Lone Star Youth Winds

Andrew Trachsel, conductor

Stern Auditorium at Carnegie Hall, New York, NY

June 13, 2024

One often hears and reads about the lamentable state of music education in our country today. Budget cuts which decimate programs that are already struggling to get by, and a seemingly designed intention to minimize the impact of early music education are all very real problems in today’s world. Evidently, Texas did not get the memo, as they are not only thriving, but setting the standards of excellence in music education for all to aspire. There is strong support at all levels, the programs are highly esteemed and a source of state pride, and the young musicians are treated as serious, and not as hobbyists or dilettantes. The Lone Star Youth Winds (LSYW), who blew into Carnegie Hall on June 13, 2024, to deliver a performance that would have been the envy of most band programs, is a prime example of what the Texas model produces.

The LSYW is a featured education program of the Lone Star Wind Orchestra (LSWO). The LSYW is made up of the most outstanding high school (grades 9-12) musicians in Texas. They are placed in a professional environment, with interaction with composers and renowned musicians, and intense sectional instruction from professional musicians. Led by Andrew Trachsel, it would probably be most accurate to liken the LSYW to something between a state honor band and a college level wind ensemble.

Their program, entitled In Two Places, consisted of three segments – first New York, New York, then a segment entitled In Two Places, and finally Texas, our Texas. Each segment had three works. The printed program included a QR code to access the notes, a sixteen-page booklet with detailed information about the works and the composers, which I highly recommend the reader to access: Program Notes.

Before going on, I want to mention a few things that I liked very much, and a few things that I feel are opportunities for this fine group to solidify their stature. First, the good: The listing of the players in the roster alphabetically “as all players are equally essential to the success of this concert” delighted me, not only because it emphasizes the ensemble element, but because it is a truth that almost is never spoken aloud. Having the soloists stand after each piece in itself is not remarkable, but it was done here not as an afterthought or routine, but to give the audience the chance to recognize them and give them a response worthy of their fine playing (and this audience was first-rate in the support and enthusiasm department). Opportunities to refine: There is no need to tune after every single piece, this is something that I would associate with low-level ensembles, which the LSYW is definitely not! Musicians of this caliber can and should be expected to adjust “on-the-fly” as needed. Also, I am puzzled by the conductor leaving the stage after every single piece. I would have expected this only at the close of each segment. It seemed excessive and did not really enhance anything. Mind you, these concerns had no negative impact on the performances themselves. 

On to the music. Conductor Andrew Trachsel took the stage for Part I: New York, New York. All the works have some New York connection (read the notes!). Without much ado, he pushed the accelerator to the floor as the LSYW launched JoyRiDE, by Michael Markowski (b. 1986). This work is a mash-up of Beethoven’s Ode To Joy and John Adams’s Short Ride in a Fast Machine. It’s whimsical insanity, and the LSYW captured the spirit and the maniacal energy with perfection. It was a terrific opener! 

After this, it was a good choice to dial it back, and this took the form of A Simple Song, from Leonard Bernstein’s Mass. The best way I could describe this reading was that it was sincere. The ensemble balance was tight, the climaxes were rendered naturally without overdoing it (which is also due to the skill of Maestro Trachsel), and special kudos are in order for the nice trumpet solo work. 

The final work of this segment was Robert Sheldon’s (b. 1954) Metroplex: Three Postcards from Manhattan. Mr. Sheldon writes about Metroplex: “A music portrait of Manhattan’s cityscape, Metroplex opens with a vision of the New York City skyline, evoking looming buildings and concrete canyons. From there, the melody travels to the heart of an urban jazz scene, characteristic of the city’s famous night clubs. Finally, the piece takes us on a wild taxi ride through the heavy traffic of a bustling metropolis. The skyline is seen once more as we leave Manhattan, hopefully to return again soon.” It is brash and loud (of course!) and teeming with unlimited energy. Some listeners have detected influences (e.g., William Schuman’s George Washington Bridge, and Earl Hagen’s Harlem Nocturne), and I would add Slaughter on Tenth Avenue and On The Town to that list, not as any accusation of plagiarism, but hooking the listener with familiar references in a different way. It was a delightful romp to end this segment (and may your taxi rides not be anything like this!).

Moving on to Part II: In Two Places. Suite No.1 in E-flat, by Gustav Holst, opened. Holst is one of the founding fathers of wind ensemble (band, if you must) music, who is still a role model for composers today. This work is a masterpiece that is a must-play for any ensemble that aspires to be considered top-notch. Accordingly, the expectation bar is set high, and there are so many outstanding performances out there to hear, that it is a high-risk proposition to program this work. How did the LSYW measure up? As a whole, very well. Fantastic job tuba section in the opening Chaconne, and I liked the driven, but steady “push, push” quality in the Intermezzo and the vigorous ensemble playing in the finale, March. There was some shaky intonation in the trumpets that I am not going to let slide – that’s the downside of being at a high level. I might have let this pass unmentioned for a less talented group.

Next up was In Two Places, by Haley Woodrow (b. 1984). As Ms. Woodrow writes, the title is both an allusion to her double-life as a musician (performer and composer), feeling “in two places at once,” and the composition’s “struggle” between major and minor modes, but both with similar underpinnings (e.g., eighth-note “motor”). There is also a clear homage to Holst’s E-flat suite. In Two Places was the winner of the 2019 Women’s Band Composition Contest, led by Shannon Shaker. It is a worthy addition to the repertoire, and the LYSW made the most of the built-in lyricism and soaring melodies to deliver a memorable performance that could be a role-model for other ensembles. 

The last work in this segment was the world premiere of Eleanór a Rún, by Julie Giroux (b. 1961). The program listed Ms. Giroux as guest conductor, but she was not in attendance, and it was not announced why she was absent. Eleanór a Rún is a love song composed in the 16th century and recognized as part of the traditional Irish repertoire of unaccompanied ballads known as sean-nós song (the term sean-nós means “in the old way”). The origin of sean-nós singing is unknown, but researchers suggest that it probably dates back to at least the 13th century.

Clarinetist Sophia Kidwell came to the front of the stage and sang the original tune, with some lower woodwinds approximating the drone of bagpipes. If Ms. Kidwell tires of clarinet, she has a future as a vocalist, her voice was absolutely enchanting! After returning to her seat, the performance proper began. Maestro Trachsel led with a sensitive touch. After one verse, harmonized by Ms. Giroux, she decided to complete the story, with the singer successfully courting Eleanór, winning her hand in marriage, and live a happily life until death as soul mates. Ms. Giroux is a composer of great skill and a master musical storyteller. We all fell in love with Eleanór through her writing. The LYSW played this poignant love story with a reverence that reflected a maturity far beyond their years. It is regrettable that Ms. Giroux was not in attendance, both to witness this remarkable performance and to receive the applause that was so richly deserved. 

