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.

Deke Sharon, Conductor and Creative Director
Special Guests: Major Attaway and T.3

Kaila Mullady, Vocal Percussion
Distinguished Concerts Singers International

Stern Auditorium at Carnegie Hall, New York, NY

March 24. 2024

On March 24, Distinguished Concerts International New York (DCINY) presented the 2024 edition of Total Vocal, led by the incomparable Deke Sharon. Special guests were Major Attaway and the trio T.3. Kalia Mullady was the vocal percussionist (or beat-boxer if you prefer, even though Deke Sharon tells us they are not exactly the same thing!). The participating groups were St. Mary’s Academy SAIMARAC, Pop Voices, The Head of School Singers, Pop Chorus, Atlantic Harmonies Youth Choirs, Woodson High School Unaccompanied Minors, CDNIS Community Choir, Forte A Cappella, Squad Harmonix, Sheppard Academy of Vocal Arts, and Antigo High School Canto Voce. Seven decades (!) of vocalists were represented in those groups.

Deke Sharon, arguably the leader of the world of a cappella, is a force of nature. He was the host, the conductor, and ringmaster – and even performer, as he sang Dave Matthew’s Crash Into Me, dedicating it to his wife. He did it all with enough energy for ten people. He was also the arranger of nearly all the selections and the writer of the program notes (and if he ever tires of a cappella, he has a ready-made new career in humor writing).  As if that were not enough, he offered his email (deke@dekesharon.com) for anyone to contact him who wants to sing in a group, with the promise he would find a place for them. In essence, Deke Sharon is Total Vocal.

Mr. Sharon bounded onto the stage and called out to the chorus, “Are You Ready?,” which was answered with a resounding “YES!” Without any further hesitation, the huge chorus launched into a spirited performance of the Journey classic Anyway You Want It, with a level of energy and spirit that set the tone for the entire show. U2’s Beautiful Day followed, with seventeen soloists and two vocal percussionists. Normally I would not list so many names, but this is not an ordinary occasion, so here they are: The vocalists were Alaina Manzo, Ava Jolie, Mayu Yamashita, Elana Vennard, Sam Coleman, Elise Derman, Tracy Booth, Yula Andrews, Helen Kay Tierney, Jaimie Volkaerts, Gemma Henbest, Katie Volkaerts, Ruby Cooney, Scarlett Carville, Ava Gad, Calliope Condo, and Sydney Korpusik. The vocal percussionists were Asten Oh and Easton Verano. The massed chorus also offered a thoughtful Nobody Like U (Billie Eilish/Finneas O’Connell) from Turning Red.

The first of two featured ensembles, The Head of School Singers (affectionately referred to by its members as HOSS), hailing from Nashville, Tennessee, took center stage. Looking sharp in matching blazers, these young men gave a polished performance of John Legend’s All of Me. Complete with choreographed moments and excellent ensemble, including some amazingly rendered close harmonies, it was exceptional, and more so when one considers these are high schools students. Well done, gentlemen! The second featured ensemble, Forte A Cappella, from Centerville, Ohio, showed the winning form that has garnered them awards galore. Their rendition of Human Nature (Steve/Porcaro/John Betti) made famous by Michael Jackson, had a slick sophistication that was truly exceptional. Once again, these are high school students!

There were numbers that focused on “higher voices” and “lower voices.” The former was The Chain, one of the many “break-up” songs from the Fleetwood Mac hit album Rumors, and it was given an energetic performance.  The latter was Rocky Mountain High, the John Denver classic, done with heartfelt sincerity.  Vocal Percussionist Kaila Mullady whipped the audience into a fever pitch with a stunning exhibition of her skill during her solo segment.

On to the special guest artists. Major Attaway, probably best known for his role as the Genie in the Broadway production of Aladdin, gave a powerful performance of Steve Miller’s Fly Like an Eagle that was strongly reminiscent of Seal’s cover. The New York-based T.3 (the “T” meaning tenor), whose members are Liam Franklin, Jim Hogan, and Brendan Jacob Smith, offered three selections, Bring Him Home (from Les Misérables), when the party’s over (Billie Eilish/Finneas O’Connell), and Into the Unknown from Frozen 2. These talents “turned up the dial” as they progressed through their set, bringing the audience to a frenzied state. The audience exploded into an ovation when they tore into the last notes of Into the Unknown.

All the artists joined together for a showstopping performance of the final song on the program, Stevie Wonder’s Sir Duke. One could see audience members singing and swaying along to the music. The “mandatory” encore, The Lion Sleeps Tonight ended the show on a joyous note. If you want an afternoon of unbridled fun and the pleasure of seeing people of all ages having the time of their lives, then Total Vocal is the ticket for you. Be there in 2025!

