Heather Sorenson, composer/conductor/piano

Joseph M. Martin, composer/conductor

Distinguished Concerts Orchestra

Distinguished Concerts International Singers

Heather Lake Bayes, soprano; Ryan Johnston, tenor; Sue Martin, soprano; Layke Jones, baritone

Stern Auditorium at Carnegie Hall, New York, New York

November 27. 2023

The holiday season is now in full swing, and Distinguished Concerts International New York (DCINY) is once again adding to the festivities with their holiday concerts. Yesterday, (Sunday 11/26) Handel’s Messiah kicked off the series. Tonight, it was a concert entitled Hope and Dreams, featuring Christmas Dreams, a collaboration between Heather Sorenson and Joseph M. Martin, and the New York premiere of Ms. Sorenson’s Requiem. Excitement filled the hall as the Distinguished Concerts Singers hailing from Arkansas, Colorado, Florida, Georgia, Maine, Tennessee, Texas, Virginia, and individual singers around the globe, took the stage.

Heather Sorenson took the podium to conduct the New York premiere of her Requiem. Commissioned by the Florida United Methodist of Gainesville, Florida (FUMC) in honor of those lost during the COVID-19 pandemic, her Requiem was written to bring hope and healing to all who have experienced loss. This work is a combination of traditional Latin and English, with references to Scripture and hymn texts. Clocking in at around thirty-five minutes, it is, as the program notes state, “an authentic journey of grief and peace, tension and release.”

While the concept of a requiem addressing those still living is not novel (e.g., Dan Forrest’s Requiem for the Living) and neither is the interspersing of English with Latin (e.g., Mark Hayes’s Requiem), what sets Ms. Sorenson’s Requiem apart is her own unique brand of tonal beauty. She has a gift for melody and making those melodies harmonically interesting.

I’m not going to comment about all eight movements but will focus on some of the highlights – the program notes specifically suggest the listener take particular note of the Introit, Sanctus, Pie Jesu, and Lux Aeterna with “what to listen for” explanations. Of these suggestions, I will address two. The Sanctus had a driving energy and exuberance verging on ecstasy (complete with xylophone and a “stinger” end) that one usually does not encounter in a Requiem. The call for whispered prayer in the Pie Jesu (indicated by triangle as to the beginning and ending of those prayers) was poignant – one could see the chorus engaged in this. Now, two more movements of note: the Kyrie, from the solo cello opening to the last note, was exceedingly beautiful. The Agnus Dei had a martial quality that was notable – this lamb was not meek, but strong and proud.

Let’s take a moment to recognize the two vocal soloists, soprano Heather Lake Bayes and tenor Ryan Johnston, who gave heartfelt performances. One could sense their complete devotion to the music, and this lent wings to their work. The combined forces of the chorus were excellently prepared by their respective directors and as a group projected all the beauty of the music with attention to balance, diction, and intonation. The Distinguished Concerts orchestra can always be counted on for polished, committed playing.

After the last notes of the Benedictus, the audience gave Ms. Sorenson a standing ovation. I hope to hear more from her in the future.

After intermission, DCINY favorite Joseph M. Martin (his 12^th appearance with DCINY) took the podium to conduct Christmas Dreams. Ms. Sorenson joined as the pianist. Christmas Dreams is credited with Ms. Sorenson and Mr. Martin as composers. It was not stated in the program notes as to the details of their collaboration (i.e., who did what). Soprano Sue Martin and baritone Layke Jones were the featured soloists.  Mr. Martin describes the nine-movement Christmas Dreams as a cantata that takes inspiration from God speaking to seekers through dreams and visions of His purpose. As he states, “Christmas is a time for dreams when we once again turn our thoughts to light, peace, love, and joy.”

I have written extensively about Mr. Martin in past reviews, so I would just like to repeat that Mr. Martin is highly skilled as a composer, with a gift for dramatic sense and an ability to express this sense harmonically. He is also an energetic conductor, whose energy is reflected back powerfully by the orchestra and chorus.

The opening instrumental Christmas Dreams Overture, with quotes from Hark! The Herald Angels Sing, and Good King Wenceslas set the tone for the work. There is something of the movie soundtrack (like a Disney spectacular) that abounds in this work, and I do not say that as an insult. It is something that most listeners can grasp and appreciate easily – indeed one could see the audience being pulled in. The urgency of A New Morning of Promise, the musical “snow globe” of the eighth movement called Christmas Dreams (with Ms. Sorenson as piano soloist), and the triumphant finale Hark! The Herald Angels Sing were highlights for this listener.

About the soloists: Ms. Martin has a pure, child-like singing tone that is enchanting. She perfectly captured the essence of the Mary’s Dream movement in heart-melting beauty. Mr. Jones was a revelation, with a voice that brought to mind Josh Groban (a singer I enjoy hearing). His singing in The Magi’s Epiphany wowed the hall. While all the soloists were stars tonight, he brought something extra to his performance that set him apart.

At the risk of repeating myself, I will say again that the chorus was well-prepared and ready to unleash a joyful performance, which they sure did! After the last joyous exclamation of Gloria! that concludes Hark! The Herald Angels Sing, the audience unleashed a loud standing ovation, ending the night in triumph. Happy Holidays to all!

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

Central Conservatory of Music Symphony Orchestra of Beijing, China

Lin Chen, conductor

Stern Auditorium, Carnegie Hall, New York, New York

November 24, 2023

On November 24, 2023, the Central Conservatory of Music (CCOM) Symphony Orchestra made their third appearance in New York (and second at Carnegie Hall) in a concert featuring eight new works by eight living Chinese composers. Seven (!) of these works were world premieres. Led by the able Lin Chen, it was both an educational and artistically stimulating experience for this listener.

All the works had some programmatic aspect (i.e., folklore, nature, poetry) as covered by the program notes in varying degrees of detail. These descriptions gave each work some context for the listener to grasp. One composer wrote his own program note, which I will discuss later. There were also brief biographies of the soloists and composers.

Before getting into the music, I would like to make note of a few things. The wearing of matching tie and tails by orchestra members made a very favorable impression. It’s a small thing, but the attention to detail and tradition was a sign to me of a serious and reverent attitude, which is not as prevalent today as it should be. The CCOM Symphony Orchestra is filled with excellent musicians and as an ensemble has the potential to be top-tier. Conductor Lin Chen is dynamic in her approach and committed to the music.

The Faint Gingko (US Premiere) by Ye Xiaogang opened the concert. It is the latest work in a series of pieces about subtropical plants. It opens with an extended flute solo that gives the impression of being improvisatory, and the orchestra joins in with music of an Impressionistic quality. It reminded one of Debussy, but not in a derivative way. It was my favorite work of the evening.

For the sake of not repeating myself, all the rest of the works on the program were world premieres.

