Vocal Artists Management Services

James Greening-Valenzuela, manager

Gretchen Greenfield, artistic consultant

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

February 6, 2025

Vocal Artists Management Services (VAMS) presented their Sixteenth Season Artist Showcase on February 1, 2024, in the Marc A. Scorca Hall at the Opera America National Opera Center. Arias and songs from Mozart, Handel, Glück, Richard Strauss, Puccini, Giordano, Verdi, Paolo Tosti, Britten, Barber, John Kander, and Mark-Anthony Turnage were the eighteen selections to be performed by eight artists. A brief synopsis of each scene/song was included in the program notes. The eight artists were (in alphabetical order) Pedro Carreras, Jr., Mark Davies, Nelson Ebo, Andrew Egbuchiem, Michael González, Rebecca Kidnie, Tom Sitzler,  and Stacey Stofferahn. The rock-steady pianist Eric Malson once again did heroic work all evening. James Greening-Valenzuela, Manager of VAMS, greeted the audience and happily announced that, unlike in previous editions, all the artists were present and the program would proceed exactly as printed in the program.

As I have noted in previous reviews at this venue, the Marc A. Scorca Hall has the intimacy of a salon, with very live acoustics that give the listener a sense of immediacy not felt in larger (or less acoustically live) venues.

Each artist had at least two selections, and to comment on each selection would turn this review into a book report, so I will limit myself to commenting on each artist’s highlight. I apologize in advance if anyone feels shortchanged.

Let’s start with the baritones. Mark Davies projected Count Almaviva’s vexation in “Hai gia vinta la causa” from Le nozze di Figaro with a delightful combination of fury alternating with bewilderment on being outsmarted by his servants Figaro and Susanna. Tom Sitzler captured to a tee the infuriating pomposity and self-congratulatory posturing of Scarpia in the “Te Deum” from Tosca. He was effective in the role that one might be excused for wanting to hate him! Both gentlemen have wonderfully sonorous voices.

On to the tenors: Pedro Carreras, Jr. offered a heart-wrenching good-bye to life in the title role of “Come un bel di di maggio” in Giordono’s Andrea Chenier – without allowing any descent into maudlin histrionics. It was striking. Michael González showed his versatility in a smart performance of Samuel Barber’s “Solitary Hotel,” number four of the five songs from Despite and Still, Op.41. The underlying intrigue in what seems to be a matter-of-fact text is what makes it “work,” and Mr. González brought that intrigue forward with subtlety. Last, but not least, was Nelson Ebo, who brought enough passion to fill any hall. Without taking anything away from any of the other artists, Mr. Ebo was far-and-away the most energetic performer of the evening, who not only wowed with his powerful voice, but also acted his roles to the maximum. Some might have found it over-the-top, but the audience was wholly engaged by his complete commitment. We saw and heard his Othello in the last throes of his life as he laments his despair at falling for Iago’s machinations in  “Nium mi tema” from Otello, complete with Mr. Ebo “dying” at the end.

I had been witness previously to the incredible vocal gymnastics of countertenor Andrew Egbuchiem, and tonight, it was his artistry that was front and center. He captured the emotional impact of the poignant “Dove sei amato bene” from Handel’s Rodelinda with great purity of voice.

Finally, the sopranos: Stacey Stofferahn was having fun at portraying the “naughtiness” of a secret tryst in the midst of a “joyous feast of merrymakers,” in Richard Strauss’s Heimliche Aufforderung, Op.27, No.3. Mind you, this “fun” comes with the requirement of a highly accomplished singer. Ms. Stofferahn made it seem so easy, which of course, it is not! Rebecca Kidnie ended the evening with a confident “You Can Pray” from Mark-Anthony Turnage’s opera Anna Nicole (yes, that Anna Nicole). In what starts as a plaintive dream that ends as a rowdy burlesque (the last words are “Come to Mama!” complete with a suggestive gesture – use your imagination), Ms. Kidnie moved through this “journey” without a hint of irony or insincerity, which was impressive.

Mr. Greening-Valenzuela hinted that the next edition might take place this year in October, so one might not have to wait another year before hearing these gifted singers again. Stay tuned!