Leslie Dala, Marc-André Bougie, and Peter Tiboris, Conductors
New England Symphonic Ensemble

Preston Hawes, Artistic Director/Concertmaster

Stern Auditorium at Carnegie Hall, New York, NY

March 23, 2024

MidAmerica Productions, led by founder Peter Tiboris, presented the excellent New England Symphonic Ensemble in a concert March 23, 2024, at Carnegie Hall. Three well-loved masterpieces, Mozart’s Coronation Mass and the Overture to The Marriage of Figaro, Beethoven’s monumental Symphony No. 5 in C minor, Op. 67, and the New York premiere of Marc-André Bougie’s Magnificat formed the program. Choruses from Arkansas, North Carolina, Texas, and Canada (Vancouver, BC) joined the New England Symphonic Ensemble for the Coronation Mass and the Magnificat. This was MidAmerica’s 1,482^nd concert worldwide, 1,146^th in New York, and 691^st in Carnegie Hall.

Leslie Dala took the podium to conduct Mozart’s Mass in C major, K. 317, commonly known as the Coronation. It does not seem that Mozart composed this mass for a specific coronation. The Imperial court in Vienna gave the mass this nickname in the 19^th century after it became the preferred music for coronations and other imperial occasions. The nickname was included in the first edition of the Köchel catalogue of Mozart’s works in 1862. The program notes tell us that Mozart used material from this mass in future works (most notably in The Marriage of Figaro), but I would like to add that Haydn also alluded to this rich material in the slow movement of his Symphony No. 98 in B-Flat major (a nearly identical quote of the Agnus Dei).

Mr. Dala led with a light touch, projecting the exultant quality of Mozart’s conception. It’s easy to see why this work became a favorite, and it still sounds (245 years after its composition) as fresh as if it had just been written. Kudos to the New England Symphonic Ensemble for showcasing that “freshness” with what seemed to be a practiced ease. The chorus was solid throughout.

The vocal soloists – soprano Brittany Hebel, mezzo-soprano Emily Hughes, tenor Minghao Liu, and bass-baritone Andrew Dwan – all have impressive performance credentials, so it was not surprising that all were exceptional in their respective roles.  All had strong projection, precise intonation, and clear diction. What was truly notable was their ensemble. If one did not know better, one might have thought that they had worked as a group for years. No one voice dominated the others, which is more unusual than one might expect. This listener was completely taken with this, which took an otherwise “good” performance into the “great” category.

After the Mozart, Marc-André Bougie (b. 1976) took the podium to conduct the New York premiere of his seven-movement Magnificat. As the composer wrote in the program notes, he wanted to create something original while following in the footsteps of his great predecessors in their settings of the Magnificat. I can state that Mr. Bougie was successful in this goal. Mr. Bougie writes in a strict tonal manner, but with interesting harmonic and rhythmic twists more closely associated with 20^th century music. The first movement (Magnificat) was filled with joy and enlivened with syncopation. It reminded me of John Rutter, but not in a “copycat” way. Soprano soloist Alaysha Fox was a revelation. Her exquisitely controlled vibrato, strong projection, and crystalline voice, especially in the upper register in the Quia respexit and Esurientes, were highlights for this listener. This might be a controversial opinion, but I believe the success of this work relies to a great extent on how well the soprano soloist deals with the challenges of the demanding solos. Let’s not forget tenor soloist Suchan Kim, who was a force and a star in his own right in the Lord, now dismiss your servant movement. The New England Symphonic Ensemble was (again) superb. The chorus was well prepared, and having Mr. Bougie’s own home chorus (who had already performed the work) no doubt was an added benefit. The Gloria Patri, which employs the opening theme of the first movement built to a triumphant finish. The audience gave Mr. Bougie a well-earned ovation.

After intermission, Maestro Tiboris took the podium. Mozart’s Overture to The Marriage of Figaro was given a sprightly, felicitous reading. One might say it was “dessert before dinner.” Dinner took the form of Beethoven’s Symphony No. 5 in C minor, Op. 67, which followed. So much has been written, and so much lore is attached to this work, that one could fill volumes – “Fate knocking on the door” and “V for Victory” (the first four notes corresponding to the letter V in Morse code: …- ) are two of the best-known. Those opening four notes might be the most recognizable in the entirety of music – even those people who know nothing about music know the “da-da-da-duh!”

About those four notes – I have heard the musical equivalent of a twenty-car pile-up by some top-notch orchestras (who I will not name) for what seems to be the simplest of openings. Spoiler alert: it is not simple. Maestro Tiboris led with a decisive hand, and I breathed a sigh of relief as those opening bars were strong and precise. This set the tone for the rest of the work. I have written in earlier reviews about my admiration for Maestro Tiboris’s minimalist approach – no histrionics or sweeping gestures – and my opinion remains the same. He knows his orchestra is highly capable and does not feel the need to “over-conduct.” That’s not to say he is not engaged. When it is necessary he is demonstrative and demanding. This worked especially well for this performance. This listener has a nearly half-century love of this symphony and still gets a thrill out of hearing a fine performance. The audience reacted with a loud and extended ovation for Maestro Tiboris and the New England Symphonic Ensemble. Bravo!