Chang Ping’s The Realm of Future followed. He wrote the program note for his work, and in my opinion, he mischaracterized his own piece. I am not going to replicate his entire note, but when one reads the words “extremely beautiful… the ultimate interpretation of charm … I embrace it at all costs,” it is not unreasonable to expect something ethereal, not the devastation of a post-apocalyptic scene. If Chang Ping had stated in his notes that the “future” is fraught with turbulence and the terrors of uncertainty, I would have enjoyed the power and unbridled “storm,” but as it was, I was left mystified. What I heard bore little resemblance to the written notes, and this adversely affected both my enjoyment and opinion of this work. Jiajing Wang was the violin soloist, navigating cadenza-like passages with a romantic flair that would have one think that Tchaikovsky peeked in for a moment.

Eternal River – for Guzheng, Harp, and Orchestra by Jia Guoping was next. Chang Su (Guzheng) and Guan Wang (Harp) were the soloists. This is a highly dramatic work, taking the idea of the various states of a river as inspiration – it can be a calm trickle, but it can also rage with anger. Both soloists were engaging, but Chang Su in particular was bold and assertive in her playing. It was a ten-minute journey that was well worth the trip.

The last work on the first half was Guo Wenjing’s Poem by Haizi: The Short Poem for March for Soprano and Orchestra. Yuanming Song was the soprano soloist. The opening section is strongly reminiscent of Górecki’s Third Symphony in both the orchestra and solo soprano before changing direction with an angry outburst, eventually giving way to a lively dance-like motif (which reminded one of Copland’s Rodeo). The strings swell and pull back, all leading to an enigmatic ending. Yuanmong Song’s strong, clear voice filled the hall and one felt the poignancy of Haizi’s poetry without having to know or understand the words.

After Intermission, the first movement from Cang Shan Xu by Qin Wenchen opened the second half. The angular writing and liberal use of dissonance suggests the cragginess of the Chang Shan Mountain. Linfeng Fan, the bamboo flute soloist, was a dynamo. From extended techniques to quicksilver passagework, she made short work of all technical demands (and there were many!) with apparent ease.

Tang Jianping’s The Stone in Five Colors followed. The mythology here is rather involved, but basically is the story of the goddess Nüwa completing epic tasks that make Hercules’s Labors look like walking the dog and watering the plants. Wikipedia has a good article about Nüwa. This work was the most successful in conveying its source material. It was jam-packed with action, ultra-heroic themes, percussion explosions, brutal primitiveness that was relentless, and the attitude of “no quarter given or asked for.” It was thrilling!

Symphonic Poem Finché for Mezzo-Soprano and Orchestra by Hao Weiya was next. Lin Shi was the mezzo-soprano soloist. She showed a commanding stage presence and a voice to match in what was a lovely performance.

At this point, I was curious as to how much collaboration took place among the composers. The concept of sharing ideas and offering feedback with colleagues is not unusual, but many of the works had particular similarities, such as the thunderous use of percussion. That the length of each work was ten to twelve minutes also seemed curious. Perhaps it was all just a coincidence – possibly at some later date I will have the pleasure of hearing more diverse works by these composers.

Zhang Shuai’s East West III: Tao for All was the final work. Easily the most accessible work of the evening, it has a “soundtrack” sound that joins the sounds of East and West in a way that makes them equal partners. It was played with the right amount of panache, in what was a fine end to the evening.

All the soloists, and several of the composers who were in attendance, joined Lin Chen on stage for a bow. The large audience, which had been mostly restrained in giving polite applause, came to life and gave all an extended and enthusiastic standing ovation. Congratulations to all!

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

Distinguished Concerts Singers International; Distinguished Concerts Orchestra 

Jonathan Griffith and Nancy Menk, conductors

Ola Gjeilo, composer-in-residence and piano

Diana McVey, soprano; Emily Hughes, mezzo-soprano

Stern Auditorium at Carnegie Hall, New York, New York

November 13, 2023

Distinguished Concerts International New York (DCINY) kicked off its 2023-2024 season with a concert entitled Twilight Mass, featuring the world premiere of Norwegian composer Ola Gjeilo’s work of the same name. Vivaldi’s much-loved Gloria in a version using only treble voices was the other work on the program.  The Distinguished Concerts Singers International brought performers from California, Indiana, Massachusetts, New Mexico, New York, North Carolina, Oregon, Pennsylvania, Virginia, Canada, France, Germany, Poland, and individual singers around the globe – a sign that perhaps the nightmare that began in 2020 is finally over once and for all. 

As a side note, this reviewer is glad to see the return of the Distinguished Concerts Orchestra to the stage.  Seeing concertmaster Jorge Ávila make his way to the stage was like seeing an old friend after a long absence. 

Nancy Menk took the podium to conduct Antonio Vivaldi’s Gloria. Although this work is usually performed with the standard SATB (soprano, alto, tenor, bass) setting, tonight’s performance was for treble voices only (SSAA). Ms. Menk has stated that this is possibly Vivaldi’s original version – but I will leave that question to the historians and musicologists. 

Ms. Menk is a DCINY veteran – this is her fifth appearance, and the third time this reviewer has seen her work. As I have written in the past, Ms. Menk is an accomplished choral conductor who is confident in her approach, and she “runs a tight ship.” I had every reason to believe these qualities would be present this evening, and I was not disappointed. Let’s get the very few quibbles out of the way. The orchestral opening in the Gloria in excelsis Deo was a bit too muted for my liking, so the voices completely dominated them. Thankfully adjustments were made, and this was not a recurring issue. Also, the double fugue in the Cum Sancto Spiritu was not entirely crisp and distinct. Forgive me if this seems overly critical – after all, some indistinctness is not a huge surprise when well over one hundred voices are in play.

Now for the positive side of things, the ensemble and diction were excellent throughout. The preparation of the choirs prior to this evening was readily apparent and the direction of the skillful Ms. Menk was the “icing on the cake,” in what was a fine performance. The Domine Fili unigenite had a joyful “bounce” in what was my favorite section for the chorus. Let’s not forget the soloists, soprano Diana McVey and mezzo-soprano Emily Hughes. Their duet in Laudamus Te was exquisite. As for the solo work by Ms. McVey, the Domine Deus, Rex coelestis was her highlight. The highlight for Ms. Hughes was Qui sedes ad dexteram Patris. Both have strong voices that easily reach throughout the hall without stridency or any loss of musical quality. Special mention must be made to oboist Ryan Walsh, for his solo in the Domine Deus, Rex coelestis movement. 

While the stage was being set for the second act, composer Ola Gjeilo joined Jonathan Griffith for a conversation about his work Twilight Mass. This is also Mr. Gjeilo’s fifth appearance with DCINY. The Twilight Mass is a companion work to his 2008 Sunrise Mass. It is scored for string orchestra, piano (Mr. Gjeilo was the pianist tonight), chorus, and soprano soloist. Mr. Gjeilo demonstrated some motifs from the Sanctus movement and called his work a Missa Brevis because of the omission of the Credo. The most interesting takeaway was Mr. Gjeilo’s mention of streaming and Spotify, the idea that listeners prefer smaller, short sections that they can work into playlists, etc. He said that this was part of why the Twilight Mass is nine short sections (his previous Sunrise Mass having been four longer sections). I leave it to the reader as to whether this is an astute adjustment to the demands of today’s listeners or a sad commentary on those same listeners. 