Jonathan Griffith, Artistic Director and Principal Conductor

Sir Karl Jenkins, CBE, DCINY Composer-in-Residence

Elliott Forrest, WQXR Radio Personality and Host

Penelope Shumate, Soprano; Claudia Chapa, Mezzo-Soprano; Daniel Rich, Baritone

Brenda Vongova, President of the UN Chamber Music Society

Distinguished Concerts Orchestra; Distinguished Concerts Singers International

Stern Auditorium at Carnegie Hall, New York, NY

January 20, 2025

In what has become a tradition marking the commemoration of Martin Luther King, Jr. Day, Distinguished Concerts International New York (DCINY) presented a concert featuring the music of Sir Karl Jenkins on January 20, 2025. This year’s version included two works, Gloria (2010), and the North American premiere of One World. This is Sir Karl’s 18^th appearance with DCINY. The Distinguished Concerts singers came from California, Massachusetts, New York, West Virginia, Germany, Guatemala, The Netherlands, Northern Ireland, United Kingdom, and individual singers around the globe.

DCINY Artistic Director and Principal Conductor Jonathan Griffith took the podium to conduct Gloria, the sole work on the first half. This five-movement work for orchestra, chorus, and vocal soloist clocks in around thirty-five minutes. Gloria is an extended setting of the Gloria section of the Ordinary of the Mass. The first, second, and fifth movements use the Latin text, and the third and fourth movements use Psalm 150 in Hebrew plus a song derived from biblical verses in English. Spoken passages from sacred text of four religions (Hinduism, Buddhism, Taoism, Islam) also are part of the composition. The speakers of these texts were, in order of appearance, Surenda Adana, Christopher Hudson, Gang Yue, and Brenda Vongona. Mezzo-soprano Claudia Chapa, a DCINY favorite, was the vocal soloist.

The first movement The Proclamation: Gloria in excelsis Deo, opened with an arresting heraldic fanfare, setting the stage for the chorus to burst forth with jubilation. The second movement, The Prayer: Laudamus te, had a serene quality that was sentimental without becoming saccharine. The third movement, The Psalm: Tehillim – Psalm 150, was the highlight for this listener. The sounds of Adiemus, one of Jenkins’s most popular works, were much in evidence. The exuberant DCINY percussion section “rocked the house” with such energy that the huge chorus at times struggled to be heard clearly. Even with this, the net effect was electrifying, with a final Amen! delivered in a burst of joy. The fourth movement, The Song: I’ll Make Music, was another journey of beauty, brought to life by the radiant voice of Ms. Chapa. It was the high point of her solos. The work’s opening motif reappeared in the final movement, The Exaltation: Domine Deus, before the momentum slowly abated to a concluding Amen.

Maestro Griffith led with his customary sure hand – he is truly a master of dealing with these colossal forces. The Distinguished Concerts Orchestra can always be counted on to deliver a strong performance, and the chorus and individual directors who prepared them are to be congratulated as well. Sir Karl came to the stage to the cheers of the large audience.

After intermission, WQXR radio personality and host Elliott Forrest joined Sir Karl and Jonathan Griffith in a brief Q&A, which really took more the form of an informal chat. Sir Karl’s droll sense of humor was front and center (Q: Are you an optimist? A: with a look of horror- No!) which had the audience laughing loudly. We learned that today was Mr. Forrest’s birthday, and the large crowd, chorus, and orchestra sang Happy Birthday to him.

After all this merriment, Maestro Griffith had the honor of conducting the North American premiere of One World . It is an hour-long, fourteen-movement work for orchestra, chorus, and three vocal soloists. Those soloists were soprano Penelope Shumate (another DCINY favorite), mezzo-soprano Claudia Chapa, and baritone Daniel Rich.

As the composer himself writes, “One World heralds a vision of a peaceful and egalitarian planet that treats nature and ecological issues with respect and where human rights are universal. Where truth is truth and news is never ‘fake‘, where leaders do not lie, transparency is a given and all faiths live together in peace. There is neither famine nor war.“ This ideal is quintessential Jenkins, complete with his signature use of diverse texts reflecting all faiths and touching on social issues, paired with his use of ethnic instruments and rhythmic motifs in a melodic and harmonic language that is unmistakably his own.

A detailed discussion of all fourteen movements would be beyond the scope of this review, but interested readers can reference the excellent notes written by Jenkins: Program Notes. Let’s focus on some highlights: 1.In the Beginning had a primordial quality that fit well musically depicting the act of Creation. 2. Let’s Go (Tower of Babel) had the chorus in a quasi-rap chant before the whole thing descended into bedlam, with the chorus pantomiming the chaos and confusion of the aftermath of not being able to understand each other any longer. 4. Ad Lucem (Towards Light) for solo violin and orchestra was as luminous as the title suggests with DCINY concertmaster Jorge Ávila as soloist. 8. Savitur (The Divine Sun, the ultimate light of wisdom) had an inexorable building of energy, with each iteration of the text becoming more insistent in its declaration.