Maestros Dala and Bougie joined Maestro Tiboris on-stage for a final bow. Congratulations to all!

Thomas Nickell, piano/composer

Tenri Cultural Center, New York, NY

February 16, 2024

An overflowing crowd was on hand at the Tenri Cultural Center on February 16, 2024, for a recital given by the talented young pianist/composer Thomas Nickell. The program consisted of three Philip Glass Etudes (Nos. 2, 6, and 8), Scottish Triptych by Ronald Stevenson, and two sonatas composed by Mr. Nickell. I’m going to forgo the usual linear path and group the works by each composer, regardless of the order in which they appeared in the program.

Let’s start with the Glass Etudes. Philip Glass wrote twenty etudes over a two-decade period, and divided them into two groups, Book 1 (1-10) and Book 2 (11-20). Glass writes (about Book 1) that his objective was to explore tempi, textures, and technique, with the goal of serving as a pedagogical tool by which he (Glass) would improve his piano playing. They are by no means “virtuosic” in the conventional sense, but they are much more challenging than they appear – with two of the most obvious examples being the need to play evenly without being robotic and the demand for balance of touch in the repetitions (a hallmark of Glass). Mr. Nickell dealt with these issues with a sure technique, never letting the energy flag while maintaining a musical sense throughout. It’s not an easy task, and it’s also something of a high-risk, low-reward proposition that many pianists would not take on in performance. If I had any qualms, it was that Mr. Nickell was overemphasizing the “loud” sections of Etude 6 (as it is never marked louder than forte) – that made it feel a bit more hectic than was necessary.

The Scottish composer Ronald Stevenson (1928-2015) is hardly unknown, but not a household name either. I suspect this was the first time many in the audience encountered his work (this listener was already acquainted with his two piano concerti). The three-movement Scottish Triptych (1959-1967) celebrates three eminent Scottish artists, song composer Francis George Scott, poet and polemicist Hugh MacDiamind, and poet Sorley MacLean. The writing is eclectic, reflecting the diverse talents of the artists profiled. For example, there is a name-initial motif (F, G, Eb(S), for Francis George Scott, a la DSCH), the influence of traditional Celtic music, and some “modern” percussive patterns and clusters. It is a challenging work for player and listener alike. It often dances on the edges of tonality without ever falling completely off, and there are quicksilver changes in mood and style (e.g., a stately funeral march suddenly gives way to a rapid-fire figuration ending in an angry outburst).  In addition, there is use of extended techniques (playing inside the piano, strumming, and pizzicato). While Mr. Nickell has the requisite technique to deal with the difficulties that abound, it was the slower sections (especially the second movement), with his sensitive and poetic playing, that showed his artistry to its fullest extent. This work was the highlight of the evening for this listener.

Now, on to Mr. Nickell’s two compositions, Piano Sonatas Nos. 1 and 2. The Piano Sonata No.1 was “completed” in 2024, or rather the individual movements composed earlier were joined together in 2024. Mr. Nickell writes in his notes that each movement can be played as a stand-alone work (with a different title as well). This modular approach is interesting, but I’m still not convinced that these movements “go together” as a cohesive work. Each movement on its own is appealing and evocative, showing Mr. Nickell’s talent for composition, even if there were strong hints of Cowell, Crumb, Messiaen, and even Liszt’s B minor Sonata mixed in. The audience did not share my reservations, giving Mr. Nickell a hearty ovation.

The Sonata No. 2, Impressions after Gray’s Lanark, takes as its inspiration Scottish author Alasdair Gray’s 1981 novel Lanark. This novel, with strong Kafkaesque and Orwellian undertones, has become something of a cult classic. My first thought was that this was a modern attempt to copy Liszt’s Après une lecture du Dante: Fantasia quasi Sonata, but I quickly discarded that incorrect and unfair idea. In contrast to the First, this Sonata holds together very well! The three movements, Book 3, Oracle, and Epilogue: Prelude-Chorale-Fugue, all convey ideas and episodes from Lanark with remarkable skill. I could easily imagine hearing this music while reading the book. Bravo!

Mr. Nickell has undoubted talent, and as his talent continues to flourish, I expect his compositions to take on more of a distinctive voice that is less indebted to the influences of his role models. I look forward to hearing what the future holds for him.

Vocal Artists Management Services

James Greening-Valenzuela, manager

Gretchen Greenfield, artistic consultant

Opera America National Opera Center, Marc A. Scorca Hall, New York, NY

February 1, 2024

Vocal Artists Management Services (VAMS) presented their Fifteenth Season Artist Showcase on February 1, 2024, in the Marc A. Scorca Hall at the Opera America National Opera Center. Scenes from Mozart’s Le nozze di Figaro, Handel’s Rodelinda, Bizet’s Carmen, and the musical Les Misérables (music by Claude-Michel Schönberg) formed the program. A brief synopsis of each scene was included in the program notes. Thirteen artists were scheduled to perform the twenty-two selections, both solos and duets. James Greening-Valenzuela, Manager of VAMS, greeted the audience and announced that two artists were ill and unable to perform.

