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

Jason Tramm, conductor

Gauen Kim, cello soloist

David Winkler, Executive Director

Broadway Church, New York, NY

November 4, 2022

The Long Island Concert Orchestra (LICO), under the baton of conductor Jason Tramm, brought a highly enjoyable program to the Broadway Church in New York City on November 4th – two iconic works, the Tchaikovsky Variations on a Rococo Theme, Op. 33, with cellist Gauen Kim, Mozart’s  Symphony No. 35 in D major, K. 385 “Haffner,” and the  US premiere of  Mannheim Preludes, by composer and Executive Director of Chamber Players International, David Winkler. 

Mr. Winkler welcomed the audience and spoke about his Mannheim Preludes. This 2016 work, commissioned by the Karpfälsiches Kammerorchester of Mannheim, is written in the style of the Italian Overture (three sections: fast-slow-fast, played as single continuous whole). Mr. Winkler took a tense thematic motif and “passed” it around the ensemble throughout.  While one sensed the tension, it was not always rendered convincingly. Some attacks were tentative, and the ensemble was not always razor-sharp. One is generally reluctant to make assumptions, but perhaps there was not enough time for extra rehearsals. These issues notwithstanding, it is an effective work, and conductor Jason Tramm invested boundless energy and commitment to bring out the best in the orchestra.  The appreciative audience gave Mr. Winkler warm applause.

Cellist Gauen Kim took the stage for the Tchaikovsky Variations on a Rococo Theme. I’m not sure if Ms. Kim was a last-minute substitute, as the promotion materials listed Eunae Jin as the cello soloist. There was also no talk about the work (or any program notes), which was a bit disappointing, considering the interesting history of how the work’s dedicatee Wilhelm Fitzenhagen, played a bit “fast and loose” with Tchaikovsky’s original conception. As they say, you can look it up, but for a start 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, one must also negotiate the considerable technical demands. Ms. Kim fit the bill perfectly. Her tone was warm and rich, her bow work excellent, and her intonation overall quite true.  Her rapid passage work was clearly articulated, and the humor was projected with an easy touch that never sounded affected.  Ms. Kim is an elegant player!

Maestro Tramm was an ideal collaborator, keeping the orchestra “in line” while sensitive to the soloist. The one or two very brief moments when the orchestra was obscuring Ms. Kim were quickly addressed.  The call-and-reply moments were charming. All of those ensemble concerns that I felt during the Winkler had disappeared. The audience gave Ms. Kim a well-deserved standing ovation.

The evening concluded after intermission with Mozart’s  Symphony No. 35 in D major, K. 385 “Haffner.” This masterpiece must be considered one of the finest of Mozart’s forty-one symphonies, and Maestro Tramm’s reading served it well. It reminded me of my last hearing of him conducting a Mozart symphony, in that he let the music speak without resorting to any needless “originality.” His an intelligent, respectful approach – after all, Mozart needs no one’s “help.”  It proved to be one of the most enjoyable twenty minutes of music that this often jaded listener has experienced in a very long time.  At one point, a violist broke into a huge grin as he was playing, which really touched me, as this exemplified what music should be, pure joy.

The opening Allegro con spirito was ebullient, with the “fire” that Mozart indicated. The woodwinds were the stars of the lovely Andante. The clever Menuetto was a musical tug-o-war between the tonic and dominant. The scintillating Presto brought the audience to their feet in an extended standing ovation.  Bravo!

The Long Island Concert Orchestra returns to the Good Shepherd Church for a program in the “Great Artist Series” on November 30. 2022.

 

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

Athanasios Zervas, alto saxophone; Christopher Lowry, viola; Nathan Carterette, piano; Caio Diniz, cello; Kurt Nikkanen, violin; Maria Asteriadou, piano; Perla Fernández, violin; Mireille López, violin

Weill Recital Hall at Carnegie Hall, New York, NY

October 10, 2022

Distinguished Concerts International New York (DCINY) presented its annual concert dedicated to the music of Dinos Constantinides on October 10, 2022. It also was a memorial to Mr. Constantinides, who passed away on July 20, 2021, aged ninety-two. The featured performers were Athanasios Zervas, Christopher Lowry, Nathan Carterette, Caio Diniz, Kurt Nikkanen, Maria Asteriadou, Perla Fernández, and Mireille López.

Greek-born Dinos Constantinides was the head of Composition and Music Director of the Louisiana Sinfonietta at Louisiana State University. He had the title of Boyd Professor, the highest academic rank at LSU. Mr. Constantinides has composed over three hundred works, including six symphonies, two operas, and music for a wide variety of instruments and voices, and has a long list of prizes won and excellent reviews worldwide. His writing style is all-encompassing, from the simplest of forms to the ultra-complex, and from the strictly tonal to the acerbically atonal and serial. He is especially adept in his use of Greek influences, such as Greek poetry from both ancient and modern sources, and Greek modal harmony.