As for the soloists, Penelope Shumate was heavenly in 13. Sakura, Spring Has Come (Cherry Blossoms in bloom represent a time of renewal). Claudia Chapa shone in 7. Tikkun Olam (Repair the World). Daniel Rich was a force of strength and regal dignity in 12. Bury Me in a Free Land, which also was the most powerful movement of the entire work.

The final movement, 14. The Golden Age Begins Anew, was not what one might have expected. Instead of optimistic bombast, it is a quiet, and thoughtful meditation, as if to say, “let’s get it right this time.” When it was over, Sir Karl again came to the stage to a standing ovation.

Maestro Griffith again was outstanding in his leadership. It would seem he is “dialed in” to Jenkins’s music in a way that sets him apart from others, not exactly a surprise considering the long relationship and collaboration DCINY has had with Jenkins. It was a winning performance of a monumental work. The chorus members, regardless of whatever path they take in the future, can say with pride, “we were a part of the North American premiere of a work by one of the most popular and frequently performed composers in the 21^st century, on one of the most famous concert stages in the world.”

Joel Raney, composer/conductor

Joseph M. Martin, composer/conductor

Jane Holstein, piano; David Angerman, piano

David John Hailey, Sue Martin, Sarah Whittemore, Scot Cameron, vocal soloists

Distinguished Concerts Orchestra

Distinguished Concerts Singers International

Stern Auditorium at Carnegie Hall., New York, NY

December 2, 2024

Distinguished Concerts International New York (DCINY) wrapped up their holiday concert series with a concert entitled A Winter’s Life, featuring the music of Joel Raney and Joseph M. Martin. Excitement was in the air as singers from Florida, Texas, Virginia, Ohio, Alabama, Illinois, Arizona, New York, South Carolina, Kentucky, California, Massachusetts, Mississippi, Tennessee, Indiana, Canada, and individual singers from around the globe took to the stage to remind all present of the real meaning of the season (and no, it is not Black Friday or Cyber Monday).

Joel Raney took the podium to conduct the Carnegie Hall premiere of Have You Heard?, a thirty-five minute, eight-movement piece that was the sole collection on the first half. This was Mr. Raney’s first DCINY appearance as a conductor. As Mr. Raney wrote in his program notes, Have You Heard? uses Celtic musical influences and weaves those sounds into “traditional” Christmas music, sort of “Bethlehem by way of Belfast.” I must admit I was initially skeptical of this concept, thinking it would be gimmicky at best. How wrong I was! It was done with great skill, and hearing Irish and Welsh folk melodies (e.g., Bunessan and Hyfrydol) as settings for the lyrics from more well-known songs was captivating. The melodies breathed fresh life into these lyrics.

To be sure, not all of Mr. Raney’s offerings this evening were re-inventions and reharmonizations, as there were plenty of the classics “left intact.” This listener’s favorite movements were the jaunty Come Messiah, Come Emmauel, with its exciting accelerando, the “re-mixed” O Little Town of Bethlehem as an ethereal evensong, and the “Irished-up” Come and Adore Him. Vocal soloist David John Hailey’s strong voice filled the hall with O Holy Night. A jubilant Wexford Carol ended the work in style, with Mr. Raney receiving a richly deserved ovation. Praise is also due to the large chorus for their excellent preparation and performance, and the ever-reliable Distinguished Concerts Orchestra once again shone brightly.

After Intermission, Joseph M. Martin took the podium to conduct the Carnegie Hall premiere of his composition A Weary World Rejoices (orchestrated by Ed Hogan). Mr. Martin is a DCINY favorite – this is his 13^th appearance with DCINY. A Weary World Rejoices is a forty-minute, nine-movement work that is vintage Martin, brimming with excitement and energy. Mr. Martin radiates pure joy on the podium, which is reflected back to him by both the chorus and orchestra. I find the title to be something of a misnomer, as there was no sign of “weariness”  detected by this listener. In fact,  it was so relentlessly joyous that if it had been for any other occasion other than Christmas I would have despaired for some tension. Even as it was, I was hoping for some more differentiation of mood, but Mr. Martin poured his considerable talents for vibrant musical celebration into this work. Favorite movements were Redeem, Restore, Renew, with vocal soloists Sarah Whittemore and Scot Cameron weaving magic with their pristine voices, the uplifting Arise! Rejoice!, and Beautiful Star, with the angelic voice of Sue Martin soaring into the heavens. Let’s also remember the chorus, whose mammoth numbers could have filled a stadium with the sounds of unabashed joy. After the final movement, Cantique de Noël (O Holy Night), the audience gave Mr. Martin and the assembled forces a loud and extended standing ovation. Happy Holidays and congratulations to all.

