Jeffrey Williams | New York Concert Review, Inc.

Anna Han, Pianist in Review

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

SubCulture Arts Underground, New York, NY

November 21, 2013

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

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

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

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

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

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

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

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

Ensemble: Périphérie in Review

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

Weill Recital Hall at Carnegie Hall, New York, NY

October 26, 2013

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

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

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

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

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

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

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

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

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

Suwon Civic Chorale

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

Alice Tully Hall, Lincoln Center, New York, NY

October 19, 2013

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

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

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

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

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

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

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

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

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

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

MARA Society of New York presents Fall Concerto

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

Merkin Concert Hall, New York, NY

October 9, 2013

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

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

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

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

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

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

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

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

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

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

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

I-Bei Lin CD in review

I-Bei Lin, cello; Jonathan Korth, piano

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

April 18, 2011

I-Bei Lin Cellist

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

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

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

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

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

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

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

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

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

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

Yumi Suehiro, Pianist in Review

Yumi Suehiro, piano

“Chromatic Journey”

Tenri Cultural Institute, New York, NY

June 15, 2013

Yumi Suehiro, pianist

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

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

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

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

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

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

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

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

Distinguished Concerts Orchestra, Distinguished Concerts Singers International

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

Avery Fisher Hall, Lincoln Center; New York, NY

May 27, 2013

Dr. Jonathan Griffith for the Durufle Requiem

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

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

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

Mr. Mark Hayes for his Requiem & The Gettysburg Address

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

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

Caleb Chapman’s Crescent Super Band in Review (DCINY)

Distinguished Concerts International New York (DCINY) presents

Caleb Chapman’s Crescent Super Band

Featuring The Voodoo Orchestra and La Onda Caribena

Guest Artists David Sanborn, saxophone; Wayne Bergeron, trumpet; Russell Schmidt, piano

Stern Auditorium, Carnegie Hall, New York, NY

May 21, 2013

Caleb Chapman’s Crescent Super Band at Carnegie Hall

Caleb Chapman is a young man in a hurry. Not yet forty years old, he is the Director of eleven ensembles, published author, and award- winning musician. He was invited by Distinguished Concerts International New York (DCINY) to bring to Carnegie Hall his elite Crescent Super Band, The Voodoo Orchestra, and La Onda Caribeña. All three groups consist of players from the ages of fifteen to eighteen in the state of Utah. Special guests David Sanborn, Wayne Bergeron, and Russell Schmidt were also to have featured roles.

Founded in 2001 and with a list of honors a mile long, including countless accolades from Downbeat magazine, ten Best of State awards, product endorsements and sponsors, the Crescent Super Band is, on paper, a very impressive group. I must admit that I was somewhat wary of this build-up. While I am a huge fan of youth concerts and particularly enjoy the big band and jazz styles, I also have high expectations for the same based upon my own performing experiences (from the years 19…uh…well, never mind when!). I would have to wait until the second half to see.

Meanwhile, The Voodoo Orchestra took to the stage to open the night. Any ideas I might have had about this ensemble being a time-filler opening group were immediately obliterated by a super-stylish and slick performance of Spider-Man. I could not believe I was hearing players that were fifteen to eighteen years old! This was playing at a level to rival any professional group. The Voodoo Orchestra takes the best of the 30’s and 40’s big bands swing era and combines it with the cool sophistication and swagger of the Rat Pack. They have the entire package; the “hot” playing, the smooth vocalists, and the choreographed movements of the players with their instruments. Ending their set with a smoking hot world premiere of Brian Setzer’s Hoodoo Voodoo Doll, it was a fantastic start to the evening.

La Onda Caribeña followed with the flavors of Salsa and Latin-tinged jazz. Opening with Hector Lavoe’s and Willie Colon’s Llego La Banda, this ensemble showed that they were the “real deal” as well. Passion, brilliance, supercharged rhythmic vitality, and beguiling vocalists make La Onda Caribeña un grupo ganador. Victor Lopez’s Salsa Caribeña, written especially for La Onda Caribeña is sure to be a signature piece for them. They closed their set and the first half with a scintillating performance of Tito Puente’s Para Los Rumberos.