There were thirteen works offered, from some of his very early works to his late, and in a variety of styles (i.e., serial, folk-influenced, etc.). It would be beyond the scope of this review to comment about each work, but the interested reader can find a complete list of works played and Mr. Constantinides’s notes here: Program notes

The program was no doubt intended to be a survey of Mr. Constantinides’s oeuvre. The unmistakable impression I got was one of trying to fill the program with as much as possible, which in principle is a good thing, but in practice makes a concert overly long and taxes the listener’s stamina to the point of exhaustion. After a seventy-five-minute first half, more than half of the audience did not return for the second half, which was unfortunate, as the best of the night was awaiting them. Twenty-five minutes of the program could have been removed without any loss, i.e., works “in the style of” and practice room studies for starters. I have made this point in at least two other reviews of programs that were devoted to Mr. Constantinides’s music – they have been exhausting rather than exhaustive, and that is doing a disservice to his music and to the concert-going experience in general.

This is not meant to take anything away from the performers; they are all excellent musicians who deserve praise for their commitment to this music. Athanasios Zervas, alto saxophonist, bookended the program. Fantasia for solo saxophone, LRC 80(1981) was his highlight, played in a jazzy, improvisational manner, even though each note and phrase was carefully thought out. Violist Christopher Lowry followed with the Sonata for Viola and Piano, LRC 21a (1971 rev. 1977), strikingly beautiful with his sweeping lyrical tone against the often-violent piano accompaniment (for which the glassy upper register of the hall piano was especially apt). Next came Ballade for the Hellenic Land for solo cello, LRC 159 (1998), a work revealing Constantinides at his best, and cellist Ciao Diniz transported the listener to Athens in a truly enchanting performance that danced and sang. Like many of the Constantinides’s Greek-themed works, the Ballade has an idiomatic flow that sounds completely natural and spontaneous. Theme and Variations for Piano, LRC 1 (1965) followed, showing the meticulous playing of pianist Nathan Carterette. Each detail was carefully prepared and delivered in a well-executed performance. Violinists Perla Fernández and Mireille López are fine players, but their featured work, Twentieth-Century Studies for two violins, LRC 14 (1970 rev. 2001) was one of those pieces that could have been relegated to the practice room for which such studies are suited. In other words, just because a work can be programmed does not mean it should be programmed- my sincere apologies!

Violinist Kurt Nikkanen was the star of the evening. He is a dynamo with technique to burn and enough passion to fill any hall. It is almost a tragedy that he was featured on the second half, after the mass exodus. He truly loves the music of Dinos Constantinides, and it shows. Mr. Nikkanen also informed the audience that he was playing Mr. Constantinides’s violin, which lent an additional poignancy to his performance. Pianist Maria Asteriadou, a force in her own right, was the ideal collaborator, and their gorgeous Idyll for violin and piano, LRC 147 (1994) was the highlight of the evening for this listener. Again, unfortunately, subsequent offerings emerged as works that ought to have been omitted. The derivative pieces “in the style of” Beethoven and Brahms, Sonata for violin and piano (A Beethoven), LRC 13b (1946) and A Brahms for violin and piano, LRC 13a (1946), would not have been missed if omitted, despite Mr. Nikkanen’s fine performances. There is simply more than enough genuine Beethoven and Brahms to hear without hearing imitations (with rare exceptions), especially on such a lengthy program.

Two works influenced by Percy Bysshe Shelley’s poem Mutability closed each half. The first, String Quartet No. 2 (Mutability), LRC 62 (1979 rev. 1998):  IV. Moderato, was an eighteen-minute journey of funereal despondency, with echoes of Chopin’s Funeral March hovering about, which sent the audience joylessly into intermission. The second, Mutability Fantasy for alto saxophone and piano, LRC 66(1979 rev. 1995), closed the program. It meanders about and just seems to stop rather than actually ending. There were no curtain calls and no assembling of all performers on stage for a final bow. It made for a less than ideal presentation (and hint: it was not Shelley’s fault). This listener, an experienced and avid concertgoer, left both confused and vexed. Imagine how the lay listener must have felt. This must be addressed and not repeated in the future. Mr. Constantinides for one deserves better.

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

Buffalo Philharmonic Orchestra
JoAnn Falletta, Conductor

The Choir of Trinity Wall Street; Downtown Voices
Nikki Chooi, Violin; Amy Porter, Flute

Stern Auditorium, Carnegie Hall, New York, NY

October 3, 2022

To celebrate the centennial of the birth of Lukas Foss, a free concert by the Buffalo Philharmonic Orchestra (BPO) was presented at Carnegie Hall on October 3, 2022. Five of Foss’s works, plus one by Foss’s teacher Randall Thompson, were on the program, with The Choir of Trinity Wall Street and Downtown Voices also participating. It was wonderful to see a packed hall even in spite of the bad weather, with a large number of BPO supporters festooned with BPO face masks and many young people.

The Buffalo Philharmonic Orchestra led by JoAnn Falletta was ideal for offering this tribute, given both Foss’s strong impact on both the BPO (as music director from 1963-1971) and Foss’s influence on Ms. Falletta as a mentor, friend, and colleague. Those in attendance were rewarded with the experience of hearing a world-class orchestra, led by a conductor who rates as one the all-time greats, playing the music of an authentic musical genius. Maybe this concert is a step in “righting the wrong” of this country’s relative neglect of Foss, who is every bit the national treasure that Copland and Bernstein are – a voice of optimism, idealism, and great expanses.