Part III: Texas, Our Texas was all about composers with strong ties to Texas. All Things So Wondrous, by William Owens (b. 1963) opened. Mr. Owens writes, “To date, Lobe den Herren (Praise to the Lord, the Almighty) endures as one of the world’s most beloved and frequently sung hymns. The original text comes by way of 17th century author Joachim Neander (1650-1680), while the melody is likely derived from German folk music. Taking its title from the second verse of the hymn, All Things So Wondrous fuses the familiar melody with original material culminating in a vibrant work for today’s concert band. The attacks were well-articulated in the opening, the middle section had an extraordinarily rich harmonic setting, and the “fugal” finish was stirring. 

Twilight in the Wilderness, by Christopher Tucker (b. 1976), followed the Owens work. Twilight in the Wilderness is a musical impression of the paintings of Frederick Edwin Church, specifically his painting Twilight in the Wilderness. The work opens with a recording of bird calls, which brought to mind Einojuhani Rautavaara’s Cantus Arcticus (a work I love), but that is only a passing similarity. Twilight in the Wilderness is pastoral to the core, and there are episodes of great beauty that were played with a naturalness that was captivating. The woodwinds were especially vibrant. Mr. Tucker was in attendance, and came to the stage to accept the congratulations of Maestro Trachsel and the audience for his masterful work. 

Last, but certainly not least in this segment (and the concert), was Symphonic Dance No. 3, Fiesta, by Clifton Williams (1923-1976). Clifton Williams is one of the immortals of wind ensemble music; his music is still as fresh and impactful today as it was when first performed, and his legacy lives on in many of his students who began luminaries of the wind ensemble composing world. If there ever was a Mount Rushmore for wind ensemble composers, Clifton Williams would be there (you can fight amongst yourselves as to the other three). 

This work is an undisputed classic. It is filled with the sounds of Mexico, street bands, bull fights, vibrant colors, and the pride of the Mexican people that are as much a part of Texas as they are of Mexico, but all with the unmistakable “Williams” sound (and not John!). As much as I enjoyed everything, this performance simply was head-and-shoulders above what preceded it. It was as if the LSYW had found a new level of excitement and energy. If it were a race car before, it was a rocket ship now. In a word, WOW! The audience seemed to sense the same and erupted into a standing ovation. Well done, LSYW, I look forward to following your future successes. 

Greg Gilpin, composer/conductor; Christopher Tin, composer/conductor

Holly Sedillos, soprano; Jimmer Bolden, tenor

Distinguished Concerts Orchestra; Distinguished Concerts Singers International

Stern Auditorium at Carnegie Hall, New York, NY

June 9, 2024

Distinguished Concerts International New York (DCINY) ended its 2023-2024 series with a concert entitled “We Sing! We Rise! We Soar!: The Music of Christopher Tin.” The first half featured Greg Gilpin, conducting his own works and arrangements of folk songs. The second half featured Christopher Tin conducting his own works. The Distinguished Concerts Singers came from Maine, Virginia, Oregon, New Mexico, Florida, Nevada, Texas, California, Canada, United Kingdom, and individual singers from around the globe. They were supported by a large audience who cheered for their stars from start to finish with unabashed enthusiasm, something even this occasionally jaded reviewer finds to be heartening.

Greg Gilpin took the stage for the first half. He is a DCINY favorite (this being his eighth appearance with DCINY), and he is a dynamo with a special talent for working with young singers. I have witnessed Mr. Gilpin at work on many occasions, and have written that he is “‘all in’ – cajoling, gyrating, singing along, whatever it takes to coax these youngsters to heights they probably never imagined possible.” He radiates such positivity and optimism that one cannot help but be pulled into the spirit.

For the sake of completeness, Mr. Gilpin’s works were Gloria in Excelsis Deo (obviously his arrangement of the Latin), We Sing! We Rise! We Soar!, and Hope Is a Waking Dream. The other works were two folk songs, one a Hebrew folk song, and the other from Torres Straits Island, Jacob Arcadelt’s a cappella setting of Ave Maria, and Dance! by Robert Gibson.

It is true that a reviewer who has been assigned to many such choral performances can tire of certain recurring features (the obligatory handclapping, for instance; today it was a clap and stomp “dance” that resembled a haka); nonetheless, I am not going to do the usual “critic” thing and fuss about this and that, but rather focus on the love of music that is alive and well in these kids. As Mr. Gilpin said, “they (these youngsters) are the future,” and knowing that should give us all hope. Whatever these young singers end up doing in the future, they all can be proud of standing on the stage of one of the most famous music venues in the world and singing their hearts out. Their fans gave them a standing ovation.

After intermission, Christopher Tin took the podium to conduct selections from his own works. Soprano Holly Sedillos, and tenor Jimmer Bolden were the featured soloists. This was Mr. Tin’s second appearance as a conductor with DCINY. As a bit of background, Mr. Tin is a two-time Grammy winner whose song Baba Yetu, originally written for the video game Civilization IV, holds the distinction of being the first piece of music written for a video game ever to win a Grammy Award. His Calling All Dawns was the 2011 Best Classical Crossover Grammy winner.

I’m not going to cover this half in linear style, but rather group the selections that come from larger works together. Sogno di Volare is an adaptation of Leonardo da Vinci’s writings on flight. It was originally composed as the theme song for the video game Civilization VI. It is a four-minute soaring journey of the celebration of the human spirit, and it was played and sung with exuberance. It was a great start to this half.

Baba Yetu (from Calling All Dawns), which put Mr. Tin on the worldwide map, had to be a part of this concert, of course. I’ve heard it performed live several times, and many more on recordings and videos. I was not expecting anything revolutionary, but when Jimmer Bolden launched into his solo, it struck me that “this is the way it is supposed to be!” – something I was not at all prepared for.

The Saddest Noise (text by Emily Dickinson), Wild Swans (text by Edna St. Vincent Millay), and Hope is the Thing with Feathers (text by Emily Dickinson) are all from The Lost Birds. Mr. Tin collaborated with VOCES8 in a recording of The Lost Birds. These three selections are all poignant in their own way, with heartbreak, impassioned cries, and meditative, almost fragile melodies. I have previously heard the VOCES8 recording, and it is ridiculously hard to have to compete with those heavenly voices, but the large forces did a wonderful job in projecting all that emotion. The Saddest Noise is a favorite of this listener, and it was very sensitively done.

Iza Ngomso (a Xhosa translation of Longfellow’s Kerabos) and Waloyo Yamoni (“We Overcome the Wind,” a Lango rainmaking litany) come from The Drop that Contained the Sea. Mr. Bolden was again dynamic in Iza Ngomso, but his work in Waloyo Yamoni was the highlight of the evening for this listener. He has a regal bearing and a voice to match! I don’t wish to overlook Holly Sedillos, who was a force to reckon with in her own right. Waloyo Yamoni is a thirteen-minute showstopper overflowing with passion that brought the house down. The last notes had barely sounded before the crowd leapt to their feet in a standing ovation. As seems to be customary for Mr. Tin, his fans attempted to raise the cheering decibel bar to new highs, and they might have succeeded on this occasion. Congratulations to all!