After intermission, the Crescent Super Band was ready to be unleashed. Just when I thought there was no possible way the bar could get set any higher, it did! I can still scarcely believe that this group is not filled with old established “ringers”, but such incredibly talented youth. If The Voodoo Orchestra and La Onda Caribeña lit the flames, then the Crescent Super Band stoked the flames into an inferno. From the infectious drive of Tightrope, to an ultra-hip arrangement of Paul McCartney’s Can’t Buy Me Love, to Bill Readies “take-no-prisoners” arrangement of Leonard Bernstein in West Side Story Medley, to the deceptively simple charms of Harold Arlen’s Down With Love, the Crescent Super Band could do no wrong. They “burned the place down” with a jaw-dropping performance Louis Prima’s Sing Sing Sing to end the concert. The audience, already worked into a frenzy, sprang to their feet with a well-deserved and prolonged ovation.

Caleb Chapman roamed the stage like a big cat stalking his prey. This hyper-energetic leader would wander into sections of the groups to encourage his players, cajoling them into greatness, then turn to the audience with a “can you believe how amazing these kids are?” expression on his face. He’d adjust microphones for soloists, and then race back to the front to conduct. His energy was like rocket fuel for all; the personnel changes between numbers were always at high-speed, with players running on and off stage. Not satisfied just leading these three groups, he lent his own considerable skills on saxophone as a featured soloist in Victor Young’s When I Fall in Love, which he dedicated to his parents. Now would be a good time to thank Mr. Chapman’s mother for sending him to music camp, instead of soccer camp, as Mr. Chapman related from the stage as he spoke of his parents. Whatever soccer might have lost, music more than gained.

One would be remiss in not mentioning the guest artists. Russell Schmidt joined The Crescent Super Band on the piano in the premiere of his work Percolating, which it certainly was! Wayne Bergeron, well known to the trumpet world from his days with Maynard Ferguson, was a presence with all three ensembles, and as a featured soloist in Horn of Puente, written for him by Gordon Goodwin, with La Onda Caribeña. His playing in the extreme upper register, which trumpet players call “screaming”, continues to amaze. I would imagine it would be inspiring to the young players to play alongside someone who can bust off double high C’s at will! Finally, David Sanborn joined the Crescent Super Band for an unforgettable performance of I Put a Spell on You by Edward Harcourt in an arrangement by John Clayton. In Bang Bang, which followed, a Crescent Super Band saxophonist joined Mr. Sanborn at the stage front. What a thrill it must have been for a young sax player to jam on the stage of Carnegie Hall with the living legend David Sanborn. He more than held his own, and getting a “high-five” from Mr. Sanborn was something this youngster will remember forever.

If I had had my trumpet with me, I would have found a way to get on stage to join in. Luckily for security, I somehow lacked the foresight to bring my instrument with me, but I cannot guarantee that if Mr. Chapman brings his groups back to New York that I will not give in to temptation.

If you ever have the opportunity to hear The Voodoo Orchestra, La Onda Caribeña, the Crescent Super Band, or any group lead by Caleb Chapman, do not hesitate to do so. Do not walk, but run to the box office and get your tickets before they sell out. It is truly the experience of a lifetime.

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

Shattered Glass Ensemble in Review

Rondo Music Society presents

Shattered Glass Ensemble

Elizabeth Woo, violin soloist

Zankel Hall, Carnegie Hall; New York, NY

May 7, 2013

Shattered Glass Ensemble at Carnegie Hall; photo credit: Brian Hatton

Shattered Glass, a sixteen member string orchestra sans conductor, is very much a product of the 21^st century -marketing themselves with a professionally produced website and all the elements of social media (Facebook, Twitter, YouTube, and Instagram). The players hail from all around the globe, but they all met and joined together while attending the Manhattan School of Music. In addition to having a wide mainstream repertoire, Shattered Glass has been active in crossover collaborations with pop and hip-hop artists. Mentored by the noted violinist, teacher, and composer Albert Markov, this group is poised to make its mark on the music world by reaching out to as wide an audience as possible.