Eric Whitacre, composer/conductor

Kelly Yu-Chien Lin, piano

Laurence Servaes, “Della;” David Castillo, “Jim”;  Sean Jean Ford. “Sheila;” April Amante, “Mrs. Sinclair”; Peter Kendall Clark. “Shopkeeper”

Distinguished Concerts Singers International; Distinguished Concerts Orchestra

Stern Auditorium at Carnegie Hall, New York, NY

November 26, 2024

Distinguished Concerts International New York (DCINY) kicked off their holiday concert series on November 26, 2024, with a concert entitled “An Eric Whitacre Holiday,” featuring the world premiere of the orchestrated version of Mr. Whitacre’s short opera The Gift of the Magi. Other works by Mr. Whitacre and holiday pieces by others filled out the program. The Distinguished Concerts Singers International came from Maryland, Ohio, Wisconsin, Georgia, Nevada, Alabama, Washington, North Carolina, Michigan, Colorado, California, Canada, United Kingdom, and “individual singers from around the globe.”

Eric Whitacre is a DCINY favorite – this is his 22^nd(!) appearance with DCINY. He is a composer, educator, and musical evangelist who brings his boundless energy and matchless charisma to the stage. He tells stories that he has probably told hundreds of times (and I have heard the “Kung Fu Panda” story at least six times) as if he were telling it for the first time.

As much as the chorus benefited from Mr. Whitacre’s guidance in refining them into giving outstanding performances, it should be said that the respective directors of the individual groups deserve praise for their preparatory work which made Mr. Whitacre’s job significantly easier. This was evident from the Carol of the Bells, which opened the first half with energy and precision.

Mr. Whitacre’s Lux Aurumque, Glow, little tree, and The Seal Lullaby (see “Kung Fu Panda” story) from the first half and Goodnight Moon (which opened the second half) are all works I have written about extensively in past reviews. Interested readers can reference those past reviews if they desire detailed information about the works. Suffice it to say, they all, even after many hearings, retain their luster and appeal.

Rounding out the first half,  Kristina Arakelyan’s Ave Maris Stella had a simple charm that enchanted. Melissa Dunphy’s Halcyon Days had a sentimental quality that was touching, even though the sopranos at times seemed to struggle with some of the higher register passages. Mr. Whitacre told us in the second half that he learned Ms. Dunphy was in attendance and asked her to stand, which she did to enthusiastic applause from the audience. The traditional hymn Brightest and Best had an insistent intensity that was striking. Finally, John Williams’s Star of Bethlehem (from his score for the movie Home Alone) was an excellent end to the first half.

After intermission (and Goodnight Moon, which opened the second half) , the stage was set for the world premiere of the orchestrated version of Mr. Whitacre’s (with Evan L. Synder) The Gift of the Magi. Mr. Whitacre wrote the libretto based on the 1905 O. Henry short story of the same name. For those who may not be familiar with this classic story, it centers on a young couple, Della and Jim, struggling to make ends meet. They search for Christmas gifts for each other, and the result is that Jim parts with his valuable heirloom watch to buy Della combs, and Della sells her long hair to buy Jim a watch chain – both gifts rendered nearly useless. The end message is that selfless love is the most precious gift of all. Mr. Whitacre’s version differs from the original in a few areas: he has the year as 1938, with Della having a job in a salon (she had no job in the original), her hair is blonde in this setting (it is brown in the original), the watch chain is gold (platinum in the original), and the haggling for the sale of Della’s hair in the salon is Mr. Whitacre’s invention (in the original, Della visits the nearby shop of a wig maker, Madame Sofronie, who buys Della’s hair for $20 straight away without any further negotiation). For those not too purist about the 1905 original, these changes emerge as quite effective in propelling the opera.