After the talk, Mr. Gjeilo readied himself at the piano, and Maestro Griffith took the podium. What happened next is still reverberating in my mind in a way that very few works have. Perhaps it is the times we are living in, or the general feeling of anger and despair that is suffocating, but for half an hour, beauty and hope prevailed. Make no mistake, Mr. Gjeilo’s music is not what anyone would describe as revolutionary, as his language is tonal to the core, and there is very little overt complexity, but in this ostensibly simplistic approach he makes magic happen. It’s not manipulative, cloying, or saccharine, just sincere. His arrow hit the musical bullseye.

From the first notes of the Kyrie, I knew something special was happening. I wrote one word in my notes about this movement: Beautiful! Anything else would be superfluous. As I could easily go on and on, I’m going to focus on some favorite moments/movements. The vibrant syncopation in the Domine Deus was rendered by the chorus with ebullience, or if you prefer, they rocked the house! The Sanctus reminded me of Mr. Gjeilo’s earlier work, Dark Night of the Soul – the driving ostinato, the “pull back,” and the return to a driving ostinato.  The Kyrie motif also reappears in the Sanctus. It was a close second place to the Kyrie as my favorite movement of the work. 

Diana McVey was back as the soprano soloist, and her solo in the Laudamus te was striking; it was in the Domine Deus, however, that her voice truly soared to the stratosphere. It was heavenly. 

Time to take a moment to recognize the outstanding chorus and orchestra, led by Maestro Griffith with his customary mastery. When the final notes of the Agnus Dei faded away, the large audience gave Mr. Gjeilo and the performers a very well-deserved loud and extended standing ovation. As to streaming platforms and such, I do hope Twilight Mass is made available in short order! 

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

Australian Haydn Ensemble

Skye McIntosh, artistic director

Weill Hall at Carnegie Hall, New York, NY

October 16, 2023

On the evening of October 16, 2023, the Australian Haydn Ensemble (AHE) took an enthusiastic audience on a bit of time travel where Carnegie’s Weill Hall was transformed into an 18^th century salon (well, an 18^th century salon with electricity!) for a program of symphonies by Johann Christian Bach, Haydn (Joseph), and Mozart. 

Formed in 2012, the eighteen-member Australian Haydn Ensemble is a leader in what they call historically informed performances, specializing in late Baroque and early Classical repertoire using period instruments. The oboe, bassoon, flute and horn (valveless) sound substantially different from their modern counterparts. Love them or hate them, they do give one the authentic “sound” of the times when these works were composed and first played. 

Violinist Skye McIntosh led the conductorless ensemble, whose members played standing. I suspect this was to honor the performing style of those times, even though there is some dispute as to whether this was widespread practice. Ms. McIntosh was also a charming host, speaking with the audience to give some history about the works offered.  I would like to break with my usual convention and name all the members of this fine ensemble: Skye McIntosh, Matthew Greco, Anna McMichael, Annie Gard, Alice Richards, Ella Bennetts, Emma Williams, violins; Karina Schmitz, Kristen Linfante, violas; Daniel Yeadon, Eva Lymenstull, cellos; Pippa Macmillan, double bass; Melissa Farrow, flute; Joel Raymond, Kirsten Barry, oboes; Simon Rickard, bassoon; Michael Dixon, Dorée Dixon, horns. 

Johann Christian Bach, the “London Bach,” was highly regarded during his relatively short life, but time has not been so kind to him. His current reputation has relegated him to almost an afterthought, only meriting the faintest praise that is tantamount to “Well, he tried.” One should consider that Mozart thought highly of him (one can hear shadows of J.C. in some of his works), and that alone should give one pause to reconsider his worth. The Symphony in G minor, Op. 6, No. 6 is an impressive work, in which J.C. goes his own way in a manner we had not heard from his famous father. 

The AHE tore into the stormy first movement with a roiling intensity that caught my attention right away – this was passionate, emotionally powerful and impactful playing. The second movement had an austere quality played with simple sincerity, and the finale was dispatched with élan, complete with a surprise quiet ending that could have been written by Haydn. It was an impressive start to the evening. 

Written in 1761, Symphony No. 6 in D major (Le Matin), Symphony No. 7 in C major (Le midi), and Symphony No. 8 in G major (Le Soir), were Haydn’s fulfillment of Prince Esterházy’s suggested theme for composition: three times of day, morning, noon, and evening – hence the nicknames. These works could just as easily be classified as concerti grossi as symphonies. No. 7 was not included in tonight’s program.

Haydn had just been hired by Prince Esterházy and probably was eager to impress his new patron. The Prince’s orchestra counted some brilliant musicians, which gave Haydn the opportunity to write dazzling solo passages to show off both their virtuosity as performers and his own as a composer. It probably enhanced his working relationship with the musicians, as it was often customary for a player to be rewarded with extra pay for pleasing the Prince with brilliant playing – an early example of “paying it forward.”  These symphonies are chock full of such solos – one suspects many an extra coin filled the pockets of those musicians.  On a side note, Ms. McIntosh reminded the audience that Prince Esterházy’s orchestra also had eighteen members.

One could feel the warmth of the rising sun in the introduction before kicking into high gear.  Flute, oboe, and horn all had featured solos, with special kudos to flutist Melissa Farrow for her virtuosity. One must also give double bassist Pippa Macmillan special praise for her nimble solo work in the Trio. Ms. McIntosh and cellist Daniel Yeadon reveled in soloistic moments.  All in all, it was quite the “morning,” which could take the place of coffee to get the day going! 

Le Soir is a night with some storminess (the finale Presto, sometimes subtitled La tempesta). The opening movement quotes Gluck  – Je n’aimais pas le tabac beaucoup (I didn’t like tobacco much) – from Le diable à quatre, and once again, there were virtuosic solos (violins, cello) throughout. The finale sizzled with a tempestuous energy that was thrilling. It was notable how well these players meshed together – with such small forces one can’t “hide” behind a large section, so any gaffes are easily heard. One would have been hard pressed to find any significant issues with ensemble. 

Mozart’s Symphony No. 29 in A major, K. 201, written when the composer was eighteen years old, opened the second half. There are some who might suggest that this work needs the full forces of a larger orchestra to accentuate its grandeur. I believe that is incorrect, and the AHE validated my opinion. These eighteen musicians brought more than enough passion, power, and brilliance to their sparkling performance. It was the highlight of the evening for this listener. 

After the last notes were played the audience was returned to the 21^st century and rewarded this fine ensemble with an extended standing ovation.  For all lovers of period instruments and the music of this epoch played by superior musicians, the Australian Haydn Ensemble is not to be missed. 

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

Qianci Liu, cello

New York International Symphony Orchestra, Elias Miller, conductor

Zankel Hall at Carnegie Hall, New York, NY

October 15, 2023

Zankel Hall was the venue for a concert entitled Wandering Melody: Qianci Liu and Friends on October 15. 2023. Presented by the Paulus Hook Music Foundation , of which Qianci Liu is the founder and executive director, works by Chinese composers, composers of Chinese heritage, a Chinese “themed” work by a non-Chinese composer, and a Filipino-themed work formed the program. 