Noise Catalogue: Madeline Hocking, violin; Jonathan Collazo, Dániel Matei, percussion

Knox Peters, visuals

Special guests: Dylan Ofrias & Katherine Fortunato, percussion; Adrienne Schoenfeld, bass; Nacho Ojeda, piano; Austin Philemon, organ; Rea Abel, flute

Holy Trinity Lutheran Church, New York, NY

June 8, 2024

Noise Catalogue, the winners of the 2023 Dwight and Ursula Mamlok Junior Prize for “significant contributions to the performance of contemporary music,” presented a program of works all composed within the last two years (with a number of them having their world premiere performances) at the Holy Trinity Lutheran Church on the evening of June 8, 2024.

Noise Catalogue describes themselves as “a contemporary music collective comprised of Madeline Hocking (violin), Dániel Matei (percussion), and Jonathan Collazo (percussion), in addition to the vast array of musicians and artists with whom they collaborate in their unique concert curations.” Tonight they were joined by Dylan Ofrias and Katherine Fortunato (percussion), Adrienne Schoenfeld (bass), Nacho Ojeda (piano), Austin Philemon (organ), Rea Abel (flute), and Knox Peters (visuals).

This was not the type of concert for listeners who are not prepared to be challenged, to open their minds and ears to sounds and ideas that are unconventional, and even to be confused and have their patience pushed to the extreme limits. Even people who are devotees of contemporary music can find it provocative for the sake of being provocative. This is not a criticism, it is important that there are individuals and ensembles willing to push the envelope, and Noise Catalogue has my respect for their commitment to their mission.

Without any preamble, the first half opened with Three Meditations on Music from Luigi Rossi’s Collection (2023), by Reiko Füting (b. 1970). These three short organ pieces explored the idea of tonal decay in a variety of timbres and moods. They were expertly played by organist Austin Philemon.

Compare the way we move (2023), by Molly Herron (b. 1982) followed the Füting. Percussionist Dániel Matei greeted the audience before settling in to perform this work. The “instruments” were a doorstop, a metal ruler, and a broken flowerpot with shards of different sizes placed on a wooden table. The “music” was the sound of the oscillations of the objects when being set in motion by the performer, the sound itself amplified by contact microphones on the underside of the table. The use of everyday objects for this purpose is hardly original, but the actual effect was quite mesmerizing. The probably unintended and unforeseen “addition” of the ambient street noise heightened the effect.

 In our own house, by Alvin Singleton (b. 1940), was next, with Mr. Collazo, Ms. Hocking, Ms. Abel, and Mr. Ojeda. There was much interplay, with insistent motifs and “call and answer” dialogues. It was played with great energy and commitment.

There are two ways to escape suffering it… the second is risky, and demands constant vigilance and apprehension, by Dániel Matei (b. 1994), followed. It had the four percussionists demonstrating their considerable skills as individuals and as an ensemble. There were moments that had a definite drumline vibe that took me back to playing on the DCI circuit. I would not be surprised if Mr. Matei had been in a Drum & Bugle corps in his younger days.

Two works by Madeline Hocking (b. 1995), A chopped tree still splinters to text by Knox Peters, and I look forward to hearing from you (a world premiere) ended the first half. Ms. Peters read her text aloud to A chopped tree, and joined Ms. Hocking in the set-up of a “prepared violin” before joining her in a duet. Ms. Hocking writes in her notes that I look forward to hearing from you was written especially for this event and this venue. All personnel were involved as they were spread throughout the church. Ms. Hocking has talent as a composer- there were moments that had a “soundtrack” sound, and some jazzy piano riffs that sounded improvised, before remembering this is “Noise Catalogue,” and getting back to some more edgy sounds. Other than the Füting work, it was the most accessible piece of the evening.

After intermission, Zakhme, by Bahar Royaee (b.1984), opened the second half. All the players except Mr. Ofrias were involved, and Ms. Peters provided a visual component. The notes tell us the inspiration was the recent Iranian movement called “Woman, Life, Freedom,” a response to “long suppressed social anguish.” Zakhme is the Farsi word for the pick used to play Iranian zithers, and the origin of this word traces back to zakhm, meaning wound. The work begins with the bass being flat on the floor with two strings attached to the bridge as to bind (the oppression?) and the player going at each side of the bridge with a bow in each hand (the wound?). Eventually the binds are removed and the bass is raised to its proper playing position, but with almost all the tension removed from the E-string. The visual component was a painting in what appeared to be various states of completion (there were hints of movement suggesting invisible brush strokes). The concept is ingenious, but there is room for refinement- what the visual had to do with what one heard was at best obscure, and it ended long before the sounds did. Whether this was a miscalculation or intended is not clear, but it was curious. There also comes a time when the message has been received, and further iterations become tiresome. This listener, who generally has the patience for nearly anything, found himself getting increasingly restless, and this negatively impacted my listening experience.

The final work of the evening was theworld premiere of Employee Training (2024), by Thomas Palmer (b. 1997). The performers were Knox Peters (spoken word, projections), Madeline Hocking, Dániel Matei & Jon Collazo. Mr. Palmer briefly spoke, describing his work as a reflection of the inhumanity of corporate culture and the search for humanity within. A more cynical interpretation of what was presented would have suggested this was a Marxist commentary on the evils of capitalism. It’s all in the “eyes of the beholder,” which may or may not please the composer, depending on the reaction. The projected video had flashing of memos in “corporate speak” being edited with increasingly despairing terms, spreadsheets with cells filled with the words, “Keep going, keep it up, keep going, girl boss,” scrolling through at high speed, a photograph of a tract of all identical houses, aerial views of a industrial plant, and employees looking as if they are hypnotized into some sort of worshipful reverence of an unseen force, and canned, fake cheery “hold music” and other mundane instructions being played on a tape recorder. “Training” here is really a code word for indoctrination- Brave New World meets A Clockwork Orange meets Triumph of the Will. Whatever one’s take-away was, it was “worth the ride.” I wish Noise Catalogue great success in their future endeavors.

The University of Texas Wind Ensemble

Jerry Junkin and Cliff Croomes, conductors

Caleb Hudson, trumpet

Stern Auditorium at Carnegie hall, New York, NY

June 2, 2024

A large and enthusiastic crowd was on hand at Carnegie Hall June 2, 2024, for a concert given by the University of Texas Wind Ensemble for their 50^th Anniversary Celebration. This was the third appearance at Carnegie Hall for the University of Texas Wind Ensemble. With five masterpieces, four of which were written by living composers, the concert was a tour-de-force that wowed not only their many supporters, but also this listener who will remember it for a very long time.

The University of Texas Wind Ensemble is one of the ELITE (the emphasis is mine) bands of this country (and one could say of any country). Led by the dynamic Jerry Junkin, himself a living legend in the wind ensemble world, these fifty-six musicians comprise the very best of the best. I have been a “virtual fan” by way of videos and recordings for years, but this was the first time I have had the privilege of hearing them live.