The Gift of the Magi clocks in around thirty-five minutes. The addition of the orchestra adds considerable heft, accentuating the hustle and bustle of the season, and turns the salon screen into a showstopping burlesque fit for a Broadway musical. My main issue was that everything seemed so rushed, that maybe some brief interludes of instrumental music might have “smoothed” the pace. That being said, this is an adventurous work, filled with difficult passages and large leaps for the soprano (Della), biting dissonances, and at times relentless drive – this is not the Eric Whitacre of Lux Aurumque! It is a work that could (and should) find its place in the holiday canon, assuming that one can find performers of exceptional ability to meet the challenges.

The entire cast from an earlier (2022) performance returned tonight. Peter Kendall Clark had the right amount of obsequiousness as the Shopkeeper trying to sell Della a watch chain. April Amante captured the snobbish attitude of the haughty Mrs. Sinclair, and Sara Jean Ford nearly brought the house down as the jaded Sheila. David Castillo as Jim projected his struggles and his devotion to Della with polished tones. Without wishing to take anything away from these fine artists, it was Laurence Servaes as Della who was the star of the evening – and to be sure, a lot of that is built into both the story and the challenging part Mr. Whitacre wrote for the role of Della! Whether it was tossing off wide leaps with ease, soaring into the stratosphere without any loss of vocal quality, or just projecting the almost ingénue quality of Della, Ms. Servaes was truly outstanding. Finally, the mighty chorus served well in the role of narrator.

The large audience gave all a loud ovation, with the loudest cheers for Ms. Servaes. DCINY continues the holiday series on December 1^st with Handel’s Messiah, in Mozart’s version.

Qianwen Shen, Violin; Bihan Li, Violin; Alexandrina Boyanova, Viola; Valeriya Sholokhova, Cello; Juan Esteban Martinez, Clarinet; Guilherme Andreas, Flute; Fangtao Jiang, Soprano; Jiahao Han, Piano

Weill Hall at Carnegie Hall, New York, NY

October 7, 2024

Meng Wang Music presented a concert benefiting the Hole in the Wall Gang Camp at Weill Hall on Monday evening. Featuring the works (all world premieres) of seven young composers (aged thirteen to seventeen) who are part of the Meng Wang music program, it was a showcase of emerging talents for a worthy cause.

Meng Wang Music is a New York-based institute founded by composer Meng Wang. The institute offers young composers (Grades 3-12) instruction, intensive training, performance opportunities, and publishing and distribution. The Hole in the Wall Gang Camp was founded by legendary actor and philanthropist Paul Newman in 1988. It is a nonprofit 501(c)(3) organization, residential summer camp, and year-round center serving children and their families coping with chronic illnesses such as cancer, sickle cell disease and many others.

One could not help but be impressed by the keepsake program, with portraits of the seven young composers on the cover and the extensive biographical information, not only of the composers, but all of the musicians as well. There were also thoughtful program notes for each work, which I am assuming were written by the composers for their respective works.

Let me stipulate before going on that these youngsters are all remarkably gifted, and their promise for the future is something that can and should be looked forward to with great anticipation. They are finding their voices, and it is not a shock that one can hear the influences of the “greats” (i.e., Haydn, Beethoven, and Shostakovich), and the at times almost formulaic development arcs. This is not meant to be a criticism, as the skill exhibited in getting even to that level is something many much older composers have struggled with – and with arguably less success. It was also notable that the line-up of musicians was made up of highly experienced players with impressive credentials, who deserve praise for their committed performances. Composers of any age would have been delighted to have these musicians play their works. I will list the names of the performers: Qianwen Shen, violin; Bihan Li, violin; Alexandrina Boyanova, viola; Valeriya Sholokhova, cello; Juan Esteban Martinez, clarinet; Guilherme Andreas, flute; Fangtao Jiang, soprano; and Jiahao Han, piano.

Now that the background information has been covered, it is time to talk about the compositions. The Art of Dunhuang by Chungyiu Mark Ma (b. 2008) opened the concert. It is a three-movement piece (1: Sanctum, 2: Echoes in Motion, 3: Eternal Wisdom) for solo clarinet and bass clarinet (the second and third movements are for the bass clarinet). It was probably the most “modern” work on the program. With the idiomatic exploration of the instrument’s possibilities (especially the bass clarinet), and the use of extended techniques, it reminded this listener of Edison Denisov’s works for clarinet.