Ms. Liu has many very talented friends – there were sixteen biographies (including Ms. Liu’s) in the promotional materials, far too many to give any one of them any special attention without this review turning into a voluminous book report. I will list them by name here: Qianci Liu, Wei Luo, Zhen Chen, Michael Dadap, Kayden Hansong, Weixiong Wang, Elias Miller, Yang Xu, Hong-Yu Hsien, Fang-Tao Jiang, Ricky Feng Nan, Andrew Hansong, Sherry Li, Yi Ru, Jacky Xu, and Shiqi Luo.

Similarly, with nineteen listed works, it is also beyond the scope of this review to comment about each work.  I will limit myself to commenting on highlights of each composer.  The works naturally tended include the cello (except for one piano solo work), with Qianci Liu being the cellist in ensembles including various combinations of piano, guitar, clarinet, vibraphone, handpan, a cello ensemble, and – after intermission – the New York International Symphony Orchestra. A large undertaking, this concert reflected an impressive level of dedication and organization, especially towards the nurturing and featuring young musicians.

This was not a conventional concert by most listeners’ standards (mine included). If one would enjoy nearly three hours of music that was unmistakably similar in style and conception, this would have been a delight from start to finish. Let there be no misunderstanding: the playing was excellent and some compositions projected poignant beauty, but work after work filled with nostalgic yearning, sorrow, and regret, in what could be best described as a “New Age soundtrack” style, grew wearing to this listener. The “spontaneous” addition of two works just prior to the final piece, announced as a “gift,” after two-and-a-half hours was surprisingly clumsy and heavy-handed. 

Let’s give Ms. Liu her kudos – her cello tone was warm and ideally suited for the selected works. There were no pyrotechnics, histrionics, or other affectations, just complete devotion to the music. This is a quality that I much value in a performer, and regardless of my feelings about the works themselves, she has my admiration. As for Ms. Liu as a composer, I point to two highlights. First, Lily, To Mom, as played by Ms. Liu with nineteen of her students of all ages, from the young boy with the 1/8 sized cello all the way to adult, was enchanting – not so much from the musical standpoint, but from seeing the joy they projected. Second, Candy, the jazz-infused romp with the wailing clarinet of Weixiong Wang, might have been my favorite of the evening, possibly because it was the only piece that broke out of the formulaic shell that surrounded the program. 

The New York International Symphony Orchestra, as led by conductor Elias Miller, was outstanding. Special mention to the (unnamed) trumpet player who managed his often high-register playing without overwhelming the orchestra and while maintaining good intonation – it’s not easy!

On to the other featured composers. Kimball Gallagher’s Aranya Prelude had an improvisatory feel in the hands of young pianist Hong-Yu Hsien. Though a slight hesitancy suggested a case of nerves, this player shows promise of achievements yet to come. Zhen Chen’s Jade had shimmering qualities that offered promise of breaking out of the sameness of most the other works without completely escaping. Michael Dadap’s Cavatina in E minor showed a deep, brooding quality. Unfortunately, much of that effect was marred by the feedback of a misbehaving amplifier, which loudly announced its presence several times. Sixteen-year-old Kayden Hansong’s Beyond Paradise followed, displaying a maturity far beyond this composer’s years. One looks forward to seeing what the future holds for this young man. 

Wei Luo created the lion’s share of works on the program. Reading his biography, one learns of his extensive work as a soundtrack/television composer. There is little doubt of his ability in these forms, but I would have liked to have heard at least one of his works that had some differentiation. Yes, they were “easy on the ears,” but without hearing them in context (i.e., with the television show they came from) it all sounded a bit too much as if came from the same blueprint.  Estranged had a Chopinesque quality that had moments of an unsettled feeling that most of his other works were lacking. His “Wait for Me” Suite: The Years & I Need to Find You was a showstopper – with twenty-three young singers in front of the stage, and three outstanding vocal soloists on stage, Fang-Tao Jiang, Ricky Feng Nan, Andrew Hansong. I still had enough “gas in the tank” to enjoy the emotionally charged performance that elicited the loud approval of the audience. Wei Luo’s Lullaby should have then sent everyone home on a peaceful note, but this was thwarted by an hawkward post-concert “announcement” verbally beckoning the artists back to the stage for more. 

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

Ian Hobson, piano

The Tenri Cultural Institute, New York, NY

September 29, 2023

On a day of flooding that brought New York to a standstill, Ian Hobson showed us all once again what his staying power can do. Though government alerts cautioned residents to stay home, there was a healthy crowd of music lovers eager to hear yet another chapter in Mr. Hobson’s complete cycle of Schumann’s piano music, and they were handsomely rewarded.

From the first gentle notes of the Variations on a theme of Chopin, Anh. F26 (based on Chopin’s G minor Nocturne, Op. 15, No. 3) right through to the triumphant finale of the Symphonic Etudes, Op. 13, we were treated to the kind of musicianship in which all is thoroughly conceived, each phrase well-considered, and each tone well-prepared. The program itself was also dream in its perfect balance between the grandeur of the more “tried and true” (i.e., the Op. 13) and relatively little-known works such as the abovementioned Chopin Variations, as well as the Variations on a theme of Beethoven, WoO 31 (on the Allegretto from Beethoven’s Symphony No. 7), which opened the second half.  The program was filled out by the Abegg Variations, Op. 1 and Impromptus on a Theme by Clara Wieck, Op. 5, both known but somewhat underplayed as well.

Though this listener is not always a fan of complete cycles in concert, one of the great advantages of them is hearing some largely overlooked works and exploring how they illuminate the rest of a composer’s oeuvre. One insight that emerged throughout this program was the importance of Chopin to Schumann. The opening of Variations on a theme of Chopin served to underscore this Chopinesque thread. While many are familiar with Schumann’s praise of Chopin, including his famous, “Hats off, gentlemen, a genius!” –  as well as the inclusion of a Chopin movement in his Carnaval and the dedication of his Kreisleriana to Chopin – there is no clearer illustration of Schumann’s regard than his own treatment of Chopin’s work. This evening’s program led one to contemplate this aspect more and more, even in the five posthumous Etudes to the Op. 13, which Mr. Hobson himself described as “Chopinesque” in his spoken introduction. Along with the ever-present Florestan and Eusebius, there emerged the character, Chopin. Incidentally, I’ve seldom felt that these five etudes “worked” with the rest of this great piece (with all due respect to Brahms, whose publication reinstated them), but here, folded in between the tenth and eleventh Etudes, and in the context of the Chopin influence, I almost became a believer. Mr. Hobson’s performances were assured and persuasive, as one has come to expect, from his many decades of performing and his wide-ranging discography.

Time will tell whether Schumann’s variations on Chopin and Beethoven will enter the “mainstream” repertoire, as the Chopin set was only published in 1981, and the Beethoven set in 1974 – both have interpretive challenges.  The Beethoven set contains fifteen variations, and not all were completed, so Mr. Hobson chose ten and arranged them in his preferred order. There is some unevenness in the quality of the variations themselves – and many might categorize them as mere academic curiosities – but Mr. Hobson made a compelling case for them, as he did with the Chopin set. He pulled off both sets with confident artistry, for which he deserves our admiration and gratitude.