Any regular reader of New York Concert Review is well aware that I am an unabashed fan of wind ensembles. Whatever the age and level of the players, I am always happy to take in a concert. I’m sure a large part of this is nostalgic – I am still very much a “band geek” at heart, and the memories of those long ago days are, and will always be, a huge part of my musical life. Usually I find myself taking an avuncular attitude – offer some insights and words to help encourage young ensembles. To take that stance in this instance would be like offering Einstein some pointers about relativity! If anyone learned anything today, it would have been this listener.

Speaking of learning, the program notes were excellent, with extensive details and background information. The four living composers wrote the notes for their respective works. The program included a QR code to access the notes, a nice touch considering that the length of the notes would have been unwieldy in the printed program. I will summarize some notes, but interested readers can access the full notes here: Program notes .

Enough background – let’s get to it. Opening with Dmitri Shostakovich’s Festive Overture, Op 96, one of the mainstays of the repertoire, (some might even call it a “warhorse” at this point) served immediate notice that this was going to be a special afternoon. Brimming with energy, crisp articulated attacks, on-point staccatos, and no hint of “opening jitters,” it was a terrific selection to open. It is Shostakovich in his most joyful mood, with reminders of Glinka’s Ruslan and Ludmilla overture sprinkled about.

After the Shostakovich, trumpet soloist Caleb Hudson took the stage for the World Premiere (in this transcription) of David Biedenbender’s River of Time Concerto for Trumpet and Wind Ensemble. The title refers to a conversation the composer had with a colleague about the concept of flow of music through time (“the river of time”). Mr. Biedenbender took inspiration from two rather different sources: Marcus Aurelius’ Meditations and Carlo Rovelli’s The Order of Time. It is a three-movement work (Becoming, Flowing, Crossing) that is not a concerto in the conventional sense. I would not call it a virtuosic showpiece, but that is not to say that any virtuosity is absent – it is there, and it is considerable, but it is almost never overt. It is a cerebral work one might call “sonic philosophy.” The focus on “flow” through sustained lines and the exploration of time call for a technically accomplished player and one with both the grasp of the conceptual goals and the sensitivity to realize them. Mr. Hudson was that player. His purity of tone alone was enough to win me over. My favorite movement was the opening Becoming, which had, as the composer so aptly described, a primordial quality that was mesmerizing. Mr. Biedenbender came to the stage at the finish to accept congratulations for his fine work. As a built-in encore, Maestro Junkin led the ensemble in a spirited reading of the Beatles classic Penny Lane, with Mr. Hudson dazzling the crowd with the famous piccolo trumpet part.

I’m going to express my only reservations of the afternoon here. It was not clear when the first movement ended and the second began. I had the benefit of perusing the score prior to the concert, and though the score is marked attacca, there should be some differentiation of mood. There were also moments when Mr. Hudson was obscured by the ensemble, through no fault of his own.

The last work of the first half was Of Our New Day Begun by Omar Thomas. Of Our New Day Begun was written to honor nine persons who lost their lives to a heinous act of hatred and domestic terrorism on the evening of June 17, 2015, while worshipping at the historic Emanuel African Methodist Episcopal Church in Charleston, South Carolina. Mr. Thomas wrote that his greatest challenge was finding the balance between expressing reverence for victims and their families, and his strong feelings of bitterness towards the perpetrator of this heinous act and the parts of society that created, and continue to create, people like this perpetrator. Lift Every Voice and Sing features prominently throughout. Mr. Thomas states that it is “known endearingly as the “’Negro National Anthem.’” This is a powerful, emotionally supercharged work written by a highly accomplished composer, who seamlessly pairs his dramatic sense with a keen devotion to tradition.

The anger that gave way to the singing of Lift Every Voice, with clapping and feet stomping, was especially powerful, with the message of “we may be shaken, but we are not defeated, that hope will always be alive in our hearts.” The stomping that returns at the end is the embodiment of the epitaph included in the title page, “Let us march on ‘til victory is won.”

I had heard an early performance on YouTube by a prominent group (which I will not name) that lacked a lot of the passion that Maestro Junkin and the University of Texas Wind Ensemble brought forth in abundance. Usually I can single out a section or a particular soloist for special mention, but such uniformly outstanding playing makes it nearly impossible to do so. Mr. Thomas was in attendance and joined Maestro Junkin on stage after the last notes sounded. The audience gave him a standing ovation for his powerful work. I hope to hear more of his compositions in the future.

After intermission, associate director Cliff Croomes took the podium to conduct Donald Grantham’s Don’t You See? Grantham is one of the “big names” in Wind Ensemble music (Southern Harmony is a favorite of mine). Don’t You See? was commissioned in memory of Stephen J. Paul, a much admired professor of music education, who died unexpectedly in April 2001 at the age of 48. In Don’t You See?, three highly contrasting yet complementary spirituals are employed. The first half of the piece is based on “Death Ain’t Nothin’ but a Robber,” The second half of the piece becomes more hopeful and affirmative with the appearance of “I’ve just Come from the Fountain,” and “Blow the Trumpet, Gabriel.” These two spirituals interact with increasing exuberance until the climax, which features six virtuosic trumpet parts resolving into a fragment of the opening spiritual. Solos abound in this work – alto sax, oboe, and English horn to name a few – and the three trumpeters on the side of the stage were marvelous. It was another winning performance.

Maestro Junkin returned to the stage to conduct the final work of the afternoon, John Mackey’s Wine-Dark Sea, which was commissioned by Jerry Junkin and The University of Texas Wind Ensemble, in honor of the 100th anniversary of the Sarah and Ernest Butler School of Music. The title of the three-movement wind symphony Wine-Dark Sea comes from The Odyssey. Mackey’s wife Abby broke this epic down into three episodes, which I will break down even further into the briefest of summaries. I. Hubris– Odysseus is swaggering a bit too much after winning the Trojan War, so Zeus puts him in his place by sinking his ship and killing his crew. II. Immortal thread, so weak– Odysseus is nursed back to health by Kalypso. After seven years, he “remembers” he has a wife and says, “gotta go.” Kalypso’s heart is broken, but she makes him a sail after unraveling the tapestry that she had made as a record of their love. He doesn’t even look back. III. The attentions of souls– the way home is by way of the underworld and it is not pleasant, but he makes it through to the light and home is within his sights.

It is my opinion that John Mackey is already one of the greatest composers in the history of wind ensemble music. Sone of his salient qualities are as follows: Melodic, harmonic, and rhythmic imagination that seems limitless, masterful orchestration, exploitation of the full battery of percussion instruments, including producing special sound effects, and the ability to write some of most beautiful and the most sinisterly vile (even “raunchy”) music with equal ability.

The University of Texas Wind Ensemble obviously was “born” to play this thirty-minute adventure (after all, it was written for them), and they did not disappoint in what was perfection from start to finish. The brilliant sounding French Horns in Hubris, the heartbreaking poignancy of Immortal thread, so weak, and the “burn it to the ground” bombastic The attentions of souls, with the full forces pushing the envelope to near insanity (and it was loud, very loud!) with the percussionists leading the way, was one of the most thrilling things I have ever heard in a live concert. I think Maestro Junkin was having just as much fun as anyone as he unleashed this fury. The audience leapt to their feet with an immediate standing ovation. Mr. Mackey was also in attendance, and came on stage to the roars of the audience, who continued to applaud for him until he returned to the stage for a second bow.