As I have noted in previous reviews at this venue, the Marc A. Scorca Hall has an intimate feel with very live acoustics. One thing that I especially like about VAMS events is that the performers who have completed their selections join the audience to support their colleagues.

These types of concerts are a delight for opera lovers, but they are a challenge for the performers, who must be ready to go after a long wait. It is difficult to be at one’s best under these circumstances, and that might not give the listener a fair demonstration of their abilities.

After the announcement of program modifications, eleven singers and eighteen selections awaited. To comment on each selection would turn this review into a book report, so with this in mind, I will limit myself to commenting on each artist’s highlight. I apologize in advance for shortchanging some who deserved multiple mentions. Also, the stalwart pianist Eric Malson must be recognized – not all heroes wear capes.

Let’s start with the sopranos: Erin Hannon (who appeared in three selections, the most of any one performer) solidified my earlier favorable impression of her (from a 2021 review). Her Susanna from Le nozze di Figaro, particularly in the Deh vieni non tardar, was enchanting. Our alternating Countesses (also from Le nozze di Figaro) Alexandia Crichlow in Porgi amor, and Rebecca Kidnie in Dove sono, displayed the radiant vocal qualities that both have in abundance. Dawna Rae Warren as Rodelinda was stunning – her Morrai si l’empia tua testa was dispatched with what seemed to the greatest ease, making the vocal gymnastics sound like child’s play. Without wishing to take anything away from the other performers, this was the highlight of the evening for this listener.

On to the Mezzo-sopranos: Kaitlyn Tierney offered an impassioned I Dreamed a Dream from Les Misérables. Caroline Tye was a saucy Carmen, complete with a rose in her hair. Her Habanera was subtly provocative, with an understatement that this listener appreciated.

Countertenor Andrew Egbuchiem’s vocal acrobatics in Vivi tiranno from Rodelinda were absolutely breathtaking.

Tenors:  Bradley King wrenched every ounce of torment from Grimaldo’s Fatto inferno from Rodelinda. Sang Bum Cho’s rendition of Don José’s La fleur que tu m’avais jetée, in which he tries to convince Carmen of his feelings for her, was palpable in its sincerity.

Baritones: Tom Sitzler as the bullfighter Escamillo (Carmen) offered a Votre toast, je peux vous le render (better known as the “Toreador Song”) full of swagger and self-importance (complete with taking off his jacket to wave in Toreador fashion), dramatics that were brought to life with his powerful voice. Jin Uk Lee, as Marius (in duet with Ms. Tierney) in A Little Fall of Rain from Les Misérables, was heartbreaking as he pleaded with the mortally wounded Éponine not to die in his arms.

All the singers joined together on stage for a programmed encore of Do You Hear the People Sing? from Les Misérables to the delight of the audience.

Charles Neidich, clarinets

Robert Levin, piano, fortepiano

Morse Recital Hall, Juilliard School, New York, NY

January 31, 2024

As part of the Daniel Saidenberg Faculty Recital Series, clarinetist Charles Neidich and pianist Robert Levin joined forces at Morse Recital Hall at The Juilliard School on January 31, 2024. The pairing of two such noted and scholarly musicians promised not only technically masterful performances, but deeply informed musical ones as well. In addition to some of the favorites of the clarinet repertoire, the program included two premieres: the world premiere of Mr. Neidich’s own composition, Lament for basset clarinet in A and piano, and a U.S. premiere of Landscape by the Light of the Moon by Russian composer Edison Denisov.

I must make mention of the program notes. Filled with historical background, musical analysis that does not require advanced knowledge, and personal observations and anecdotes, these notes were the “gold standard” that I always hope for (and almost never get). Educating the listener is an important aspect of performing that is often overlooked or dismissed.

Mr. Neidich and Mr. Levin took the stage to open with the Grand Duo Concertant, Op. 48, by Carl Maria von Weber. One could say that Weber and the clarinet enjoyed a mutually beneficial relationship – his many clarinet works are staples of the repertoire. Probably the most popular clarinet and piano duo, the Grand Duo Concertant has a rich performance history, with both Mendelssohn and Liszt as pianists. That should suggest the virtuosic nature of the piano part (which it of course it is!) – one could never imagine Liszt ever being “the hack in the back”!

Mr. Neidich and Mr. Levin used period instruments (or at least copies of them), a Grenser clarinet (circa 1800) and a Graf piano (circa 1820) for this work (and this work only). I’m not going to tread on the period instrument debate, but the idea of a historically authentic performance does hold a certain charm. As for the instruments themselves, the clarinet has a slightly more mellow sound than its modern counterpart. As for any technical issues, I would be hard pressed to make any claims of definite inferiority. How much of that is due to Mr. Neidich’s virtuosity is arguable, but I suspect it is a large factor. The fortepiano of course lacks the power and resonance of the modern instrument, but in this work, that was a non-issue. If anything, it was an asset.