Chronicle of Emergence, for solo piano, by Ella Bao (b. 2010) was up next. This two-movement work (1: Yin yang, 2: Awakening Gallop) features highly interesting harmonic language that danced on the edge of tonality without ever crossing into atonality. The second movement, Awakening Gallop, at times flirted with sarcasm, but never went completely in that direction.

Tiffany Qianzun Zhao (b. 2008) had two works on the program, Late June, for flute and piano, and Swaying Hope, for piano quintet, clarinet, flute, and soprano, which closed the program. Her style is unabashedly tonal, and she writes with an expansive sense of beauty and color. It is refreshing to hear a young person wholeheartedly embrace what some would call “reactionary” writing, and I hope she stays on this path. There is enough strife in our world as Ms. Zhao writes – she wants to be a voice for a peaceful and beautiful world. Late June has a sweet, pastoral quality. Swaying Hope takes inspiration from Bob Dylan. It was a highly poignant work, with not only lush sounds, but also tinged with nostalgic lament.

After intermission, Wanderer, for clarinet, violin, cello, and piano, by Athena Zhang (b. 2007) opened the second half. It is an aptly named piece, with a quasi-improvisational feel, with the interplay and “passing” of melodic ideas around between the instruments. The piano writing was highly reminiscent of Bill Evans (who I greatly admire).

The next three works were all for string quartet. The first was Where the Shadow Falls, by William T. Wang (b.2011) . Mr. Wang’s composition is a throwback to an earlier time; it was if one stepped back into the 19^th century. I am reluctant to use the word prodigy, as that term has been overused to the point of stripping it of its true meaning, but one could make a case for Mr. Wang. Such fluid and assured writing , stylistically and harmonically, for a thirteen-year-old is truly astounding. My only reservation is that it seems very much “in the style of “ writing. I’m sure he will find his own voice, and the sky’s the limit.

Jixiu Josh Shi (b. 2007) offered Nature’s Suite in three movements ( 1: Water, 2: Trees, 3: Birds). Water was lyrical and flowing. Trees was a little diffuse in style, sometimes hinting at the 20th century and then back to the 19^th. Birds was clever, and one could easily hear the bird calls in it.

Reverie of Meadows, by Frederick Yip (b. 2007) was the final string quartet of the evening. Mr. Yip has developed a more distinct voice than most young composers – at least any influences were not overt. His writing is teeming with ideas, and he has a good grip on the interplay of the string quartet. He might have too many ideas, and some “tightening” would enhance his work.

At the end, all the composers (with the exception of Frederick Yip, who was not in attendance) joined all the performers and Meng Wang for a final bow. I look forward to following the progress of these young composers. Congratulations to all.

Long Island Concert Orchestra (LICO)

Enrico Fagone, conductor

Alessandro Mazzamuto, piano

DiMenna Center for Classical Music, New York, NY

August 27, 2024

The Long Island Concert Orchestra (LICO), led by conductor Enrico Fagone, presented an All-Rachmaninoff program at the Dimenna Center for Classical Music this past Tuesday evening, with featured works being the Piano Concertos No. 2 and 3, and the 1887 Scherzo in D minor thrown in as an orchestral opener. Alessandro Mazzamuto was the piano soloist for both concerti.

Last year was the 150^th anniversary of Rachmaninoff’s birth, and there was a plethora of concerts dedicated to his music. Possibly the most notable (or notorious depending on your viewpoint) was Yuja Wang playing the four concerti and the Rhapsody on a Theme of Paganini with the Philadelphia Orchestra (Rachmaninoff’s favorite) in a single evening. This feat may be what has inspired numerous others to offer multiple Rachmaninoff concerti in a single evening (as Rachmaninoff himself did in 1939 in the famous “Rachmaninoff Cycle” concerts with Eugene Ormandy and the Philadelphia Orchestra), but this listener is of the opinion that does not always serve these works to maximum advantage.

LICO Composer-in-residence David Winkler offered his customary greeting to the audience at the beginning of the evening. Though he usually talks a bit about the works, a form of spoken program notes (with none printed), on this occasion he chose not to do so. I assume that he felt that the works are so well known that there is no real need to say anything. While one might say that regarding the concerti (though I would disagree), the Scherzo in D minor is virtually unknown, so it would have prepared listeners to have some background. First of all, it is Rachmaninoff’s earliest surviving composition for orchestra, composed when he was only fourteen (dedicated to his cousin Alexander Siloti and intended to be part of a larger work because it is headed “Third movement”), and it was first performed and published only after Rachmaninoff’s death. The model for the work is clearly the Scherzo from Felix Mendelssohn’s incidental music for Shakespeare’s A Midsummer Night’s Dream, and it is so overtly “Mendelssohn” that one would never guess “Rachmaninoff” if asked to name the composer. Though this short work (about five minutes) may be valued more historically than musically, Maestro Fagone and LICO played it with gusto.