Maestro Junkin offered two encores, Leonard Bernstein’s Overture to Candide (arranged by Clare Grundman), and to the delight of the hometown fans, Deep in the Heart of Texas (with the audience clapping along). A final ovation ended the afternoon in triumph.

This listener has been to countless concerts where aural fatigue set in, and two hours were testing the limit of my ability to remain engaged. Let me say that after two hours and two encores, I would have happily been up for another two hours. That’s how good this concert was, and while I am never going to say any one concert was the best I have ever attended, I have no qualms about stating that this was in the top three, and it has been nearly ten years since I have had such a strong reaction to a concert. Maestro Junkin hinted that a fourth appearance in New York was in the ensemble’s future. I will be there!

Heather Sorenson and Pepper Choplin, composers/conductors

Distinguished Concerts Orchestra; Distinguished Concerts Singers

Stern Auditorium at Carnegie Hall, New York, NY

May 28. 2024

Distinguished Concerts International New York (DCINY) on May 28th presented a concert titled “These Ancient Words,” featuring two works- Our Father: A Journey Through the Lord’s Prayer, by Pepper Choplin, and These Ancient Words, by Heather Sorenson. Both works draw inspiration from the Bible for their texts. The Distinguished Concerts Singers for this performance were from Maryland, Pennsylvania, Texas, New York, Colorado, Oklahoma, Illinois, Virginia, Hawaii, North Carolina, South Carolina, Georgia, California, Indiana, Canada, and “individual singers from around the globe.”

DCINY favorite Pepper Choplin (in his 11^th appearance with DCINY) took the stage to conduct his cantata Our Father: A Journey Through the Lord’s Prayer. As Mr. Choplin stated in his program notes, he had spent countless hours setting the lines of the Lord’s Prayer and contemplating the power of its words. Our Father is a nine-movement “blockbuster” work.

This listener has had the opportunity to hear Mr. Choplin’s works on many occasions. His compositional style is characterized by unfailing optimism, beautiful soaring melodies, abundant climaxes, and avoidance of anything harmonically jarring beyond passing tones. His fans, and make no mistake, he has a huge fan base, seem to be the ones Mr. Choplin writes for. Any concerns that might arise from fusty critics about sounding formulaic are of no importance to him or to his fans. What he writes for his followers is like musical catnip. They simply can’t get enough and are always wanting more.

This is not this listener’s first hearing of Our Father. I reviewed the New York premiere of this work in 2015 (in the version that included narration between movements, on this occasion the non-narrated version was performed). It is always interesting to revisit a work after such a long interval, and I was curious how my reaction would compare to that of 2015. I was surprised that my opinions on what I heard tonight were so closely aligned with my thoughts about what I heard in 2015. The favorites remained unchanged – the big sound of the anthem-like Our Father in Heaven, the poignant and nostalgia-tinged Holy Be Thy Name, the driving energy of Let Your Kingdom Come where the sun breaks through the clouds of doubt, the beautiful, heartfelt Forgive Us, and the uneasy tension of sinister-like chant in Lead Us From Temptation.

Mr. Choplin is a dynamic presence at the podium. He radiates energy to the orchestra and chorus, and they reflect it back in kind. The audience felt that energy, and enthusiastically cheered at the end of each movement. Let’s take a moment to recognize two soloists from the huge chorus, Kesley Mathis, and Jack Branning. After the last notes of the final movement, Thine is the Kingdom, the audience gave Mr. Choplin, the orchestra and chorus a standing ovation. Kudos to the individual chorus directors who prepared their singers well.

After intermission, Heather Sorenson (in her 3^rd DCINY appearance as a conductor) took the podium to conduct her six-movement These Ancient Words. Each movement is musical setting of a word inspired by Scripture passages. This work was commissioned by the family of David Glenn Thompson in the face of his dementia diagnosis, to commemorate his love of family and church choral music. Mr. Thompson was present this evening as a member of the Distinguished Concerts Singers. In her excellent program notes, Ms. Sorenson gives a detailed description of the setting of the six words (Light, Humility, Refuge, Rest, Worship, and Wisdom) and the source of the Bible verses used (John 1:1, Micah 6:6-8, Psalm 46, Matthew 11:28-30, Psalm 96, and Proverbs 4:1-13).

As I wrote about Ms. Sorenson in an earlier review, [she] has her own unique brand of tonal beauty. She has a gift for melody and making those melodies harmonically interesting. In addition to this, one has the definite impression that the music flows from her with a natural ease, as if it were inevitable.

As much as I would like to go into great detail about each movement, I am going to limit myself to my highlights. Humility had a poignant beauty that was striking. Refuge had a roiling energy that suddenly pulled back for a moment of reflection, only to suddenly burst back forth, finally seeking healing in a serene epilogue. Worship had a martial quality, punctuated with the rhythms of the snare drum, exhorting one to “shout from the rooftops” devotion to the Lord. Finally, the final movement Wisdom was the words of a loving father to his children, and the Scripture for this movement was specially chosen by the Thompson family. It was extremely moving – there were audience members fighting back tears.

Ms. Sorenson led the huge forces (there were more than 200 singers crowding the stage) with considerable skill and with greater confidence than in prior appearances. The orchestra and chorus were outstanding from start to finish, and for such large numbers, the chorus was razor-sharp with good diction and ensemble balance. Special mention goes to soloists Danielle Wojcik and Layke Jones, with a bonus “thumbs up” for Mr. Jones, who once again “brought the house down” as he did in last appearance with DCINY (as a soloist for Ms. Sorenson’s Requiem). After the last notes, the audience immediately leapt to their feet with an extended ovation, which was richly deserved. Congratulations to all!

Modus Operandi Orchestra

Justin Bischof, conductor

Aydan Ferrao, piano

Modus Singers

St. Mary Church Long Island City, NY

April 27, 2024

On April 27, 2024, the Modus Operandi Orchestra (MOO) under the direction of Justin Bischof presented their annual spring Modus@Mary concert (Mary being the venue, the St. Mary Church in Long Island City). Pianist Aydan Ferrao was to make his MOO debut as soloist in Mozart’s Piano Concerto No. 12 in A major, K. 414, and the Modus Singers were to join MOO in a performance of Mozart’s Requiem, K. 626. The full hall (or more properly, church) was treated to an evening of masterpieces played by an outstanding ensemble.

Conductor Justin Bischof and fifteen-year-old Aydan Ferrao took the stage to open the concert with the first movement of Mozart’s Piano Concerto No, 12 in A major, K. 414. Usually a young artist is given this opportunity by virtue of a contest win, but this was not the case tonight. Maestro Bischof mentioned that he had heard Aydan practicing this work and was impressed enough to make a commitment to the young artist to have him play with MOO. That was not only a generous gesture, but an astute assessment of Mr. Ferrao’s talent.