The Abegg Variations, though certainly ensconced in the mainstream piano literature, are still underrepresented in favor of more accessible triumphs, so it was a joy to see them on this program. Mr. Hobson brought out their grace, charm, and pianistic pearls, again with many Chopinesque moments. The Impromptus on a Theme by Clara Wieck, Op. 5 followed them in an eye-opening performance of brilliance and sensitivity. With a title reflecting thoughts not just of Schumann’s beloved Clara but also the memory of Schubert (as suggested by Richard Dyer in his excellent program notes), these pieces hold treasures too often overlooked. Mr. Hobson’s playing offered much needed advocacy.

The evening was capped off with the great Symphonic Etudes, and here we had the bold and powerful performance one would expect from this important pianist. Despite the program’s surfeit of riches, one wanted to hear more. Luckily for music lovers, there is more. This monumental series continues with several more concerts, the next being October 20, 2023, also at Tenri Cultural Institute.

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

Rodney Wynkoop, guest conductor

Michael Bussewitz-Quarm, DCINY Composer-in-Residence

David Cole, piano

Greg Gilpin, composer/conductor

George Hemcher, piano

Distinguished Concerts Singers International

Stern Auditorium at Carnegie Hall, New York, NY

June 5, 2023

Distinguished Concerts International New York (DCINY) ended its 2022-2023 series with a concert entitled Music for the Human Spirit. The first half took the subtitle Where We Find Ourselves, the name of the work that filled the half itself. The second half, Together We Are Better, featured seven works for younger voices, some composed/arranged by Greg Gilpin, who conducted this half, and others were old favorites. The choruses came from North Carolina, New York, Texas, Florida, Kansas, Indiana, Nevada, and Tennessee.

Rodney Wynkoop took the podium to conduct Michael Bussewitz-Quarm’s Where We Find Ourselves, with text by Shantel Sellers. Where We Find Ourselves takes its name from a photo collection book featuring imperfect (i.e., double-exposed) plates taken by photographer Hugh Mangum (1877-1922). Why Mangum saved these photos is not known, other than he believed they had value. Quoting the program notes, “We are all damaged in some way, and sometimes the world seems broken…yet even in brokenness, there is beauty. This is where we find our courage. This is where we find ourselves.“ Clocking in around twenty-five minutes, it is divided into five-movements (I. “Would you know me by my hat?” II. “Would you know me by my hair?” III. “Would you know me by my work?” IV. “Would you know me by my scars” V. “Memento Vivere”). It emerged as the work of a skilled choral composer, employing accessible tonal language without cloying consonance, clear text setting, and enough complexity to challenge listener and performer alike. It was also well within the capabilities of a good high school chorus, showing a strong understanding of the different vocal ranges.

Highlights included the performance by bass soloist Mark Garbrick in the “Would you know me by my hair?” movement. Imagine Ice and the Jets (or Tony if you prefer the 2021 West Side Story) singing “Cool” in the middle of a church service spiritual. “Would you know me by my scars?”, with soloists Brooke Sullivan and Q Davis, had a very unsettling quality that was hauntingly effective. It was far and away my favorite part of this work.  Let’s not overlook soprano soloist Alyssa Anzelmo, whose lovely voice filled the hall in the “Would you know me by my work?” movement. Kudos to Maestro Wynkoop and the chorus for their excellent performance, and to Ms. Bussewitz-Quarm, who was in attendance and stood to receive congratulations and applause from the audience.

It is regrettable that the photos that inspired this work were not projected for the audience to view.. It would have added an additional layer of context that might have helped the listener gain a deeper understanding. One can view the pictures by visiting the following site: Where We Find Ourselves- Mangum portraits.

After a very short (and the fastest stage reset in my thirteen years of reviewing DCINY) pause, Greg Gilpin took the stage. A DCINY favorite (this being Mr. Gilpin’s seventh appearance with DCINY), Mr. Gilpin is something of a magician with young singers. I have mentioned his avuncular qualities in past reviews, but that is probably an oversimplification of his talents. He is “all in” – cajoling, gyrating, singing along, whatever it takes to coax these youngsters to heights they probably never imagined possible. As an old and crusty music critic, such choral performances can be trite and tiresome (the obligatory handclapping while singing and the choreographed sways), but as a human being, it is enchanting. It is like I have two hundred kids, and I am proud of each and every one of them. Accordingly, I am not going to do the usual “critic” thing, other than to acknowledge soloist Leah Crane for “rocking the house” with her impassioned performance.

For the sake of completeness- the selections were as follows: Music Gloria! (Hayes/Martin), Yeish Kochavom (Tunick), Hakuna Mungu Kama Wewe (arr. Gilpin), Together We are Better (When We Sing) (Gilpin), Pilgrim Song (arr. Murphy), Dry Bones (arr. Hayes), and How Can I Keep From Singing? (Gilpin).

The hall erupted in a loud and raucous standing ovation for their stars. As Mr. Gilpin said before the final number, “They are our future,” as he pointed to the youth on stage. Maybe the future is brighter than I might have imagined. Congratulations to all.

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

Bradley Ellingboe, composer/conductor; Robyn Woodard, piano

Russell L. Robinson, composer/conductor; George Hencher, piano

Kenney Potter, guest conductor

Diana McVey, soprano; Teresa Bucholz, mezzo-soprano; Chad Kranak, tenor; Damian Savarino, bass; Gabriel Evans, organ

Distinguished Concerts Singers International

Stern Auditorium at Carnegie Hall, New York, NY

April 29, 2023

Distinguished Concerts International New York (DCINY) presented a concert entitled Mozart’s Requiem at Carnegie Hall’s Stern Auditorium on the evening of April 29, 2023. In addition to the Mozart, the world premiere of Bradley Ellingboe’s A Place Called Home and the music of Russell L. Robinson were also featured. The Distinguished Concerts Singers came from Massachusetts, New Mexico, North Carolina, South Carolina, Oregon, Florida, Oklahoma, Nebraska, Washington DC, Australia, Germany, and “individual singers around the globe. “

Bradley Ellingboe took to the podium to open the concert. He spoke to the audience about his new work A Place Called Home. The theme of his work is climate change and its impact on our world. In his written notes, Mr. Ellingboe states “[I believe] people respond better to stories than a recitation of statistics.” A Place Called Home tells this story with the goal of spurring people to action before it is too late. The text is by Charles Anthony Silvestri, whose name many regular readers of New York Concert Review will recognize due to his frequent collaborations with Eric Whitacre. The ten-movement work is scored for chorus (with soloists), violin, cello, oboe (doubling on English Horn), piano, and a battery of percussion.

The text portrays a highly idealized “everytown” (think Grover’s Corner with a splash of Norman Rockwell) and its gradual degradation into a polluted victim of the local factory amid the economic wreckage wrought by the wheels of progress. There’s obviously more than just climate change in there, but I am not going to wade into the social debates- that is far beyond the scope of this review. However, on a musical level, any commentary on socioeconomic issues is an ambitious undertaking, and I am not entirely convinced on this occasion that it was completely successful.