This is a work that tests both clarinet and pianist to the utmost. Its popularity with performers and listeners alike is easily understood, it is a showpiece par excellence. Mr. Neidich gave what amounted to a masterclass. I hope that the many students in attendance paid close attention. It’s not just the virtuosity that matters, it is what you do with it. The shaping of phrases and rich tone of the slower, more mournful sections (especially the middle movement) were every bit as impressive as the flash. Let’s not forget Mr. Levin – he was an equal partner in all ways, and the ensemble of the two players was perfection. This was a great start!

After the Weber we heard Edison Denisov’s Landscape by the Light of the Moon (U.S. premiere). Denisov was a leading avant-garde composer in the Soviet Union, who committed the “sin” of international success, and as punishment was blacklisted in 1979 at the 6^th Congress of the Union of Soviet Composers by its president, Tikhon Khrennikov. Apparently the infamous 1948 Zhdanov decree had taught them nothing. To Denisov’s credit, he did not let this shameful action deter him from continued composing.

Tonight was the United States premiere. Interestingly enough, Mr. Levin was the pianist of the world premiere, and Ayako Oshima (Mr. Neidich’s wife) premiered the work in Japan.

Hearing Landscape by the Light of the Moon one feels the strong sensation of a foggy night, with the moonlight shining through in such a way that highlights the shadowy forms of a dark night without completely illuminating them. It would not be out of place to imagine this music finding use in film noir. In the hands of musicians of lesser sensitivities and ability, it could end up being rendered as a random mishmash of trills and trite effects. Mr. Neidich and Mr. Levin, who both knew Denisov, avoided these pitfalls in what was a mesmerizing performance.

The Sonata for Violin and Piano in D Minor, Op. 121 by Robert Schumann (as transcribed by Charles Neidich for clarinet), was the final work on the first half. Transcription is a tricky business – there are myriad issues to consider, such as register and range, tonal quality difference between the original instrument and the one being transcribed for, and techniques that cannot be duplicated, i.e., pizzicato. I have heard other violin works transcribed for the clarinet that I found problematic, and not because of the player.

Mr. Neidich’s judgment was superb, and if anything this sonata seems possibly even better suited for the clarinet than the violin in this transcription. As Mr. Neidich stated, violinists find it awkward because of the writing being in the low range, but that range suits the clarinet well. Other than making a few small changes (accounting for double stops and pizzicato), there was little alteration needed. The outer movements possess as Mr. Neidich’s notes state, “a passionate intensity and rhythmic relentlessness that is extreme even for Schumann” – and this was projected well in their performance. The middle movement was gorgeous. Played with élan, it is a wonderful addition to the repertoire.

The second half opened with two pieces for solo bass clarinet by György Kurtág, Capriccio for Solo Bass Clarinet and Words Have Become Unfaithful to Me. Like much of Kurtág’s music, these pieces have quicksilver changes of mood and short motifs of an episodic nature, all the while exploring the intrinsic qualities of the instrument (in this case, the clarinet overtones). Mr. Neidich gave a probing reading, negotiating with assurance the mood swings from serene to troubled, all the while demonstrating both the rich tonal quality of the extreme lower range and the less explored melodic agility of the bass clarinet in an impressive fashion.

Stimmungen Eines Fauns (Moods of a Faun), op. 11, by Ilsa Fromm Michaels (1888-1986) followed the Kurtág pieces. Almost completely unknown today, Michaels is another sad example of a promising career being destroyed by the Third Reich. She survived the Second World War but stopped composing altogether after 1945. Mr. Neidich wrote in his notes that he knew her son Jost Michaels (also a clarinetist) but had not known of her and therefore had never inquired about her.

There are three short movements for clarinet solo (Klage, Schalkslaune, Schermut) which roughly translate as Lament, Mischievousness, and Melancholy. As Mr. Neidich played, two dancers, one male and one female (probably Juilliard dance students), took the part of fauns in a choreographed routine. I’m not qualified to speak critically about dance, but it was visually striking and the movements were executed with precision. I’m not sure if the music informed the dance, or the dance informed the music, but it was fascinating to see and hear.

Equally fascinating was our brief glimpse of Mr. Neidich as a composer, in the world premiere of his Lament for Basset Clarinet and Piano. Completed on New Year’s Day 2024, this is a welcome and much-needed addition to the nearly non-existent Basset Clarinet repertoire. The Basset is basically a clarinet with the addition of extended lower range to C below the standard low E of the standard clarinet.

What exactly is being lamented is not entirely clear, as Mr. Neidich does not give specifics in his program notes, but does allude to world events and his reaction to them as being significant factors. The piano simulated the tolling of bells, and much of the lament takes the form of anger and indignation as opposed to sadness and resignation. It was played by both Mr. Neidich and Mr. Levin with passion and power. There is a lot to process, and I feel that subsequent listenings will help shape reactions and understanding.