Adyan Ferrao is a sophomore at Stuyvesant High School. He is a student of the excellent pianist Tatjana Rankovich. In addition to piano studies, he is active as a tenor soloist in the Oratorio choir, directs the A Cappella chorus, and is the chorus director for theatrical productions. As if that were not enough, he is an ice hockey player skilled enough to play on a traveling team.

One might expect a young man to want to “scale Mount Olympus” with a display of pyrotechnics, but Mr. Ferrao took a different path that showed musical maturity beyond his years. His shaping of phrases, his lightness of touch with fleet and even fingerwork, and his ensemble with the orchestra were all notable. This was real artistry! Not only this, but he evidently has iron nerves – the concert photographer actually passed by him and pointed a camera at him from the end of the open piano while he was playing! I could imagine any number of artists being undone by such a disruptive action, but this young man was completely unfazed. Maestro Bischof and MOO were ideal collaborators. The full hall gave Mr. Ferrao a standing ovation. The future should be bright for this young talent.

After a brief break, the stage was set for Mozart’s Requiem in D minor, K. 626. The Requiem has a storied history. Commissioned by Count Franz von Walsegg as a memorial to his late wife, it was unfinished by Mozart at the time of his death in 1791. His student Franz Xaver Süssmayr completed the work, using various sketches Mozart had left and his claim of being familiar with Mozart’s wishes about the composition. How much of the work is Mozart’s and how much is Süssmayr’s is still being debated to this day. Not surprisingly, the movie Amadeus came up in Maestro Bischof’s introductory talk. “How many of you saw that film?” he asked. He shook his head, sighed, and then said he spent ten years telling people “No, Salieri did not kill Mozart!” to the laughter of the audience.

This listener has heard many performances of the Requiem with all sorts of forces, from the gargantuan (several hundred singers and huge orchestra) to the skeletal (string quartet as “orchestra”). Tonight was, in my opinion, an ideal set of forces (twenty-seven orchestra players, twelve chorus members). Add to this, with the beautiful and acoustically live church venue, it was almost as if one had stepped back into the 19^th century. There was an immediacy that was more impactful than much larger forces in a concert hall, and it was enthralling, not only to this listener, but to the audience as well who were transfixed for the entirety of the Requiem.

Maestro Bischof led with mastery. It was clear that he knew what he wanted, and his ensemble responded to his strong direction. The orchestra is chock full of superior musicians, and they demonstrated that in spades. The Modus Singers excelled as a chorus and as individual soloists. I’m going to name all twelve here. The sopranos were Halley Gilbert, Nola Richardson, and Amaranta Viera, and the altos were Alison Cheeseman, Heather Jones, and Guadalupe Peraza. The tenors were Marc Day, Alex Guerrero, and Lukas Papenfusscline, and the basses were Oliver Holt, Steve Hrycelak, and Thomas McCargar.

Highlights abound, but I wish to mention two in particular. Matt Melore, the trombone soloist in the Tuba mirum was outstanding, and the Confutatis had the snarling malevolence that I always hope for.

As the last notes of the Lux aeterna faded away, our souls were hanging in the balance waiting for final judgment, but the verdict of the audience was clear and decisive as they erupted into an immediate standing ovation. Congratulations to Maestro Bischof and MOO!

Ola Gjeilo, DCINY composer-in-residence/piano

José Daniel Flores-Caraballo and Irene Messoloras, guest conductors

Anna Schubert, soprano

Distinguished Concerts Orchestra

Distinguished Concerts Singers International

Stern Auditorium at Carnegie Hall, New York, NY

April 22, 2024

Distinguished Concerts International New York (DCINY) has forged lasting relationships with world-renowned artists to great effect. Karl Jenkins and Eric Whitacre are two names that immediately come to mind. It’s time to add Ola Gjeilo to that list.  Tonight’s concert entitled A Soul Filled Journey: The Music of Ola Gjeilo was Mr. Gjeilo’s sixth appearance with DCINY (as pianist as well as composer). The Distinguished Concerts singers hailed from Ohio, Indiana, New York, Oklahoma, Missouri, Canada, Texas, Washington, California, Vermont, and “individual singers from around the globe.”

The program, notes about the works, and information about the featured artists can be read by clicking the follow link: A Soul Filled Journey.

Conductor José Daniel Flores-Caraballo and Mr. Gjeilo took the stage. Mr. Gjeilo took his seat at the piano and after a brief nod the first half began with Dark Night of the Soul. This work is one of this listener’s favorite of Mr. Gjeilo’s compositions with its driving ostinato, the “pull back” into a mediative episode that slowly builds to a burst of ethereal light, and the return to a driving ostinato. It was particularly exciting to hear such large forces (a chorus of 150+ and a full string orchestra instead of a string quartet). It did begin with a balance issue between the chorus and orchestra, but the alert Maestro Flores-Caraballo quickly remedied this.  One might expect some muddiness in a chorus of this size, but the diction was commendable, and the projection (after the tenuous start) was very good.  The Distinguished Concerts Orchestra delivered its characteristic “on-the mark” performance that I have grown accustomed to with these fine players.

Sacred Heart (Ubi Caritas III) followed. Mr. Gjeilo has a fondness for setting the Ubi Caritas (Where true charity is, God is there). He has done three settings (each setting to an individual verse). As the title clearly states, this is the third setting, but it is the second verse that is used here. Mr. Gjeilo is not lacking in the gift of writing beautiful music, and this is another example of that gift.  With luminous strings and piano, it was enchantingly beautiful.

Across the Vast, Eternal Sky is centered around the idea of the phoenix, and the idea of rebirth and spiritual renewal. It is a concept that did not always seem to “match” the music. There is what I would call a sentimental waltz-like motif in the solo piano that does not seem to fit, but that is one opinion and perhaps it was clear to Mr. Gjeilo (and others) what he was getting at here. Whatever reservations I had about it did not have any bearing on what was another top-notch performance.

Luminous Night of the Soul was a bookend to Dark Night of the Soul (or maybe more aptly closing the circle). It shares a theme with Dark Night of the Soul, but to different means; Dark Night is lyrical, while Luminous is relentless. Mr. Gjeilo has written that the two works could be performed as a single two-movement piece.  Luminous Night of the Soul was given the same dynamic performance as its companion was at the opening of this half.  

Maestro Flores-Caraballo led with vigor and unflagging involvement. As just a little aside, it was a treat for this lefty to see a left-handed conductor in action.  All that nonsense about ensembles being unable to follow left-handed conductors is just that – nonsense! Maestro Flores-Caraballo had everything and everyone under his complete control. The audience responded with a standing ovation for all.