JoAnn Falletta bounded onto the Stern Auditorium stage with energy and purpose, what proved to be traits of her leadership this evening. One could sense there was something extra, that this was much more than just a concert to her. Opening with Ode (or the full title Ode to Those Who Will Not Return), this listener sensed from the first notes that this was going to be something out of the ordinary. Ode is inspired by John Donne, specifically the 17^th Devotions upon Emergent Occasions, which has been often rendered in poetic form as “For Whom the Bell Tolls.” The “bells” toll in the low strings, and there is an uneasiness that hovers over, but never really disappears until the very end, where a serene C major quietly “makes peace,” which mirrors Donne well. This was an inspired choice to open, and I was much taken with this work.

Three American Pieces, in the 1986 version for violin and orchestra, followed the Ode. BPO concertmaster Nikki Chooi was the featured soloist. Make no mistake, this is unbridled joy from start to finish, brimming with Americana. One can hear what Foss calls a “prairie lullaby,” folk-like tunes, ragtime, blues, and some scintillating fiddling. Mr. Chooi played it to the hilt. He was obviously having a great time and is clearly a player of dazzling abilities. As much as I enjoyed the razzle-dazzle moments, the second movement Dedication was my favorite in its breathtaking beauty.

Renaissance Concerto for flute and orchestra, with flute soloist Amy Porter, was the final work on the first half. While many of the names of early music make “guest appearances,” (viz. Byrd, Rameau, Monteverdi, and Gesualdo), modern devices abound, such as extended techniques from the soloist. It is looking forward and backward simultaneously – vintage Foss.  It is said that Foss “followed where his mind went,” which sometimes was forward and other times backward.  Any number of “schools” could have claimed him, and they all would have strong cases. Incidentally, on this subject, I must mention the excellent program notes by Peter J. Rabinowitz, which were informative without being overly didactic or just a mishmash of “fun facts” for the lay listener.

To return to the performance, the Renaissance Concerto enjoyed a superb interpretation. Ms. Porter is a formidable player – she couples a pristine tone quality with technique to burn. The Jouissance finale was the showcase, with brilliant passagework, a courtly duet between the flute and tambourine, some tapping on keys, and aggressive blowing, culminating in Ms. Porter’s slow exit from the stage while still tapping keys and making a “click” sound as she got farther from the stage. The audience reacted enthusiastically, and it was a fine end to the half.

After intermission, Psalms for chorus and orchestra opened the second half. The Choir of Trinity Wall Street and Downtown Voices joined the BPO. Psalms is a single-movement, three-part work that uses verses from Psalms 121 and 95 in the first section, Psalm 100 in the second, and Psalm 23 in the third. It is built around the harp, piano, and percussion, what the program notes refer to as an imagined “Biblical” sound (though I have some mixed feelings about that designation). There are glances at Stravinsky’s Symphony of Psalms and Bernstein’s Chichester Psalms, but let’s remind the reader in the latter case that Foss was first! The combined choirs were outstanding, with clear diction and articulation, coupled with ensemble balance and intonation that was exceptional. Special credit to Stephen Sands for his fine work in preparing the choirs.

Randall Thompson’s much-loved and much performed Alleluia was another opportunity for The Choir of Trinity Wall Street and Downtown Voices to showcase their artistry. It was sublime.

Foss’s Symphony No. 1 was the final work on the program. This is the work of a young composer who is still trying to establish his voice. It’s brimming with ideas, and the orchestration is brilliant, but there is the unmistakable impression that while the composer has the gifts, he does not a clear idea of what to do with them or how to use them to maximum advantage. One hears Copland, some Stravinsky, and even Hindemith, to be sure, all good role models; these observations notwithstanding, it is still a remarkable work for a twenty-two-year-old composer. Ms. Falletta and the BPO gave it their all; the strings shimmered, and the brass and woodwinds were rich and robust. The audience reacted with a well-earned standing ovation in what was a fine ending to a memorable evening.

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

Jonathan Griffith, DCINY Artistic director/principal conductor

Penelope Shumate, soprano; William Ferguson, tenor; Rob McGinness, baritone

Tzu-Yi Chen, Jeremy Filsell, pianists

Greg Gilpin, composer/conductor

Kelly Yu-Chien Lin, piano

Distinguished Concerts Singers International

Stern Auditorium at Carnegie Hall, New York, NY

June 6, 2022

Distinguished Concerts International New York (DCINY) continued the return towards “normalcy” in the concert world of New York with the June 6^th presentation of Carmina Burana, paired with an opening act filled by works written for and performed by middle school (ages 11-13) singers.  The Distinguished Concerts Singers International came from Maine, Georgia, Oregon, Pennsylvania, Kentucky, New Jersey, New York, Mexico, France, and Hong Kong. I was delighted about the international contingent, another step towards the pre-pandemic days.

Gilpin: Music for Middle School Voices was the opening portion of the program. Fifty-three youngsters took the stage to offer six selections written with the abilities of the middle school singer in mind (the title is somewhat a misnomer, as only two of the works were by Mr. Gilpin) As is common for this age group, the young ladies outnumbered the young men in a ratio of approximately 4:1. Pianist Kelly Yu-Chien Lin was the accompanist.

Greg Gilpin, in his 6th appearance with DCINY, conducted/coached the young singers. He projects an avuncular air, which is ideal for performers of this level and age. The energy he radiated was returned in abundance that must have filled him with pride.  For the sake of completeness, the works performed were Festival Sanctus, Come to Me, O My Love, Shenandoah, Dry Bones, and the two Gilpin works: For the Beauty of the Earth, and Why We Sing.

