Review

Gil Sullivan, Piano
MidAmerica Productions Presents: Gil Sullivan, piano
Weill Hall at Carnegie Hall, New York, NY
December 16, 2013
 
 
Gil Sullivan and Julian Cochran

Gil Sullivan and Julian Cochran

 
 

In a program presented by MidAmerica productions, Australian pianist Gil Sullivan offered a program of Mozart, Brahms, and works by his compatriot, Julian Cochran. The globetrotting Mr. Sullivan sports an impressive resume, with appearances in many of the world’s most renowned halls.

Opening with Mozart’s Sonata in F major, K. 533/494, the double Köchel number referring to the Rondo finale being composed well before the first two movements, Mr. Sullivan gave ample proof that his sterling reputation as a interpreter of Mozart is well deserved.  He offered a performance that explored the depths of one of Mozart’s most profound piano works with restrained, careful rendering and especial attention to matters of tone and phrasing. After the Mozart, Mr. Sullivan played four works (with a break for intermission after the first two) by fellow Australian Julian Cochran.

Julian Cochran (b. 1974) was born in Cambridge, England, but immigrated to Australia in 1978. Mr. Cochran is a mathematician specializing in Pure Mathematics, but has dedicated his talents more fully now towards music, as both a pianist and a composer.  When one hears mathematician and composer in the same sentence, it is not at all unreasonable to think of names like Babbitt and Xenakis, and to expect a similarity of style with a mathematical base. Such was not the case. The multi-talented Mr. Cochran is a throwback to the Romantic and Impressionistic traditions of the piano, using the musical language of Chopin, Liszt, Debussy, and Ravel, amongst others, in a highly individualistic, non-derivative manner.  On the program were two Preludes and two Mazurkas from his pen.

 Prelude No.7 (2010) is a work that has a theme that with a distinctly Romanian-inspired folk feeling. Variations on this theme are done in a similar folk style, building to a powerful climax with bell-like sounds that slowly fade into silence.  In his notes about Prelude No. 8 (2010), the composer makes reference to the nature of the ocean and the swirling opening subject.  I was reminded of Ondine from Gaspard de la Nuit, but with the additional twists hearkening back to motifs of Liszt, Debussy, and even Rachmaninoff. It is a work that is alternately serene and unsettled, glistening and turbulent. It builds to a brilliant climax, and then recedes into a quiet ending.  Much like Ondine, this work requires a formidable technique, which Mr. Sullivan possesses. It was an outstanding performance of a striking work and a fine ending to the first half.

 After intermission, next up were Mazurkas Nos.4 and 5. Mazurka No. 4 (2009) is a work that could be called Chopin’s Nightmare.  It has the qualities of an unsettled dream with the harmonic language almost mockingly omitting the fifth tone of the minor scale at all turns, while augmenting the fourth and diminishing the sixth. This Mazurka becomes a wild, dervish-like dance bordering on the grotesque before returning to the original theme.  About Mazurka No. 5 (2009, revised 2010), the composer writes that this work “may remind us of Ravel”. Indeed, one can detect hints of Ravel’s La Valse in this work. The writing is highly virtuosic, and in the hands of Mr. Sullivan it was given a masterful performance that accentuated its brilliance. Mr. Cochran was in attendance and joined Mr. Sullivan for bows on stage.  This is a composer who has learned his lessons well from the old masters while leaving his own distinctive mark. I would like to hear more from Mr. Cochran in the future.

 Ending the program with Brahms’s Sonata No. 2 in F-sharp minor, Op.2, Mr. Sullivan showed himself to be as comfortable in this massive structure as he was in the sparseness of the Mozart.   This work of a young Brahms is packed with bold ideas, virtuosic demands, and symphonic qualities that owe much to Robert Schumann’s influence. It is brash and designed to impress, and in this respect Mr. Sullivan delivered a power-packed performance. It was an exciting close to the concert by a pianist possessed of intelligence and technical prowess in equal measure.

As an encore, Mr. Sullivan offered the A-flat Polonaise, Op. 53 of Chopin, the Heroic, which he played in an exciting and highly individualistic manner (with liberties and additions to the score). The full-house audience loved it and roared their collective approval in a raucous ovation.

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by Jeffrey Williams  for New York Concert Review; New York, NY
The Second Coming in Review

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

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

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

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)

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

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!)

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 .

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.

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

Aleyson Scopel, Pianist in Review

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 1200th 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.

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

The Music of Dinos Constantinides in Review

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.

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by Jeffrey Williams  for New York Concert Review; New York, NY
Anna Han, Pianist in Review

Anna Han, Pianist in Review

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 24th 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.

 

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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.

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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 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 30th 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.

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