After intermission, conductor Irene Messoloras took the podium, and Mr. Gjeilo returned to the piano. Soprano Anna Schubert took a seat at the front of the stage, waiting for her role in the Twilight Mass.  The first work of the second half was Ubi Caritas (Ubi Caritas I). This work takes Maurice Duruflé’s setting as its inspiration. With such a masterful role model, it is little wonder that this is a striking work. To be sure, Mr. Gjeilo does not use existing chant like Duruflé – just the idea of chant itself – but the form and dynamic range follow Duruflé’s. Mr. Gjeilo has also added a piano part, which he played on this occasion. I admit to having skepticism about gargantuan forces rendering this work sensitively, but this was a worry I need not have had. Radiant is the first work that comes to mind, and Mr. Gjeilo’s additions at the piano lent wings to what was already divine.

Twilight Mass was the final work of the evening. This reviewer was present at the  November 13, 2023,  DCINY world premiere of Twilight Mass, so instead of re-hashing information about the work and its conception, the interested reader can click on the following link to learn more:  DCINY Twilight Mass in Review 11/13/2023. The well-written program notes by Philip Hoch and Erin Wood characterize the individual movements excellently in a way easily understood by listeners without musical training.

The main question I had was how my second hearing would be. Would my earlier enthusiasm be tempered or even diminished? Short answer: A resounding no! If anything, my feelings were not only solidified, but intensified. I believe this to be one of Mr. Gjeilo’s finest works that shows all his abundant gifts to the maximum effect. I don’t want to repeat myself here from the earlier review, but my favorites remain the same, with the Kyrie still reverberating in my mind’s ear. Soprano Anna Schubert was transcendent. Her voice is one of the most crystalline pure I can recall hearing in some time. Her Laudamus Te was the highlight of her highlight-filled solos.  Maestra Messoloras led with great confidence and meticulous attention to detail. It was obvious how well prepared the chorus (and the orchestra for that matter) were in what was not only a great ending to the concert, but easily the highlight for this listener. I’ve said it before, and I will say it again: this work needs to be recorded and made available for all to hear.

At the end, the audience gave Maestra Messoloras, Ms. Schubert, and Mr. Gjeilo a well-deserved standing ovation. I’m already looking forward to Mr. Gjeilo’s seventh appearance with DCINY. Congratulations to all!

Westchester Children’s Choir: Amanda Gundling, Jennifer Gustino, conductors; Douglass Kostner, piano

Mater Dei High School Choir: Jodi Reed, director; Jonathan Knauer, guest conductor

David Geffen Hall, Lincoln Center, New York, NY

April 15, 2024

On April 15, 2024, Distinguished Concerts International New York (DCINY) presented a concert called Vocal Colors at David Geffen Hall in Lincoln Center. The two featured choirs were the Westchester Children’s Choir (from Westchester, New York), and the Mater Dei High School Choir from Santa Ana, California. It was a reminder of the joy of seeing young performers giving their all, and a tribute to the hard work and dedication that their directors give that makes it all possible.

The performance was livestreamed- click on the following link to view: Vocal Colors 4-15-24.

The Westchester Children’s Choir offered five works; the Mater Dei High School Choir offered ten. Each group had rotating personnel, and the singers’ movements between works were carefully choreographed and executed seamlessly, with some performers exiting the stage as new ones took their places, and repositioning of the singers.

The Westchester Children’s Choir (actually 31 of the 43 members) took the stage to open the concert. Amanda Gundling and Jennifer Gustino shared the conducting duties. The singers appeared to be as young as elementary school age up through high school. Obviously with this age range there is going to be an unequal distribution of abilities and vocal maturity. This type of group presents a challenge to the reviewer – it would be inappropriate and mean-spirited to hold them to the standards of older and more experienced ensembles. I will comment more as a clinician with the hope of encouraging these young developing talents, rather than being a curmudgeonly critic.

Let’s focus on some highlights. Francisco J. Núñez’s Crióme Mi Madre was an inspired choice. Mr. Núñez has an unmatched ability to write for young voices – keeping the technical level within their grasp while sounding “advanced.” These youngsters made the most of it in a delightful performance that was the favorite of their selections for this listener. Hope Lingers On by Lissa Schneckenburger was poignant, complete with some of the singers having their hands over their hearts. Both Ms. Gundling and Ms. Gustino conducted the last selection, Nine Hundred Miles (arr. Rollo Dilworth), and it had the full forces “rocking the house.”  It was a nice finish, and the audience reacted enthusiastically.

Now, a few recommendations: Projecting more is something to work on. I’m sure there were nerves involved, and it was a big hall, but there can and should be greater projection. Also, be aware of balance, and listen closely to each other to maintain good balance, even if that means some of the stronger voices need to dial it back a bit. There is a lot a promise here, and Ms. Gundling and Ms. Gustino are to be commended for their devotion to developing these young talents.

The Mater Dei High School Choir, led by Jodi Reed, took the stage. I’m not going to comment on all ten of their selections, but limit myself to highlights. I’m going to group all the excellent soloists together: Aliana White, Lucy, Laubach, Bella Reed, Grace Evans, Lehanu Atuatasi, and ASL interpreter Samantha Wurts. Well done, you all were stars tonight!

Guest conductor Jonathan Knauer (for this work only) led the ladies in Michael John Trotta’s Dies Irae, which curiously sounded a lot like Karl Jenkins’ Palladio. There is something about angelic voices singing about the day of wrath that is somewhat jarring. These ladies were full of energy and spirit, if not particularly fearsome (and that is not a criticism!). The gentlemen had their turn with Hato Paparoa’s E te atua, complete with a haka at the end that delighted all.

Ēriks Ešenvalds’s Salutation (text by Rabindranath Tagore) was simply beautiful. This was an opportunity to display both technique and artistry, and these singers made the most of that opportunity. It was easily not only the highlight of their selections, but the entire evening. A close second and third were the showstopping Soweto Choir arrangement of the Traditional South African Modimo and the heartbreakingly exquisite Hope Is the Things with Feathers (text by Emily Dickinson) by Christopher Tin. All took the stage for Shawn Kirchner’s Cornerstone, which ended their selections in fine style. Congratulations to the skilled Ms. Reed and her choir.

Both the Westchester Children’s Choir and the Mater Dei High School Choir can feel proud. What a thrill it must have been to perform on one of the premiere venues in the world. I’m sure it is a memory they will all cherish for a lifetime.

Pegasus: The Orchestra

Karén Hakobyan, conductor

Sergey Antonov, cello

Merkin Hall at Kaufman Center, New York, NY

April 13, 2024

Pegasus: The Orchestra presented its 2023-2024 Season final concert at Merkin Hall on April 13, 2024. The program included Stravinsky’s Pulcinella Suite, Tchaikovsky’s Variations on a Rococo Theme, Op. 33, with cello soloist Sergey Antonov (the gold medalist of the 2007 Tchaikovsky International Competition), Beethoven’s Seventh Symphony, and Khatchaturian’s Waltz from the Masquerade Suite. The large audience (sold-out hall) was treated to a concert that was superb from the first note to the last. Pegasus is a truly first-rate ensemble.

Pegasus was founded in 2017 by the noted pianist/composer Karén Hakobyan. Pegasus, as their program states, is a non-profit professional orchestra with a mission to empower rising musicians with artistic freedom and promote innovative repertoire in an environment of creative thought and expression. To learn more, click the following link: Pegasus: The Orchestra. To learn more about Karén Hakobyan, click the following link: Karén Hakobyan.