Groups of this type present an interesting challenge for the reviewer. It would be inappropriate (and mean-spirited) to judge them with the standards one would use for older/more experienced ensembles. I suspect that Mr. Gilpin might have been reading my mind – “We are not aiming for perfection, but rather sharing joy,” was the gist of his spoken comments from the stage.  Was it perfect? Of course not. Was it joyful? Absolutely! Who knows what future stars of the singing world were on that stage tonight, but one does know that this was the experience of a lifetime that will be with these youngsters forever. That idea is one that I never tire of, and the families and friends can be justly proud of their stars. Kudos to the “home” directors for prepping their singers and for the dedication they show each day in teaching these youngsters. They are unsung heroes.

Carl Orff’s Carmina Burana occupied the entire second part of the program.  It’s one of those works (specifically O Fortuna) that everyone “knows” without knowing the title or composer. It’s been used so many times in popular culture as to almost become cliché.

Orff wrote in a 1937 letter to his publisher, “Everything I have written to date, and which you have, unfortunately, printed, can be destroyed. With Carmina Burana, my collected works begin.” One could add and here they end, as nothing that Orff wrote after it remotely approached the popularity of Carmina Burana. Despite the obvious erotic source material, the dreaded designation Entartete Musik (degenerate music) bypassed Carmina Burana, no doubt due to the composer’s political and racial acceptability to the regime. The program notes suggest that Orff would be a finalist in a contest for a composer with the most despicable character; fair enough, but some scholars have suggested things are not as black-and-white as they seem.

It was not stated explicitly in the program, but this performance used the 1956 reduced version (authorized by Orff) for soloists, SATB mixed choir, children’s choir, two pianos and six percussionists by Orff’s disciple Wilhelm Killmayer. This allows smaller ensembles to stage the work. It’s an effective arrangement, but it obviously cannot match the grandeur of the sound of the huge orchestra in the original (especially the opening O Fortuna).

Enough of the history, let’s get to the performance.  This is far from this listener’s first Carmina Burana, so how did it compare? Despite my initial skepticism about this version, I was quickly won over by the tautness of conception and the unflagging energy.  Whatever was lost in power from the small forces was more than compensated in the high-octane enthusiasm of the outstanding pianists Tzu-Yi Chen and Jeremy Filsell and six young (unnamed) percussionists. The three vocal soloists all brought their A-game to the stage, with voices that could fill any hall without any strain or stridency. There is much to praise, but I will limit myself to highlights for each. The radiant voice of soprano Penelope Shumate (a DCINY favorite) was always at the forefront, but her foray into the stratosphere in the Dulcissime (Sweetest Boy) was breathtaking. Tenor William Ferguson’s sad lament of the doomed swan in Olim lacus colueram (Once I Swan in Lakes) projected a subtle comic irony that others have “forced” on the listener with some histrionics and facial mugging.  Finally, baritone Rob McGinness delivered the self-important bluster of Ego sum abbas (“I am the abbot” – of Cockaigne) with gusto that had the audience laughing as he wandered the stage. Let’s not forget the large chorus, who were well-prepared and ready to shine, which they most certainly did.

Maestro Jonathan Griffith led with his customary sure hand. It may have been two years away, but he has lost none of his mastery, and it was a treat to enjoy his work once again. The audience gave all the performers a well-deserved loud, extended standing ovation at the end.

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

Eric Whitacre, composer/conductor

Distinguished Concerts Singers International

Kelly Yu-Chieh Lin, piano; Jake Charkey, cello

Stern Auditorium, Carnegie Hall, New York, NY

May 31,2022

“It’s been two long years.” So said Eric Whitacre, in his remarks to the Carnegie Hall audience on May 31, 2002. Yes, it’s been over two years since his last appearance with  Distinguished Concerts International New York (DCINY), so this was something of both a homecoming and a sign that DCINY is back.  It’s not the first concert DCINY has presented, but it is the first truly marquee event – Eric Whitacre is a bona fide superstar. This reviewer was thrilled to be there to see the excitement that took me back to the pre-pandemic days , when family and friends filled the hall and cheered their hearts out for their stars.

This is Eric Whitacre’s 19th appearance with DCINY, and the program was dedicated to his works, some old favorites, and selections from The Sacred Veil (completed in 2019).  Mr. Whitacre’s trademark charisma is still intact- even when telling stories that he’s told countless times (and I have heard at least four or five times).  He did seem to strike the right balance of fun and gratitude as he spoke, as opposed to just playing the audience for laughs (he got them anyway!).  He introduced each work, which was a plus, as the printed program did not follow the order, and one work was even missing (but the lyrics for that missing work appeared in the program notes).

The Distinguished Concerts Singers came from South Carolina, Tennessee, Colorado, Texas, Illinois, North Carolina, New Jersey, and Minnesota. They were well-prepared by their respective directors , but the magic that is Whitacre is what took these singers to greater heights than they probably imagined possible.  Pianist Kelly Yu-Chieh Lin is a star in her own right.

About the music – the six selections from The Sacred Veil were split equally between the halves, but I am going to speak of them together. About the others works, I have written extensively about them in past reviews, so I’ll limit myself to brief comments. Lux Aurumque, probably the “Signature” work by Whitacre (and seemingly “done to death”), still has the power to enchant. The two volumes of Animal Crackers, set to text by Ogden Nash are pure side-splitting fun, which had the audience roaring in laughter. The City and the Sea, employing texts by E.E. Cummings, had the pianist using the “oven mitt” technique (clusters on the white keys) and was done to the hilt. The last of this set, the bustling little man in a hurry is an old favorite of this listener and did not disappoint. A Boy and a Girl (text by Octavio Paz) and The Seal Lullaby (text by Rudyard Kipling) were both done with a sensitivity that was touching.