Violinist Elizabeth Woo, artistic director of Shattered Glass and highly acclaimed artist in her own right, headlined a program featuring her as a soloist in works by Vivaldi, Sarasate, and Albert Markov. The program opened with the Concerto for Three Violins in F major, RV 551 of Vivaldi, with violin soloists Elizabeth Woo, Holly Jenkins, and Tina Bouey. The opening Allegro movement got off to a problematic start, with intermittent intonation issues and tentative playing. The question that arose was whether this was something borne of nerves or was it going to be an endemic problem throughout. The answer was forthcoming in the Andante, where the playing was solid, and the final Allegro, which proved that any jitters were gone. The playing was confident, with good ensemble balance and precise intonation. The second work, the Ricercar a 6 from The Musical Offering by J.S. Bach was composed on what amounted to a challenge by Frederick the Great. On May 7, 1747, Frederick gave Bach a theme with the task to improvise a three-part fugue on the spot. When Bach made short work of that, Frederick demanded a six-part fugue. Bach asked leave to write out the work and The Musical Offering was the end result. On the 266^th anniversary of this meeting, Shattered Glass played the Ricercar a 6 in an arrangement by young composer Qin Dang for twelve players (six violins, three violas, two cellos, and a double-bass). Her arrangement uses as inspiration Anton Webern’s Klangfarbenmelodie approach to the same work (though the latter included winds, brass, and harp). As violist Michael Davis said in his comments before playing, “making connections is the biggest challenge,” in the work. That challenge was successfully met – the interplay between the twelve musicians was excellent; at no time was any single player dominating over the others in what was a perfect rendering of the Klangfarbenmelodie style. To end the first half, Shattered Glass offered the String Symphony No. 7 in D minor, MWV N 7, a remarkably mature work composed by Felix Mendelssohn at the age of thirteen (!). For the first time, all sixteen players took to the stage. Bass player Max Jacob provided a moment of levity when he abruptly hustled off the stage only to return a moment later with a huge grin and his missing bow, much to the amusement of the audience. Now that all players were properly equipped, they launched into a spirited reading. The precision of attack in the opening Allegro and superb dynamic control, especially the pianissimos in the Andante, were striking. The playful, almost sinister colors of the Menuetto and finally the energetic Allegro molto contributed to a winning performance.

Sinfonietta Per Archi ( Sinfonietta No. 1 for Strings), composed in 1992 by Krzysztof Penderecki (b. 1933), opened the second half. This work alternates from the strident to the nostalgic throughout while making virtuosic demands in both solo and ensemble. Shattered Glass seems to possess a particular affinity for this work. The playing was exceptional from start to finish in what was the highlight of the concert to this listener. Special mention must be made of the soloists; violinist Elizabeth Woo, violist Celia Hatton, and cellist Grace Ho for their exceptional playing. After the thorny Penderecki, Pablo de Sarasate’s Spanish Dances – Playera, Zapateado, and Habanera, were a surefire way to lighten the mood. In an arrangement by Mr. Markov where the piano accompaniment was transcribed for strings, Elizabeth Woo took center stage in the soloist’s role. Ms. Woo has the requisite technique and gave these crowd-pleasing works a virtuosic performance. The large and enthusiastic audience roared its approval. As much as I detest histrionics and admire control, I found myself wishing for a bit less restraint from Ms. Woo. To close, Ms. Woo performed the world premiere of Rhapsody No. 6, “Korean”, written especially for her by her teacher Albert Markov (b.1933). Inspired by a visit to Gangwon Province in South Korea, this work uses traditional Korean folk melodies in an “East meets West” fashion. Ms. Woo was a shining star in this highly effective and charming work. The audience responded with a standing ovation for Ms. Woo, Mr. Markov, and the ensemble. This work will no doubt become a cornerstone in the music festival in Gangwon Province that the dynamic Ms. Woo founded and where Shattered Glass will also perform.