Now, saving the best for last – Johannes Brahms’s Sonata for Clarinet and Piano in F minor, Op. 120, No. 1, closed the evening. This work needs no introduction save for the fact that it is an undisputed masterpiece. It was a perfect bookend to the Weber. Open the night with a masterclass, close the night with a masterclass. Thank you, Mr. Neidich and Mr. Levin for giving me the luxury of taking off my “critic” hat and putting on my “music lover” hat. It was easily the highlight of the night for me. The audience knew it was something special as well, and gave the duo the proper respect of a loud ovation.

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

The Rhythm Method: Leah Asher, violin; Marina Kifferstein, violin; Carrie Frey, viola; Meaghan Burke, cello

Tenri Cultural Center, New York, New York

January 26, 2024

On January 26, 2024, the Tenri Cultural Center was the venue for the presentation of the 2023 Mamlok Prize for Interpreters of Contemporary Music. The featured performers were Noise Catalogue (Madeline Hocking, violin; Daniel Matei, percussion; Jonathan Collazo, percussion), winner of The Dwight and Ursula Mamlok Advancement Award for Interpreters of Contemporary Music Junior Prize, and The Rhythm Method (Leah Asher, violin, Marina Kifferstein, violin; Carrie Frey, viola; Meaghan Burke, cello), winner of The Dwight and Ursula Mamlok Prize for Interpreters of Contemporary Music Senior Prize. Along with two works of Ursula Mamlok, there were works from four other composers, some of whom were among the performers.

The Dwight and Ursula Mamlok Prize for Interpreters of Contemporary Music is awarded annually, alternating in Berlin and New York. In New York, it is awarded through the Contemporary Music Performance graduate program of Manhattan School of Music, where Ursula Mamlok taught for many years. To learn more, click the following link: The Dwight and Ursula Mamlok Foundation.

Some general observations: The overflowing crowd, with at least ten people left standing for the entirety of the concert, was vociferously supportive of the composers and artists. This made a favorable impression on this listener. It was quite obvious that this was also an audience well-versed in contemporary music that needed minimal “help” to appreciate what they were hearing. However, if there were any “newbies” in attendance, this was a good introduction to contemporary music, as the works were (mostly) easily accessible to all listeners. In any case, the excellence of the performances was not in doubt. These are exceptional musicians who are wholly committed to advancing the cause of contemporary music.

After a brief introduction and welcome by Reiko Füting, Vice-Chairman of the Dwight and Ursula Mamlok Foundation and chair of the composition department at the Manhattan School of Music, Noise Catalogue took the stage for the first half. Noise Catalogue consists of three musicians, violinist Madeline Hocking and percussionists Daniel Matei and Jonathan Collazo. Ms. Hocking and Mr. Matei opened with Firmwood and Monroe by James Warner Duquette. Mr. Duquette offers this statement as his credo: “I have dedicated my life to writing music. I am always interested in discussing music. If you have any thoughts or ideas or feedback or criticism, my telephone number is (redacted).” That is walking the walk! I’m not sure that putting one’s phone number out there for all to see is the most prudent idea, but I’m speaking from the perspective of an older and (probably) more cynical person. I hope any phone calls are respectful and beneficial for his continued development as a composer.

The printed notes were perplexing – directions to a bagel shop? What did this have to do with the piece? As it turns out, nothing. As I overheard at intermission, Mr. Duquette told the person sitting next to me that he wrote down directions that he passed along, and they ended up in the program notes. My impression of Firmwood and Monroe is that there is some atmospheric uncertainty expressed by the violin punctuated by percussion thunderclaps.

I hate to be the “get off my lawn” curmudgeon, but the explosive outbursts on the bass drum (the hard end of the sticks being applied with great force) were oppressively loud for the small and acoustically live Tenri Center. A little less would have not damaged the effect (or my hearing). It’s a case of “know the hall.” That one complaint aside, it was a thought-provoking work, and I would like to hear more from this composer (and hopefully his insights sans bagel shop directions).

Ursula Mamlok ‘s From My Garden (1983) followed. This work was originally written for solo viola but has been adapted for other stringed instruments. Tonight, it was played on the violin by Ms. Hocking. As I wrote in an earlier review: One of the main features of Mamlok’s music is her emphasis on Klangfarbe to express moods and colors. This gives her music an attractive and accessible quality. From My Garden is no exception- it is definitely serialist writing, but it is not so far away from strict tonality, which makes it, to quote Mamlok herself (about this work), “very easy to listen to.” Ms. Hocking is a sensitive artist, who painted a picture of serene beauty in her playing. This is not to say that the work is without technical challenges- it is an effective piece to showcase the ability of the player and the instrument itself. Ms. Hocking showed herself to be up to the task. It was enchanting.