Mr. Whitacre spoke briefly about The Sacred Veil, and his friendship with Tony and Julie Silvestri. I’d like to actually quote his written words about this work: “The Sacred Veil is a 12-movement work and the most recent collaboration between Eric Whitacre and poet/lyricist Charles Anthony Silvestri telling a story of life, love and loss. Silvestri’s wife, Julie, died of ovarian cancer at age 36 in 2005, leaving two young children. Including texts from Silvestri, Whitacre and Julie herself, the intimate, compelling score tells a story of courtship, love, loss and the search for solace. Although inspired by this extraordinary and moving friendship, the piece does not mention Julie by name and shares a very human journey –one that so many of us can relate to.”  The Sacred Veil is scored for chorus, piano, and cello. On this occasion, six movements were presented.

I suspect that the movements featured were carefully chosen to give the listener an “overview” of the entire work. It is also possible that the difficulty of certain movements (some are filled with medical jargon) was also a consideration.  This listener has heard the entire work several times and was deeply moved by the journey,  but was also emotionally devastated as well, in particular by You Rise, I Fall (which was not one of the six selected movements).

The three movements  A Dark and Distant Year, Home, and Magnetic Poetry  tell the story of a man despairing of ever finding love, meeting a wonderful woman, falling in love, and settling into a happy life. Four little words “You feel like home” give rise to some poignantly beautiful music, with cellist Jake Charkey projecting that poignancy with simple sincerity.  Magnetic Poetry takes its name from those little magnetized word kits with which  one can make word jumbles on their refrigerator. The text was Julie’s arrangement of these little word magnets that she wrote down on paper. That paper was not found until after her passing. The text-setting was done with reverential power – this was not silly randomness, but the words of a woman who was obviously a force.

The movements Delicious Times,  Dear Friends, and Child of Wonder are the journey through illness and into final release. Delicious Times is a remembrance of Julie’s children’s reaction to her losing her hair, not one of fright, but laughter and joyful times (“The kids have been amazing, and we’ve had some really delicious times.”). Dear Friends is the request for prayer when the end is near, not prayers for a peaceful death, but a miraculous recovery – the spirit of one who is not giving up and who will fight for life until the very last breath. One can feel that spirit in the music and hopes against hope that somehow that miracle will occur. Child of Wonder (words by the composer ) are what Whitacre calls a Benediction, which is apt, both in the religious sense (a welcome to Heaven) and a release from life into the next.

The audience gave Mr. Whitacre and the singers (in both halves) a standing ovation. I think most were incredibly moved by what they heard and experienced.  As a send-off, Sing Gently, finished the evening.  Congratulations to all!

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

Da Capo Chamber Players: Patricia Spencer, flute/alto flute; Marianne Gythfeldt, clarinet/bass clarinet; Curtis Macomber, violin; Chris Gross, cello; Steven Beck, piano

Guest Artists: Lucy Shelton, soprano; Ariadne Greif, soprano; Yoshi Weinberg, flutes (alto, bass, piccolo) Jacqueline Leclair, oboe, English horn; Nanci Belmont, bassoon; Michael Lipsey, percussion

Merkin Hall at Kaufman Music Center, New York, NY

April 6, 2022

The Da Capo Chamber Players (Patricia Spencer, flute/alto flute; Marianne Gythfeldt, clarinet/bass clarinet; Curtis Macomber, violin; Chris Gross, cello; Steven Beck, piano) launched their 50^th anniversary with the first of a series of concerts entitled “Da Capo Bridges,” covering bridges between cultures, styles, and eras. The first in this series was called “Bridging Culture.” The program included a world premiere written especially for this occasion, and several works written specifically for Da Capo. For those unable to attend, we are told that a live stream of the performance was provided.

The Da Capo Chamber Players have been at the cutting edge of exploring and presenting diverse new works long before it was fashionable to do so. I invite the reader to learn more about Da Capo by following this link: Da Capo Chamber Players.

It’s been a long road back – over two years (!) since this reviewer attended a concert at Merkin Hall. Cellist Chris Gross mentioned that it had been two years for Da Capo as well in his remarks from the stage. Life’s still not quite back to “normal,” but it was heartening to see such a good turnout. Those who came were to be rewarded with excellent performances by first-rate musicians. I also commend Da Capo for providing detailed program notes and lyrics, along with biographical materials about the composers.

The core players took the stage and opened with One Mo’ Time (2016) by Cuban-born Tania León (b. 1943), written for the Da Capo Chamber Players 45^th anniversary (and in memoriam to Ursula Mamlok). It is a high-energy, jazz-infused work that explores a variety of genres. One gets flavors of Latin America intertwined with more traditional concert music and a topping of jazz. The complexities were dashed off with what might have seemed a casual off-handedness, as if “of course, we do this all the time,” which was very impressive to this listener. It was an auspicious start to the evening.