Alessandro Mazzamutto took the stage for the Piano Concerto No. 2 in C minor, Op. 18. The first thing that I noticed was music was being used with an iPad. While this seems to be a trend in recent times, one could not help thinking that this seemed a sign of incomplete preparation with such standard repertoire. Commitment to memory in such mainstream works is part of the internalizing process, which audiences can feel. Was the music there because of the difficulty of having to commit to memory two concerti to play in a single evening? Was it there from habit in preparation for recording sessions, which we learn are imminent? Only Mr. Mazzamutto would know the answer. He also continually picked up his handkerchief/cloth and would wipe the keyboard and dab at the keys, often doing so until moments before he was to play. I’m not sure if this was a nervous habit, but it was excessive to the point of distraction.

This listener has some strong opinions about this work, but nonetheless has enjoyed many performances that differed significantly. Performers need to exercise license in interpretation, which is what makes music interesting; there were, however, problems in this performance that cannot be attributed to license. There was excessive rubato (especially the E-flat theme in the 1^st movement), clipping of phrases (especially at the top), labored passagework (entrance at the beginning of the 3^rd movement), missed opportunity to build drama (the ending of the cadenza in the 3^rd movement bordered on helter-skelter), and not enough projection in general.

When Mr. Mazzamutto did not take excessive liberties with the tempi, he demonstrated real artistry in some of the lovely themes that abound in this concerto. The 2^nd movement was especially well done. He brings an indisputable passion to the keyboard, but that same passion might be getting in the way of what he is trying to project. Whatever concerns this listener had, the audience gave Mr. Mazzamutto an immediate and animated standing ovation.

After intermission, Mr. Mazzamutto returned to play the Piano Concerto No.3 in D minor, Op. 30 (again with the score being used). What was immediately apparent was that his playing and conception were much more assured than they were in the 2^nd. Was this because he has had a longer relationship with the 3^rd, or was it because he dedicated more time to it in preparation? I suspect it was a combination of the two.

The projection issues, however, continued. Perhaps the Fazioli piano was a source of this problem, as it seemed that Mr. Mazzamutto was fighting the instrument. His choice of the ossia cadenza in the first movement suffered from this projection issue, and that struggle both lessened the grandeur and rendered it a bit blurry.  He did project a much better sense of drama, though, and a better building of the same than in the 2^nd. The lead-in to the third movement attacca was good, and he maintained that momentum throughout the third movement, building the excitement with confidence and skill. He thundered through the octaves that end this piece, finishing in triumph. The audience immediately leapt to their feet and gave him an even more enthusiastic ovation than they did for the 2^nd.

Some words about the conductor and orchestra are in order here. Maestro Fagone is an excellent communicator and collaborator with whom any soloist would be happy to perform. He expertly adjusted to the occasional unpredictability of the soloist and kept the orchestra in control. To be sure, there were some minor ensemble issues with the soloist, but these were correctly so quickly as to be almost unnoticeable. The playing of LICO was outstanding all evening. So many times a soloist is hitched to a less-than-stellar orchestra, and it mars everything, but LICO brought their “A-game” to these works. It was striking and made quite an impression on this listener.

As a general observation, I would be interested in hearing Mr. Mazzamutto play some less dense works that would fully take advantage of his passion and artistry.

After all this, as an encore, the 18^th variation from the Rhapsody on a Theme of Paganini was played for the appreciative audience. A visibly moved Mr. Mazzamutto embraced the concertmaster, calling out to the audience “He is my brother!.” Maestro Fagone and Mr. Mazzamutto will be recording these concerti on September 3^rd – I wish them good luck and all success.

The Chelsea Symphony

Oscar Thorp, Mark Seto, Matthew Aubin, conductors

Eric Schultz, clarinet

DiMenna Center for Classical Music, New York, NY

June 15, 2024

On June 15, 2024, The Chelsea Symphony presented their closing concert of their 2023-2024 season in a program entitled Rhythm and Colors at the DiMenna Center for Classical Music.