The collaborative work Hajnali by Daniel Matei and Madeline Hocking ended the half. They were joined by Mr. Collazo. Inspired by traditional Romanian dance as well as Hungarian folksong, it is a highly energetic piece with countless technical demands that push the performers to the utmost; the violin part is not only virtuosic in the conventional sense but requires some extended techniques, such as using a loose string instead of the bow.

There is a strong temptation to give an accounting of the “action” that would reduce this to a play-by-play reporting more appropriate for a sporting event. To be sure, it is visually interesting to watch the percussionists move from instrument to instrument, but it is the sonic effects that are most compelling. The use of suspended microphones swaying back and forth over some of the percussion was an effect that this listener found especially fascinating. My one complaint (again!) was that the percussion was overpowering at points and drowning out Ms. Hocking, even though her violin was amplified. In any case, the audience roared its approval. It was an exciting finish to the half.

After Intermission, the Senior Prize winners, The Rhythm Method (Leah Asher, violin; Marina Kifferstein, violin; Carrie Frey, viola; Meaghan Burke, cello), took the stage. What is especially striking about this ensemble is that each member is a composer with a distinct voice but with a collective vision for the future of the string quartet. We were told by cellist Meaghan Burke that a February 16, 2024, concert is to include a premiere of a work by each member(!) of the quartet. Tonight, violist Carrie Frey’s a chorus like distant screaming (2023) opened their selections.

Ms. Frey writes in her informative notes that a chorus like distant screaming is the third piece inspired by Arkady Martine’s sci-fi novel A Memory Called Empire and its sequel A Desolation Called Peace (side note: Thank you for the book recommendation!). Even without the benefit of program notes, it would be obvious to grasp the concept of multiple voices moving to become as one. There are also vocalizations inspired by the music of the Romanian region Țara Oașului.

I found a video of this work played by The Rhythm Method on YouTube: a chorus like distant screaming by Carrie Frey (youtube.com). As captivated as I was by listening to this video, it paled in comparison to a live performance. This is a highly evocative work filled with mesmerizing sonic effects, transporting listeners to a far-away place in their imaginations. It takes a special ensemble to realize these qualities in actual performance, and The Rhythm Method nailed it! This is the work of an intelligent composer who not only knows her craft, but the ways to exploit her expert knowledge of the possibilities of the instruments to great advantage. No disrespect to any of the other composers, but this was far and away this listener’s favorite work of the evening.

Ursula Mamlok’s String Quartet No. 2 closed the evening. In contrast to her 1^st String Quartet, this work is almost neoclassical in form and conception. The first and third movements are lyrical and playful, with some clever touches (i.e., themes being repeated inverted). One can conceive that a futurist Fauré could have written the second movement. There are hints of Berg’s Lyric Suite near the end of the finale as well. The Rhythm Method offered a nuanced reading that showed how well they grasped Mamlok’s conception. The audience responded enthusiastically, which was well-deserved. I think the future is bright for The Rhythm Method, and I do hope to hear them again.

At the end, Noise Catalogue joined The Rhythm Method on stage for a final bow to the cheers of the audience.

Jeffrey Williams

Peter Tiboris, General Director and Artistic Director of MidAmerica Productions/conductor

John Rutter, CBE, conductor

New England Symphonic Ensemble

Preston Hawes, Artistic director and Concertmaster

Juliet Ariadne Papadopoulos, soprano; Courtney Johnson, soprano; Reveka Mavrovitis, mezzo-soprano; Abraham Bretón; tenor; Philip Skinner, bass

Eilana Lappalainen, reader

Stern Auditorium at Carnegie Hall, New York, NY

January 7, 2024

On January 7, 1984, Peter Tiboris created and conducted a concert at Alice Tully Hall, which became the founding date of MidAmerica Productions . January 7, 2024, forty years later to the exact date, Mr. Tiboris was to conduct Beethoven’s monumental Ninth Symphony in celebration of that anniversary. In those 40 years, MidAmerica Productions grew to boast the following numbers: This was to be the 1,480^th Concert Worldwide, 1,144^th in New York, and 689^th in Carnegie Hall. These are mind-boggling numbers, and one can only marvel at how many careers have been launched by the indefatigable Mr. Tiboris and MidAmerica Productions.

To add to the celebration, composer John Rutter (b. 1945) was also featured as the conductor of his Magnificat, which had its world premiere in a 1990 MidAmerica concert (which Mr. Rutter conducted). Choruses from Connecticut, Florida, New Jersey, and New York joined the New England Symphonic Ensemble in what was both a musically substantial and spiritually uplifting concert.