I have to mention the absence of program notes. There is a lot of interesting information about these works (such as Variations on a Rococo Theme dedicatee Wilhelm Fitzenhagen playing a bit “fast and loose” with Tchaikovsky’s original conception, and the enormous impact of Beethoven’s 7^th as examples).  Just a few words about each work would have been welcome. At least the printed program was not festooned with three pages of artists’ bios and such.

Enough about that, let’s get to the music. Karén Hakobyan took the stage and greeted the audience. He did speak briefly about the first work, Stravinsky’s Pulcinella Suite. He mentioned that the source material was music of Pergolesi and characterized the work as a “Concerto for Orchestra” (I respectfully disagree with that assessment). He had the soloists all stand prior to the playing so the audience could see who they were before hearing them – a very nice and respectful gesture to the players. I’m not going to detail each of the eight movements, but rather focus on highlights. The Tarantella was full of frenzied energy that verged on madness. The Toccata was elegantly played.  The Vivo, with the repartee between the double bass and trombone actually brought laughter to the audience. Maestro Hakobyan led with confidence, fashioning a well-conceived reading that maintained the elegance of the neo-classical elements without being overly mannered.

After the Stravinsky, cellist Sergey Antonov took the stage with Maestro Hakobyan as the soloist in Tchaikovsky’s Variations on a Rococo Theme, Op. 33.The Variations on a Rococo Theme employs a theme that is not actually Rococo, but is an original theme in the Rococo style. There is a certain insouciance required from a soloist to capture this work’s spirit, as too much “seriousness” ruins the playfulness and humor that abounds throughout.  It’s not enough however, to just swagger, as swaggering alone does not take the place of a highly developed technique – in other words, you can’t fake your way through it. Fortunately for us, Mr. Antonov is the real deal. He has technique to burn, but he never once looked like he was grandstanding. His tone is warm and rich, and he projects easily without any hint of stridency. He was every bit as attentive to Maestro Hakobyan and Pegasus as they were to him. It was the “complete” performance of this masterpiece that one always hopes for. It was one of the finest performances this listener can recall hearing in some time.  The audience gave Mr. Antonov a justly deserved standing ovation, loud and extended.

After intermission, Maestro Hakobyan took the podium to conduct Beethoven’s Symphony No. 7 in A major, Op. 92. I’d like to quote music writer Antony Hopkins here: “The Seventh Symphony perhaps more than any of the others gives us a feeling of true spontaneity; the notes seem to fly off the page as we are borne along on a floodtide of inspired invention. Beethoven himself spoke of it fondly as ‘one of my best works’. Who are we to dispute his judgment?” Maestro Hakobyan and Pegasus bore out these words as they unleashed a performance that held the audience completely spellbound for the entirety of the forty minutes. There was more energy, passion, and joyfulness in those forty minutes than I can say I have heard in sometime. That’s not to say that other ensembles lack these qualities, but it was just in superabundance here. If I had any reservations, it was at times the exuberant playing led to some fleeting ensemble imprecision. Another standing ovation, with many shouts of “Bravo!” filled the hall. This symphony was the highlight of the evening for this listener.

It was almost sacrilegious to have anything follow the Beethoven, but Khatchaturian’s Waltz from the Masquerade Suite served as a programmed encore, Maestro Hakobyan reminded the audience that this year is the 120th Anniversary of Aram Khatchaturian’s birth. He mentioned the hope of bringing more of the music of Khatchaturian to a larger stage (with larger forces) next season, like Carnegie Hall. Let’s look forward to this progressing from hope to reality. Maestro Hakobyan then launched Pegasus into a bombastic reading filled with quirky, unbridled fun. The already highly enthusiastic audience still had enough energy to give yet another standing ovation, complete with three callbacks for the conductor.

Pegasus is a “can’t miss” group. If you have the chance to hear them, don’t dawdle! Get your tickets right away before they sell out.

Otherworld

Jeffrey Chappell, piano; Jake Kohlhas, guitar; Chris Taylor, bass; Jake Marinari, percussion

Guest artists Megan Dunn, vocalist; Lillie Pearlman, violin

Released March 29, 2024

The jazz quartet Otherworld (Jake Marinari, percussion, Jake Kohlhas, guitar, Jeffrey Chappell, piano, and Chris Taylor, bass) released their third studio recording, Breathing Room, on March 29. 2024.  Breathing Room was recorded at the Peabody Institute recording studio in July 2023. Their prior recordings, Otherworld and The Realm, were winners of Global Music Awards , and are available on Amazon Music, Spotify, iTunes, YouTube, Bandcamp, and Soundcloud.

It is not always an easy thing to categorize an ensemble like Otherworld, but what seems to be most apt is “contemporary jazz.” It tends towards what some might call a mix of world music (i.e., non-western influences) and New Age (“love and healing” to quote the ensemble). This, of course, is only a guideline and listeners can (and should) form their own opinions.

The following link was provided for this reviewer: Breathing Room. The recording has eight tracks: 1. Breathing Room, 2. Calm Yourself, Boy, 3. Ends Undone, 4. Nightfall, 5. Circles, 6. Acceptance, 7. Ask Me Again Sometime, and8. Metamorphosis. Guest artists were vocalist Megan Dunn on Ends Undone, and violinist Lillie Pearlman on Ask Me Again Sometime and Metamorphosis. All music was composed and arranged by the members of Otherworld (although exactly who did what is not explicitly stated). There is an atmospheric feeling (Otherworld-ly?) throughout Breathing Room which for this listener makes it more suitable for meditation and relaxation/recharging than for a concert stage.

These are capable musicians. Pianist Jeffrey Chappell has a light touch and his improvisational style flows naturally without pretension. Guitarist Jake Kohlhas definitely has some serious chops and a flair for improvisation. Bassist Chris Taylor is rock solid, which is a quality too often taken for granted- a good bassist is “there” without any flashiness. Finally, let’s give percussionist Jake Marinari his proper respect. To borrow an expression I have heard, he “lays down the ice for the others to skate on.” Otherworld’s ensemble is excellent, one could liken it to listening to a musical conversation between friends.

A few words about the guest artists. Violinist Lillie Pearlman meshed flawlessly with the quartet in Ask Me Again Sometime and Metamorphosis. Megan Dunn has an ethereal voice that was simply enchanting. Ends Undone was this listener’s favorite track. Otherworld would be wise to work more with this talented vocalist. Some other favorites- Circles has driving energy and some Philip Glass-like touches that are very effective.  The title track, Breathing Room, and Nightfall are highly evocative in suggesting a “higher plane,” (i.e., the sky/heavens).

My main caveat was the similarity between some of the tracks.  Sometimes a group can become derivative of itself. Perhaps that is because of the short time in bringing this material together and the pressures of limited studio time. In any case, the sound quality is outstanding and the music is both relaxing and uplifting. Fans of contemporary jazz will find a lot to like in Otherworld and Breathing Room.