Shattered Glass is a promising ensemble. With a core of such talented and enthusiastic young players, the future should be bright. With the growing popularity of such groups with similar missions, such as Brooklyn Rider and Alarm Will Sound, there is every reason to believe that Shattered Glass will enjoy commercial and artistic success. I look forward to hearing them again in the future.

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

West Chester University of Pennsylvania School of Music Presents: Faculty Recital in Review

West Chester University of Pennsylvania School of Music Presents: Faculty Recital

Vincent Craig, piano, Stephen Ng, tenor, Dan K. Kurland, piano

Steinway Hall; New York, NY

April 18, 2013

In a performance originally cancelled due to Hurricane Sandy, West Chester University of Pennsylvania presented two of its faculty members in a shared recital at Steinway Hall. Vincent Craig is an assistant professor of piano and Stephen Ng is an assistant professor of voice.

Opening with J.S. Bach’s English Suite No. 3 in G minor, BWV 808, Dr. Craig showed he has a strong affinity for this work. The playing was everything one hopes for in Bach- attention to detail, clear articulation, balanced voicing, and a steady rhythmic sense. It was excellent throughout, and the highlight of his performances to this listener. His Chopin Ballade No. 1 in G minor was solid, but reflected a somewhat undifferentiated interpretation. The 2005 work Actions and Resonances by composer Alex Miller (b. 1982) followed. The composer writes, “the title describes the texture of the piece, which frequently features crisp, percussive gestures followed by pauses in which the sound is left to resonate momentarily before moving on.” Dr. Craig gave this interesting work a reading that was mostly in line with Miller’s description. There were some moments when it was not entirely clear that all was according to plan, and there were some rather awkward page turns that could have been avoided by having a page turner. In the end, the composer, who was in attendance, signaled his approval with demonstrative applause. Ending with Liszt’s St. Francis of Paulus Walking on the Waves, Dr. Craig captured the dramatic sense of this work without falling into the trap of making it bombastic. If anything, it was a bit too understated for my liking, but I did admire Dr. Craig’s consistency of style. The virtuosic elements were dispatched with ease in a performance that brought the audience to their feet in excitement. Dr. Craig is a thoughtful, meticulous player who does not “showboat”. Clarity of lines and attention to inner voices were features of his playing throughout. His students are fortunate to have a teacher with the ability not only to verbalize, but to demonstrate clearly his ideas and approaches to the music.

Dr. Ng began his selections with “Sweeter Than Roses” from Henry Purcell, accompanied by Dan K. Kurland. The music’s demands were well met with Dr. Ng’s sure technique in a highly polished performance. It was an auspicious beginning. Benedetto sia’l giorno and Pace non tovo from Liszt’s Tre sonetti del Petrarca, S.158 were then offered. These highly effective songs tax the pianist and the vocalist to the utmost in Liszt’s characteristic virtuosic writing. Dr. Ng was up to the challenge, with a soaring voice in the extreme registers that could be simply described as amazing. Mr. Kurland was commendable in his own right, navigating the challenges with skill. Nine selections from Clairières dans le ciel (Clearings in the Sky), a thirteen-song cycle taken from poet Francis Jamme’s Tristesses by Lili Boulanger (1893-1918) followed. Given the astonishing maturity of this work from Boulanger at age twenty, one cannot help but lament what might have been if not for her tragically early death at age twenty-four. Dr. Ng fashioned a performance that was mesmerizing from Elle était descendue au bas de la prairie to the ending, Demain fera un an. It is regrettable that Dr. Ng did not do the entire set, as he did in recital February 11, 2013 at West Chester University. It is a set that highlights his talents to the maximum, and I would highly recommend that any music lover hear him perform this song cycle. To close the program was Lensky’s Aria, Куда, куда вы удалились, весны моей златые дни (Where, where, have you gone, spring of my golden days?), from Tchaikovsky’s opera Eugene Onegin. Dr. Ng’s performance of it closed with the same energy and commitment with which he began. He is a superb singer and one whom West Chester University can be proud to call their own. It was gratifying to see the support from the West Chester University community and administration for both of these fine musicians.

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