The chorus filed onto the stage “in street clothes, as if attending a town meeting.” I’m sure this was to accentuate the “everyman.” It would have been a bit more meaningful if the people had interacted (handshakes, hugs, “conversations”) instead of just taking their places on the risers.

Enough of that, let’s get to the music and the performance. Mr. Ellingboe is a skilled composer, who has both a sense of dramatic flair and a use of harmonic language that is accessible without being cloyingly sweet and simplistic. He is also an excellent singer, as his powerful voice filled the hall in the fourth movement I Wonder. He brings energy to the podium, which in turn is reflected back to him by the chorus. My main objection was that there were many instances of weak vocal projection, mainly with the various soloists. One should not have to strain to hear from any part of the hall, certainly not in the closest seats to the stage, where this listener was situated. The diction was excellent (when the sound itself could be heard clearly) and the ensemble was commendable. Highlights for this listener were I Wonder, Birdsong, My Hometown (soloist Alexandra Martinez-Turano), and the anthem-like final movement A Place Called Home. Kudos to the unnamed members of the orchestra for their outstanding work. The soloists were Susie Tallman Yarbrough, Bonnie Pachanian-Finch, Robert Finch, Richard Macklin, Shelly Ley, Solveig Nyberg, Curtis Storm, Jennifer Coleman, Shiyah Serna, Alexandra Martinez-Turano, Quynh Truong, and Sharlotte Kramer. The audience gave Mr. Ellingboe and the performers enthusiastic applause.

After a short pause to reset the stage, Russell L. Robinson took the podium to conduct “The Music of Russell L. Robinson” part of the evening. That title is something of a misnomer, as only two works were composed by Mr. Robinson- the remaining six were arrangements of his (three of which were “world premieres”- while factually accurate, was a bit hyperbolic). The chorus consisted of Middle and High School students.

The reviewer knows he is not dealing with professionals here, so there will not be any pointed criticisms that would be inappropriate for singers at this level. That’s not to say “anything goes” – issues can and must be acknowledged. We are going to address those issues straightaway. As is common for this age set, the ladies outnumbered the gentlemen in a ratio approximately 3:1, and the ladies’ voices are better developed and project with greater resonance, which often can (and did) cover the male voices. The soloists all needed to be microphoned – it was an unreasonable hope to think that these young voices could somehow fill the hall without amplification. The piano often overwhelmed not only the soloists, but the chorus itself (and the pianist was not overplaying by any means), until Mr. Robinson was able to cue the pianist to dial it back a few notches.

Also Sprach Grinchathustra. Now to the good stuff. Mr. Robinson knows how to write for young singers. His arrangements are effective and lend the singers the veneer of sounding more advanced than they are. He is an avuncular presence on the podium, which is ideal for younger singers. It’s easy to conduct the pros and bask in that, but it is a person with a special gift that works with the youngsters to help them grow and develop their talents. Who knows what stars of tomorrow were on the stage tonight? Highlights were Carrickfergus (Traditional Irish) with an angelic voiced (and sadly, unnamed) young lady, Yesu Ni Wagu (traditional Swahili), complete with African drumming and swaying and hand gestures, and the anthem-like When I Sing (text by Charlotte Lee), written by Mr. Robinson and given its world premiere. It’s always touching to see young performers giving their all and having the time of their lives on one of the most famous stages in the world. It’s something I never tire of, regardless of how many times I witness it (and it’s been a lot!). Their supporters gave their stars a loud and extended ovation.

After another break, the final work of this marathon concert, Mozart’s Requiem, K. 626, was led by guest conductor Kenney Potter. 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. The question of how much of the work is Mozart and how much is Süssmayr is still being debated to this day. Tonight’s performance had, in lieu of a full orchestra, two violins, one viola, one cello, one bass, and organ (more about that later).

Much praise is due to the directors of the individual choirs that comprised the full chorus. They came prepared, and it showed in a dynamic performance. The projection was strong and clear, the diction was precise, and the ensemble was top-notch. The soloists, Diana McVey (soprano), Teresa Bucholz (mezzo-soprano), Chad Kranak (tenor), and Damian Savarino (bass) were all at the top of their game, with perhaps some extra kudos for Mr. Savarino, who was a powerhouse!

What detracted from this otherwise wonderful performance was the meager sound of the “orchestra,” though through no fault of the players, who are obviously fine musicians. A prime example was the “burn it all down” of the Confutatis. It was rendered more like the flickering of a Zippo lighter than the stoking of flames from hell. The Carnegie “organ” is never going to strike terror in any hearts, being a portable electric model that can be wheeled on and off the stage. Even with all this, the Requiem was still far and away the highlight of the evening. Mr. Potter led with meticulous attention to detail in an understated manner. The audience roared its approval, capping off the night.

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

New Trier High School Wind Symphony; Matt Temple, Elizabeth Bennett, directors

New Trier High School Symphony Orchestra; Peter Rosheger, Elizabeth Bennett, directors

Johannes Gray, violoncello soloist

Diamond Bar High School Wind Ensemble; Marie Santos, director

Diamond Bar High School Symphony Orchestra; Steven Acciani, director, Dr. Pierre Long-Tao Tang, guest conductor

David Geffen Hall, New York, NY

April 2, 2023

Distinguished Concerts International New York (DCINY) packed in a full day of music on April 2, 2023.  Total Vocal, with the dynamic Deke Sharon, rocked the house at Carnegie Hall at 2pm. The 7pm concert, Windsongs, at the newly opened David Geffen Hall, featured wind ensembles and orchestras from Illinois (New Trier High School) and California (Diamond Bar). This marathon concert (3 hours 20 minutes) affirmed that music is alive and well at the high school level. The elite of these programs brought their energy, dedication, and remarkable abilities to wow the large audience in attendance. 

Any regular reader of New York Concert Review will be well aware that this reviewer is a great fan of the wind ensemble repertoire (“band” if you prefer) and young players in particular. I might not be the oldest “band geek” in the world, but I am certainly entitled to emeritus status. 

Knowing the challenges that most school programs face (constantly changing personnel, the difficulties in getting full and balanced instrumentation, and the wide range of playing abilities, to name just a few), I have always adopted the attitude that “hardcore” reviewing is not helpful, but taking the role of a clinician is the most appropriate way to assess young ensembles. Spoiler alert: these schools need very little help from yours truly or anyone. Okay, there were a few intonation issues (fleeting) and minor ensemble attack issues, but this was playing at a level that far exceeds that of any average high school (and many colleges/universities for that matter!).

The first half of the concert featured the wind ensembles. The New Trier High School Wind Ensemble took the stage. The four works played were both challenging (Grade 4.5/5) and well-chosen for diversity of style. Matt Temple took the podium for the opening work, Shimmering Sunshine, by Kevin Day (b. 1996). Mr. Day writes of his work that, “ [it] depicts the sun whenever it is positioned at high noon, at its brightest point during the day … different shimmers of bright light that bounce around from instrument to instrument.” Not only does the sun shimmer, but it is a powerful force, and this was all captured to great effect. The winds shimmered, and they also shone with radiant energy, in what was an energetic opener. I was already smiling to myself thinking “they’ve got this!”