Next up was Tan-Tan (2020) by Hannah Kendall (b. 1984).  Soprano Lucy Shelton, flutist Yoshi Weinberg, and percussionist Michael Lipsy joined Ms. Gythfeldt and Mr. Macomber. Based on a Caribbean tale, Tan-Tan is a kind-hearted soul who failed to heed the warnings given her and is trapped by a devious character named Dry Bone in a place called Duppy Dead Tyown (one may draw their own inferences, but Satan and Hell are plausible equivalents). It is an ingenious piece, having an atmospheric, almost other-worldly effect that at times was spine-tingling (or perhaps giving one the heebie-jeebies would be more in the spirit). The ensemble was razor-sharp, and it was also notable how Ms. Gythfeldt and Mr. Weinberg seamlessly shifted between their various instruments. Michael Lipsy made his way through the battery of percussion instruments with a quiet intensity while never overshadowing the others. Special mention to the living legend, soprano Lucy Shelton, who mimed the sounds of the instruments (to the delight of the audience), dashed off various vocal gymnastic effects, and, of course, her radiant voice filled the hall.

Mirage (1990) by Shulamit Ran (b. 1949), written for the 20^th anniversary of Da Capo, concluded the first half.  The composer describes the work as “an asymmetrical, loosely structured five-part arch.” The harmonic and melodic language is akin to modes that most would identify as sounding Middle Eastern.  Opening with alto flute, the intensity simmered within the ensemble, building to a release with a unison phrase about nine minutes into the work. Once again, the ensemble was outstanding, each player meshing with the others even as one might assume that their entire focus would be on dealing with the difficulties of their own part. That very short unison was like the clouds opening and sunlight shining through – who would have ever thought that a simple unison could be so beautiful? The piece was a great end to a great first half.

After intermission, Spirit Mountain (2010) by Eric Moe  (b. 1954) opened the second half. Based on a Nepalese offering song, this work enjoyed the playing of Jacqueline Leclair (oboe/English horn), Nanci Belmont (bassoon), and Mr. Lipsey, joining Ms. Spencer and Mr. Beck. Mr. Moe transcribed a recording of Nepalese court singer Tashi Tsering and used it as the basis for this work.  The opening attack was arresting – one sat up and took immediate notice. The use of percussion, modeled after Tsering’s hand drumming added a pulsing, driving energy. Without taking anything away from the other players, I wish to make special mention of Ms. Belmont, who was both an animated participant and a lyrical soloist – forget any of the less-than-flattering terms about the bassoon, this was beautiful playing in both tone and technique. Mr. Moe was in attendance and all too briefly stood when the players pointed him out. Don’t be shy, Mr. Moe, it was an excellent work that was played with energy and commitment.

 Music for 3 (1970/1991), a piano trio by African-American composer George Walker (1922-2018) followed. While this work is certainly acerbic – the strings “battle” the aggressive piano in an atonal manner, it was probably the most immediately accessible work presented this evening. It was played with power, precision, and passion. Which faction won the battle? Was it Mr. Beck, or Mr. Macomber with Mr. Gross? I vote for shared honors, with the audience being the ultimate winner.

The world premiere of The Conference of the Birds 2, a 50^th anniversary commission for Da Capo, by  Shirish Korde (b. 1945) was the final piece of the program. A medieval Sufi poem by Farid Ud-Din Attar was the basis for the work. I will very briefly describe the five parts:  Part 1: The poet awakes to find himself transformed into a hoopoe bird and addresses a conference of all birds to tell them about Simorgh, the king of all birds who is all-knowing. Part 2: The birds make excuses for not wishing to undertake the difficult and dangerous journey. Part 3: The birds are convinced to go. Part 4: The birds have to cross seven valleys (Quest, Love, Understanding, Detachment, Unity, Amazement, Death).  Part 5: The mountain of Kaf, where Simorgh lives is reached. Final twist: Only thirty birds remain and realize that they are “Simorgh,” which is Persian for “thirty birds.”

Soprano Ariadne Greif and Mr. Lipsey joined the Da Capo players. A video created by Virginia Raguin was projected above the stage in tandem with the performance. The music itself seemed idiomatically suited to the story, with a definite mystical quality, many birdlike motifs and exotic sounds, and with percussion that most would associate with Eastern Mysticism. It was right up Da Capo’s ” street,” and the ensemble’s collective light shone through in a nuanced and sensitive performance; it must be said, however, that the visual added much to both the understanding and enjoyment. The pictures were beautifully chosen and arranged, and the addition of the lyrics on the screen enhanced their power. The synchronization of the visual to the musical was remarkable considering it appeared that all the person who was operating the video had done was to start it in motion. Kudos to Ms. Greif, who was an effective narrator (with a potential career in voice-overs) as well as a luminous vocalist. The experience of this multi-media work was the highlight of the evening for this listener.

The next concert in the series, “Bridging Styles,” will take place May 10, 2022. Congratulations to all!

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

Solange Merdinian, mezzo-soprano

Joel  A. Martin, piano

Weill Recital Hall at Carnegie Hall, New York, NY

December 15, 2021

Weill Recital Hall was the venue for yet another fine presentation from Pro Musicis this week, featuring 2019 prize-winning artist Solange Merdinian. Ms. Merdinian offered a program celebrating her Armenian-Argentinean heritage, with some Cole Porter and Kurt Weill added to the mix.  Ms. Merdinian said she chose composers who are well known in their native lands, but less well known elsewhere.  One can make the case that Komitas and Guastavino, while not “household” names, are known to many, but it is certain that Ashot Satian, Parsegh Ganachian, and Carlos López Buchardo are names new to most listeners (including this one). It is almost always a pleasure to be introduced to music one would not hear otherwise, and Ms. Merdinian’s performances were both educational and artistically fulfilling.