To open this 40^th anniversary concert, John Rutter took the stage to conduct his seven-movement Magnificat. J.S. Bach is the obvious precedent, but the work is pure Rutter through and through. Filled with the eclectic style that is characteristic of Rutter, joyful energy abounds with lyrical melodic material adorned with brilliant fanfares and heraldic-sounding motifs. It has definite crowd-pleasing qualities for which some have ironically taken the composer to task (including one review from a past performance that was so negative that I was astonished at the level of vitriol, as if the composer had committed a heinous crime by appealing to the masses). This listener is not one of those naysayers. As they say, “haters gonna hate.” The audience loved it, and in fact they continued to applaud at the end of each of the seven movements (even though the printed program stated, “Please kindly hold your applause until the end of the Magnificat”). This listener’s favorite movement was the Fecit potentiam, in which irregular rhythms and driving energy at times bordered on malevolence, though ultimately conveying strength. It is regrettable, however, that no text was provided.

Soprano soloist Juliet Ariadne Papadopoulos has a lovely voice, and her upper register was pure and without strain. My one quibble was she was inconsistent in projecting; there were several occasions where the chorus and orchestra were dominating her, and it was not because they were playing/singing too loudly. When she did break through, and especially in the upper register, the effect was enchanting. Mr. Rutter conducted with vigor, and the orchestra and chorus paid back that energy with a dynamic performance. The audience gave Mr. Rutter an extended ovation at the end.

After intermission, Eilana Lappalainen came to the stage to recite the An die Freude (Ode to Joy) by German poet Friedrich Schiller in both German and English as a prelude to Beethoven’s Symphony No. 9 in D minor, Op. 125. This was unusual, and I am still questioning how effective or helpful this was to the average audience member. Unless one speaks/understands German, there is little value in hearing a reading in that language. I think it is highly unlikely that anyone not already intimately familiar with the text was going to match the words to the music upon hearing it. I would have much preferred the text to be in the printed program (which it was not). Also, there was no mention of the opening lines written by Beethoven himself – O Freunde, nicht diese Töne! Sondern laßt uns angenehmere anstimmen, und freudenvollere. (Oh friends, not these sounds! Let us instead strike up more pleasing and more joyful ones!) that precede Schiller’s. These reservations are not a reflection on Ms. Lappalainen herself, she was an outstanding speaker, with a clear and pleasant-sounding voice.

After the reading, Peter Tiboris made his way to the podium to conduct this masterpiece. As announced in an article in OperaWire, Maestro Tiboris was using Leonard Bernstein’s ivory baton. One might wonder what inspiration might flow through this baton, but Maestro Tiboris exhibited none of Bernstein’s famous histrionics at the podium, nor any of his “touches” to the music itself. On the contrary, the conducting of Maestro Tiboris was taut and restrained, but I am getting ahead of myself.

About the Ninth itself, so much has been written that one could fill volumes just by attempting to summarize even a portion of it (the famous story of contralto Caroline Unger turning the completely deaf Beethoven around to face the cheers of the audience at the May 7. 1824 premiere is one of the most well-known). Suffice it to say that this is not only one of Beethoven’s greatest works, it is one of the greatest works in the entire history of music. A quote from the program notes says it all- “Beethoven’s Ninth Symphony stands as a testament to musical ingenuity and remains an immortal testament to human creativity.”

This is far from this listener’s “first rodeo” with the Ninth. I have heard performances ranging from abysmal to outstanding. It is one of my favorite works, and with that are some rather strong opinions. How did this performance measure up? In a nutshell, it is definitely in my top ten and possibly even in my top five. I admired Maestro Tiboris’s approach, which was almost minimalist (he often let his right hand remain at his side and let his left hand lead with small gestures). He placed his trust in the fine orchestra and it paid off handsomely. The sublime first movement, the energetic scherzo second movement (with those delightful tympani “calls”), the serene beauty of the third were all in themselves played with such ability that if the symphony ended with the third movement it would have been memorable. But there was still the epic finale – I could hear it a thousand times, and a thousand times I would be transported to a higher plane.

One thing that was both odd and distracting was the chorus rising from their seats just before measure 92, the introduction of the “Ode to Joy” theme in the celli, instead of waiting for measure 208, the restatement of the opening Presto theme, as is customary. Where the latter has any noises covered by the fortissimo tutti, the former was a cacophony of the sounds of shifting chairs that very nearly broke the spell. This was a bad decision!

Let’s talk about the soloists. Bass Philip Skinner was quite leisurely as he rose to open the choral section, in fact he barely was on his feet when he sang out O Freunde, nicht diese Töne! I cannot recall hearing such a decisive and powerful voice! It was like a cannon shot and it was amazing to hear. Soprano Courtney Johnson, mezzo-soprano Reveka Mavrovitis, and tenor Abraham Bretón also projected well into the hall and held their own with the powerhouse Mr. Skinner. The large chorus was obviously well-prepared. The final Götterfunken! that launches the exuberant Prestissimo ended the symphony and concert in triumph. The audience leapt to their feet in a thunderous ovation, and for those who had heard this work for the first time, I suspect it was a life-changing experience.

Congratulations to Peter Tiboris and MidAmerica Productions for forty years of service to music and may the next forty be every bit as impactful.