Elizabeth Bennett led the second piece, One Life Beautiful, by Julie Giroux (b. 1961). About the title, the composer writes “the title itself is a double-entendre which in one sense refers to the person to whom this work is dedicated, as in ‘one life’ that was beautifully lived. The other sense is a direct observation that having only one life is what makes life sacred, tragic, and so very precious.” Ms. Giroux calls her work impressionistic, but this listener found many hints of the opening section of Copland’s 1926 Piano Concerto, which would definitely not fit that designation. This is simply a beautiful piece, and it was played beautifully. I’m sure that many ensembles could “play” this work, but there was an underlying sensitivity here that was impressive. Here was true musicianship! 

Mr. Temple returned to the podium to conduct the final two pieces. Desert Sage, by Michael Markowski (b. 1986) was the first. Each of the four movements is based on a traditional song in the style of the singers associated with those songs. They are A Cowboy’s Life (after Skip Gorman), Goodbye, Old Paint (after Jess Morris and Charley Wind), Bury Me Not (after Carl Sprague and Sloane Matthews), and Rye Whiskey (after Elmo Newcomer). This was unbridled (pun intended!) fun, with wailing laments, drunken staggering,  and the hearty optimism of those intrepid souls who roamed the land. Special credit to the trumpets who bent the notes just enough to convey unsteadiness, without losing all tonal quality. Mr. Markowski was present and rose to accept the ovation for his excellent work, while offering his own applause to Mr. Temple and the ensemble. Ending the half was On the Mall, by Edwin Franko Goldman (1876-1956). Written in 1923 to commemorate the opening of a new band shell in Central Park , it was a nice “hat tip” to New York. It’s a rousing three-minute march (think John Philip Sousa) with a trio section that can be both sung and whistled. Mr. Temple encouraged the audience to participate- let’s just say that didn’t really pan out, mostly because no one had any hope of picking up the lyrics on a single hearing or having the tune stick hard enough to whistle after the same. No matter, it was a rousing ending to their selections, and the audience rewarded their stars with a well-earned extended and loud ovation.

While the stage was being reset for the Diamond Bar High School Wind Ensemble, I took some time to consider their program choice, the Third Symphony (Tragic), Op. 89, by James Barnes. My initial thought was “Wow, this is a risky proposition to only play one work. If it ‘misses’, then there is no chance to recover – and it is such a difficult work (Level 6, and on the high-end of that level) that many college ensembles wouldn’t attempt it.” Meanwhile, the players filed on the stage, and I thought I must be seeing double or triple- 6 Euphoniums! 6 tubas! 14 Trombones! 14 French Horns!  I sensed something special was in the air, and boy, was I right! 

I’m getting a bit ahead of myself, so a few words about the Third Symphony. It was commissioned by the United States Air Force Band in Washington, DC, and the composer was given carte blanche to write as he pleased, without any constraints of difficulty or style. Because, tragically, Mr. Barnes had to begin work right after his baby daughter Natalie had died, the work begins in the darkest depths of despair; it proceeds, however, to the bright light of joy and fulfillment.

The first movement Lento, opening with the extended tuba solo (no transplanted 3^rd trumpet player here!), captured the anguish and pain that any sensitive listener would have found emotionally wrenching. The sounds of anger reverberated around the hall when the one-hundred-twenty-six- strong ensemble let loose (My notes say HUGE sound – YES PLEASE!). The Scherzo had enough biting sarcasm and grotesque marches to make Prokofiev and Shostakovich blush. The Mesto (For Natalie) is a poignant imagination of life, had Natalie lived, with a final, loving goodbye. The Finale is a return to life and light, a celebration of new life (Mr. Barnes’s son Billy was born three days after he completed this work). 

Marie Santos led with a sure hand through this rollercoaster of a journey. Let’s take a moment to recognize the many soloists (Tuba, English Horn, Flute, and Alto Flute, to name a few) who played with great poise and skill. I’m still amazed after all this that this was a HIGH SCHOOL ensemble! This was mature playing, not only the notes, but the deeper meanings of this emotionally supercharged work were rendered with the expertise that one would associate with much older and more experienced ensembles. The audience erupted with a standing ovation.

After intermission, it was time for the orchestras to shine. As in the first half, the New Trier High School opened. Peter Rosheger took the podium and launched into the Overture from Ruslan and Ludmila by the father of Russian music,  Mikhail Glinka (1804-1857).  This well-loved work never fails to enchant with its ebullience, provided that the ensemble is accurate and the articulations clean and precise. It should have been evident to me by now that this was not going to be an issue. It was a delightful reading – there was not a hint of muddiness in the rapid passages, and the ensemble was razor-sharp. This was an auspicious start! 

The stage was then set for cello soloist Johannes Gray, who played the final two movements of the Violoncello Concerto in B-flat major by the “other” Haydn, younger brother Johann Michael Haydn (1737-1806). It must have been a thrill for Mr. Gray to be a featured soloist on the stage where the New York Philharmonic plays. He is undoubtedly talented. That said, I do not believe this particular work is the best showcase for his talent. He is to be commended for holding his own against the large forces (that Michael Haydn would have never dreamed of!) behind him. Kudos to Mr. Rosheger for (mostly) restraining the orchestra from overwhelming the soloist. 

Red Cape Tango by Michael Daugherty (b. 1954) followed the Haydn. It is the finale of his Metropolis Symphony, often performed (as it was here) as a stand-alone work. The “red cape” refers to Superman, of course, and the Red Cape Tango was composed after Supes’ epic battle with Doomsday. This is a quirky piece – think Dies Irae as a tango, with the percussion section getting rowdy, while the orchestra does a tug-o-war between legato and staccato. Daugherty called it a “musical bullfight.”   That’s a lot going on, and to pull it off requires not only an able conductor but focused musicians, who know both when to play it straight and when to let loose. These youngsters (and Mr. Rosheger) filled the bill to perfection, and ended their half in triumph. Another standing ovation was in order and was just as enthusiastic as it was for the wind ensemble. 

After another short break (as we neared three hours), the Diamond Bar Symphony Orchestra took the stage for the final work of the evening, three movements (I. Daydreams, passions IV. March to the Scaffold, and V. Dream of a witches’ sabbath) from Symphonie fantastique, by Hector Berlioz (1803-1869).  Guest conductor Dr. Pierre Long-Tao Tang, director of almost all things musical at Pepperdine, led the one-hundred-nineteen players (by now, I was “cured” of my amazement, but 21 cellos … wow!).

If there ever was a work that screamed for gargantuan forces, Symphonie fantastique is it. One thinks of that famous Grandville caricature of Berlioz conducting a massive orchestra, complete with cannons.  The three movements offered were well picked – the first to give some “flavor,” and the last two to showcase the frenzied nightmares that Berlioz conceived. Dr. Tang is not only an accomplished conductor, but it was evident that he had worked extensively with the orchestra. He knew when to lead, when to follow, and when to get out of the way. In full disclosure, I have never been a huge fan of this work, but I must say that the Diamond Bar Symphony Orchestra gave it as dynamic a performance as I’ve ever heard. I offer them the same admiration that I did for the wind ensemble. This was playing of a level that any ensemble of any age would be justly proud. The audience still had enough gas left in the tank to offer a final standing ovation. 