Ms. Merdinian of course possesses all the attributes one expects of a contest winner – a stage presence that is confident and polished, a voice that projects well without strain, and exceptional intonation and diction.  What sets Ms. Merdinian apart from most is her remarkable versatility. While most singers can (and do) venture away from their “comfort zones” it is usually apparent that they are doing so, i.e. Opera singers doing cabaret but sounding like opera singers doing cabaret – not so in the case of Ms. Merdinian. Whatever style she is singing in is completely compelling as if it is her “main” style, which might seem unremarkable, but it is something that few are capable of pulling off so convincingly.  I also had the unmistakable impression that Ms. Merdinian was “in the zone” and that only the complete shutdown of concerts had prevented her from unleashing her obvious passion for these songs on the concert stage. When finally given the opportunity to do so the energy she radiated filled the hall and fired up an already enthusiastic audience.

The recital opened with five Armenian Songs as arranged by Ms. Merdinian’s pianist Joel A. Martin. A candle was placed at the front of the stage and lit (or one should say turned-on, as it was battery-powered ). Surprisingly Mr. Martin entered alone, bowed and sat at the piano. The hall was darkened and he began to play as one heard a voice in the distance, gradually sounding closer as Ms. Merdinian entered. It was a stirring effect, and her voice was hauntingly beautiful. The ideas of longing, heartache, loss, and recovery were the overarching themes of this set, delivered with an intensity that was devastating in its effect. It was a powerful start to the evening, which Ms. Merdinian explained was not her usual way of opening, but she felt the need to acknowledge the tragedy of loss due to the pandemic.  Of the five songs, Mardigi Yerk (Soldier’s Song -“I flew in my mind”), by Ashot Satian, was this listener’s favorite. My one quibble was that there was very little break between songs, making it hard for one who does not speak Armenian to distinguish one from the next. I understand that they functioned as a set that Ms. Merdinian did not want to be interrupted by applause, but a note in the program would have lessened the confusion.

The remainder of the first half took on a lighter and often joyful tone. Five of the Seis Canciones from Eduardo Toldrà followed the Armenian songs.  They are filled with sunny optimism and the feeling of young love, and it was impressive how Ms. Merdinian so effortlessly moved from the emotional weightiness of the Armenian songs to the ethereal Cantarcillo and the heart-racing excitement of first love in Después que te conocí.

Two art songs, Rocío and Meciando, by Carlos Guastavino followed.  Guastavino had an undeniable gift for melody and these songs showcase that gift. As Gustavino is known to have said, “I love melody, I love to sing. I refuse to compose music only intended to be discovered and understood by future generations.”  Ms. Merdinian’s voice was made for these songs, and it is good to see a composer who is overshadowed in this country by his countrymen Piazzolla and Ginastera being heard and appreciated.

The first half ended with Jujeña by Carlos López Buchardo. Filled with sunny cheer and the innocent joy of a young girl who doesn’t have a cloud in her sky,  Ms. Merdinian became that young girl, swaying and dancing happily, while her heart pours out unbridled excitement and wonder about the world.  The duo projected it with élan, and it was a dynamic ending to the half. 

After intermission. Ms. Merdinian offered what she calls her “Musical Salon.” Shifting to cabaret, she transformed into a world-weary chanteuse for three songs (I’m a Stranger Here Myself, Complainte de la Seine, and Je ne t’aime pas) by Kurt Weill.  While I am not always simpatico with Weill’s often ultra-cynical style, these selections were, much to my surprise, highlights of the night for me.  Of the three, the last, Je ne t’aime pas was my favorite.  Ms. Merdinian conveyed the efforts of one who is desperately trying to convince herself that she no longer loves someone when it is plainly clear that she does, and that the harder she tries, the more apparent the love is. The final line,  Je ne t’aime pas! was delivered with such a burst of passion that one could feel their own heart breaking. One wasn’t sure if they should applaud her, or console her!

The Cole Porter standards Let’s Do It and It’s De-Lovely were fun romps, with Ms. Merdinian delighting (or is that De-Lighting?) the audience with some playful changes to the lyrics that drew laughter.

Let’s take a moment to recognize pianist Joel A. Martin, a star in his own right. From his smart and stylish arrangements to his superb pianism, infused with panache,  he is an ideal collaborator. His musical rapport with Ms. Merdinian was outstanding.

Three songs, Chiquilín de Bachín, Nalada para un loco, and Siempre se Vuelve a Buenos Aries, by the master of the tango, Astor Piazzolla, ended the evening.  Ms. Merdinian transported the audience to the cafés of Argentina in a perfect end to a wonderful concert. With a final flair of vocal gymnastics, the audience roared approval with a raucous standing ovation. Ms. Merdinian is an artist to watch, and I wish her continued success in her future endeavors.

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

Rachel Schutz, soprano

Timothy Long, piano

Weill Recital Hall at Carnegie Hall, New York, NY

November 8, 2021

Weill Recital Hall was the venue for yet another fine offering from Pro Musicis this week, featuring prize-winning artist Rachel Schutz. Ms. Schutz has an impressive list of credentials, and her program of works which one would normally not expect to hear in a winner’s recital, including one world premiere, added a layer of interest for this listener.

Ms. Schutz writes about how she came to deciding her program in the context of the upheaval of this trying time, opting for works that, “… can take strength from hearing the stories of others as they overcame difficulties, cultivate resilience, and find solace and power in the arts.”  One could say that her choices were well-matched to her intention, however her inclusion of the Rachmaninoff Six Songs, Op. 38 as linked to the Russian Revolution of 1917 might be seen as a bit of a “shoehorn,” as these songs were composed in 1916, when Rachmaninoff could not have known how his country’s turbulence would impact his life and work. That being said, they are a welcome addition to any program!

Ms. Schutz opened with music by African-American composer Margaret Allison Bonds (1913-1972), entitled Songs of the Seasons and set to the poetry of Langston Hughes. The four songs, written in 1934, 1936, and 1955, remained unpublished until recently so made for a welcome offering of fresh repertoire. The first two songs, Poème d’automne and Winter Moon, show the undeniable talent of an emerging composer, while the later ones, Young Love in Spring and Summer Storm, are the works of an experienced composer who is confident in her voice and assured in her craft. Bonds studied with Florence Price while in high school, was awarded a scholarship to Northwestern University (where she earned her bachelor’s and master’s degrees by age 21), and later studied with Roy Harris at Juilliard.  Bonds was the first African-American to appear as a soloist with the Chicago Symphony Orchestra and was a prolific songwriter, with more than half of her songs set to the poems of Langston Hughes, a lifelong friend of hers.

About the performances, first, some general observations. Ms. Schutz’s voice projects well, without strain or stridency. Her diction is clear (so while the texts were available, there was no real need to have my head buried in them), and her stage manner is expressive without being overly “emotive.” These are all qualities that are appreciated by listeners who value substance over gimmicky style. She projected the easy blues feel of Poème d’automne quite stylishly and gave the evocative Summer Storm roiling turbulent growls. These were an auspicious start to the evening.

Excerpts from Vignettes: Ellis Island by Alan Louis Smith (b. 1955) followed. Mr. Smith stated that he selected excerpts from tape-recorded interviews of persons who passed through Ellis Island on their immigration to the United States. He chose quotes in which, as he describes, “the use of language, narrative description or emotional content” struck him as being “inherently musical in some way.” He then reordered the selected passages to progress from preparing to leave for America through settling in the United States. The Vignettes ranged from excited anticipation, to nostalgic lament, to portraying the bustle of Ellis Island, with even a little Titanic anecdote thrown in (which made for a good story, though pure fantasy!). Ms. Schutz captured the various moods with a practiced ease, seamlessly moving from story to story. When there was whimsy, she projected it without being hammy, and the laments were never overwrought or maudlin. Sincerity is the word that I believe best describes Ms. Schutz’s approach, and it was the perfect match for these vignettes. Favorites were “Anna” (Prologue) with the jaunty feel that reminded one of Milhaud, the hymn-like “Kaj” (Boarding the Boat), and the clever “Max” (On the Island).

After a five-minute pause, Ms. Schutz offered Meditation, a two-movement piece, by Chen Yi (b. 1953). Set to poems from the 7^th and 8^th centuries (Know You How Many Petals Falling?, and Ascending the Watch Tower at Youzhou, which Yi called Monologue), they pair some of the traditional elements of Chinese opera with some rather “modern” harmonic touches. These pieces gave Ms. Schutz the opportunity to demonstrate the considerable technical gifts that she obviously possesses but was keeping on the backburner ready to unleash. While these were not ostentatious displays of vocal gymnastics, her virtuosity was indisputable and made quite an impression on this listener.

The world premiere of No Road Back Home, by Thomas Osborne (b. 1978) followed. Dedicated to the poem’s author Abduqadir Jalalidin, a Uyghur writer who has been imprisoned in Xinjian since 2018, the poem was memorized and transmitted from inmate to inmate, until it finally made it to the outside world. It eventually made its way to Mr. Jalalidin’s former student, historian Joshua L. Freeman, who translated the verse into English. To say this work is emotionally charged is something of an understatement, as one is drawn into the desolation of isolation and the crushing weight of despair. Ms. Schutz wrung every last drop of these qualities in a performance that was absolutely shattering in its heartbreak. As it died away to a final lament, one could sense the collective holding of breath throughout the hall. This was the most memorable moment of the evening for this listener.

Let’s take a moment to offer kudos to the excellent pianist Timothy Long, who was an outstanding collaborator and a force in his own right.

Rachmaninoff’s Six Songs, Op. 38 ended the program. There is no reason to write about the background here; the stories are well known and easily found online by anyone who wishes to know more. This was far from this listener’s “first rodeo” with these songs, so I was eager to see how Ms. Schutz would do. The short answer is: very well indeed! One does not win contests without having technical skill, so there was not much doubt about Ms. Schutz’s ability to cope with those challenges, but there was a level of artistry that took this from the “contest ready” to the truly exceptional. While the entire set was of high quality, it was the fourth song, The Pied Piper, unconventionally playful for Rachmaninoff, that was the highlight of the evening for me.

The audience rewarded Ms. Schutz with a well-deserved standing ovation. She offered another Rachmaninoff song, Spring Waters, the eleventh of the Twelve Romances, Op. 14, as an encore, which she sang with exuberance.

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