Congratulations to the directors of both schools, who have built up and developed superior music programs that would (and should) be the envy of high school music programs everywhere. As success begets success, I have every confidence that these programs will continue to dazzle for years to come. I would certainly love to hear them all again.

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

Justin Bischof, conductor

Alexandre Moutouzkine, piano; Eganam Segbefia, trumpet

Merkin Hall, Kaufman Center, New York, NY

November 30, 2022

On a cold and rainy evening at Merkin Hall, The Strings of Modus Operandi Orchestra offered an excellent program, with works from Dmitri Shostakovich, Richard Strauss, and rising star Jessie Montgomery (b. 1981). Those who braved the bad weather and early start time (and there were many, including a large contingent of very enthusiastic Manhattan School of Music students) were witness to masterful music-making in outstanding performances.

Before I get into the review proper, I must bring up (again!) the issue of program notes. The printed materials gave very generous space to the organization and the featured artists, but only a few lines about the Jessie Montgomery works and not a word about the Shostakovich or Richard Strauss works. The historical background of these works is key in the understanding of them, and, especially with Shostakovich, there are clear biographical connections. To omit any mention is at best negligent and at worst inexcusable.  Part of the concert experience is to educate – and yet another opportunity to do so is lost. Give brief summaries of the artists, with web addresses for further reading, and save some space for the composers and their works.

Conductor Justin Bischof took the stage and welcomed the audience. He spoke a bit about Jessie Montgomery (who had played in the Modus Operandi Orchestra) and how delighted he was to be offering two of her works, Starburst and Strum. Even those these works were not played consecutively, I’m going to discuss them together. These short works (approximately three and seven minutes respectively) are a welcome addition to any concert. There is witty interplay, driving rhythmic vitality, and just enough stridency to underscore the thematic material without ever losing a sense of tonality. After hearing these works, it is easy to see why Ms. Montgomery’s star is on the rise – she is a highly skilled composer that writes in an extremely accessible manner that is not derivative or self-conscious. Played with unabashed enthusiasm, it was a very enjoyable start to the evening.

Dmitri Shostakovich’s Chamber Symphony, Op. 110a followed Starburst. The Chamber Symphony is an arrangement of his Eighth String Quartet, Op 110, by Rudolf Barshai, one of the founders of the Borodin Quartet and long-time conductor of the Moscow Chamber Orchestra. Barshai wrote “When I finished the score, I showed it to him (Shostakovich). He liked it very much, and with his own sense of humor and exuberance, he shouted: ‘Well, that sounds better than the original. We will give the piece a new name: Chamber Symphony, Opus 110a.'”

Maestro Bischof mentioned a few common themes: The DSCH motif (consisting of the notes D, E-flat, C, B natural, or in German musical notation D, Es, C, H, standing for the composer’s initials in German transliteration: D. Sch.=Dmitri Schostakowitsch), and the three knocks on the door in the middle of the night from the KGB. One could add quotes from the “Dance of Death” theme from the Piano Trio No. 2, Symphonies 1 and 5, and the First Cello Concerto, amongst others. Professor Peter J. Rabinowitz has also suggested covert references to Richard Strauss’s Metamorphosen.

Maestro Bischof led a highly taut performance. The tension simmered, but never in the overt manner that some feel is necessary to “demonstrate the point,” i.e. “Here is the dance, here is the DSCH, etc.” The three knocks reverberated through the hall in such a way that even a listener without the benefit of knowing the context would have instantly sensed the terror. The appreciative audience recognized a truly superior performance, reacting with a long, loud, and extended standing ovation, the kind that one usually only experiences at the end of a program, not an unfinished first half.

Pianist Alexandre Moutoukine and trumpeter Eganam “Ego” Segbefia took the stage for the opening piece of the second half, Shostakovich’s Piano Concerto No.1, for Piano, String Orchestra, and Trumpet, Op. 35 (1933). Written three years before the infamous “Muddle Instead of Music” article in Pravda that easily could have ended not only his career but his entire existence (two prominent figures that defended Shostakovich, Isaac Babel and Vsevolod Meyerhold, were later shot in the purges), the Op. 35 is the work of a young man full of confidence and enjoying the adulation of fame, both at home and abroad. There is Shostakovich’s trademark sardonic wit (but without the bitter flavor that is in later works), with quotes from Beethoven’s Appassionata and Rage Over a Lost Penny making appearances. Moods change suddenly – one moment it is serious and the next it is “off to the races” in a frenzy. This concerto is a favorite of this listener, so I was eagerly anticipating the “ride.” It was all I hoped for.

Let’s talk about the soloists – first, Mr. Segbefia, as this reviewer has a definite interest in all things trumpet. I would have loved to have trumpet students hear Mr. Segbefia’s playing, as it was a virtual clinic in so many ways: crisp and clear articulation (none of that lazy de-guh de-guh double tonguing), tonal control in lyric passages without using the “schmaltzy” pseudo-vibrato tone that drives me to distraction, and how to project with mute without loss of intonation. I’d like to hear Mr. Segbefia play again – I suspect that the Arutiunian Concerto would be up his street.

Mr. Moutoukine is a true dynamo. He was “in it to win it” – there was no playing it safe or half-measures as he tore into the piano with almost maniacal energy. In between the blazing octaves dispatched with lightning speed, he also projected lyric sensitivity that was enchanting. I am usually not so interested in the visual aspect (and I despise histrionics), but in this case, it was almost as much fun to watch Mr. Moutoukine as it was to hear him. Both soloists were given standing ovations, with several callbacks to the stage.      

The final work of the evening was Richard Strauss’s Metamorphosen for 23 Solo Strings (1945). There has been extensive discussion about the “why” and “what” of this work that goes far beyond the scope of this review. What is not in dispute is that this is a masterpiece – Maestro Bischof called it “one of the most exquisite pieces ever written.” He also mentioned that five themes form the work. Two are from Beethoven – the third movement of the Fifth Symphony and the Funeral March of the Eroica Symphony.

This work is deceptively difficult. While there is nothing particularly demanding in the individual parts, it is still twenty-three different parts and any momentary lapses are not easily masked, not to mention the ensemble challenges (unity of intonation and balance, amongst others). It’s not enough to play the notes, the ensemble must be of one mind, not twenty-three minds. Maestro Bischof proved to be a leader to fulfill these demands, as the Modus Operandi strings held the audience spellbound for the full twenty-five minutes of this work. I was incredulous about this work following the Shostakovich, but I left convinced that it was an astute choice for ending the concert. One had a sense of the collective audience holding its breath as the final measures (quoting the first measures of the Funeral March) dissolved away into a pianissimo ending. (Strauss wrote the words IN MEMORIAM! in the score at this point.) The audience finally exhaled and rewarded the orchestra with another standing ovation. It was a superb ending to a memorable evening. Congratulations to all.

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