The printed program included a QR code for program notes, which is becoming the standard as of late. While one appreciates the great depth that is available to the reader through this method, the gremlins of technology can wreak havoc on these good intentions – such as the inability to open said notes in a basement level venue, as happened to me (Pro tip: Wi-Fi password, please!). Fortunately for me, only one of the three works on the program was new to me. The reader can access the notes by clicking the following link: Program notes

Conductor Oscar Thorp took the podium to conduct the opening work, Kauyumari, by Gabriela Ortiz (b. 1964). Ms. Ortiz writes in her notes,“Among the Huichol people of Mexico, Kauyumari means ‘blue deer.’ The blue deer represents a spiritual guide, one that is transformed through an extended pilgrimage into a hallucinogenic cactus called peyote.” Ms. Ortiz elaborated on a Huichol melody that she had used for the final movement of her piece, Altar de Muertos (Altar of the Dead), commissioned by the Kronos String Quartet in 1997. I would describe Kauyumari as a cross between Silvestre Revueltas’s Sensemaya and José Pablo Moncayo’s Huapango (two works I rather like) – less sinister than Sensemaya, but also less exuberant than Huapango. It is an effective, colorful work, and the Chelsea Symphony offered a spirited reading.

Conductor Mark Seto and clarinet soloist Eric Schultz took the stage for the next work, the Concerto for Clarinet and Orchestra, by John Corigliano (b. 1938). Mr. Schultz is a Buffet Crampon artist, and has been nominated for a Grammy Music Educator of the Year award (2024), plus having a plethora of accolades too numerous to list (access the above link to learn more). He lists his performance as part of New York City Pride (for Pride month), and The [Represent]atoire Project, an organization he founded focusing on inclusion. He also was coached by John Corigliano for this performance.

Some basic background information: The work was commissioned by the New York Philharmonic for the clarinetist Stanley Drucker. It was first performed in New York City on December 6, 1977, by Drucker and the New York Philharmonic, conducted by Leonard Bernstein. The composition is dedicated to Drucker and Bernstein. The first movement, Cadenzas, consists of two cadenzas separated by an interlude, the first subtitled Ignis fatuus (Will-o’-the-wisp) and the second, Corona solis (crown of the sun). The second movement, Elegy, was composed in memory of Corigliano’s father John Corigliano Sr., a former concertmaster of the New York Philharmonic, who died in 1975. The third movement, Antiphonal Toccata, was composed as Corigliano’s “solution to the balance problems created by using the full orchestra in a wind concerto;” this movement features a number of antiphonal performers and quotes the Italian composer Giovanni Gabrieli’s 1597 composition Sonata pian’ e forte.

Mr. Corigliano was in attendance and was invited to the stage to speak about his work prior to the performance. What a treat it was for all to have this living legend impart his wisdom with such clarity and detail. I am not going to repeat all he said, but one can read the program notes (written by Mr. Corigliano), which cover everything he said, but in even greater detail.

This concerto is not for the faint of heart. I believe one commentator called it “fiendishly difficult,” which is almost a laughable understatement. I took a look at the solo part and my first impression was, “This is impossible!” Of course, it’s not impossible, but to pull it off, some super-virtuosity is a must. Mr. Schultz asserted his ability in no uncertain terms. His rapid passage work was articulated with clarity and wide leaps were negotiated at high speed without any loss of tonal clearness. He displayed mastery of extended techniques and a rich, singing tone in all registers and dynamic levels, including the extreme high register. I have often heard even excellent clarinetists struggle with a stridency of tone and loss of intonation in the extreme high register (“squeaking”). Not so with Mr. Schultz. He is a force!

Highights abound, but I am going to focus on my favorites. The brilliant Cadenzas wereplayed by Mr. Schultz with quicksilver artistry. Elegy, with the dialogue between the solo clarinet and the concertmaster was heartbreakingly poignant, leaving a feeling of desolation that lingered without any healing resolution. The finale, Antiphonal Toccata, was an adrenaline rush, bursting with drama and relentless momentum. Mr. Schultz more than held his own against the orchestra.

Let’s give Maestro Seto and the Chelsea Sypmphony their due. The orchestra part is almost as challenging as the solo part, and they pulled it off with great ability. Just dealing with the antiphonal aspect in conjunction with the orchestra while keeping with the soloist is admirable. Mr. Corigliano gave Mr. Schultz a warm embrace in appreciation for his stunning performance. It is curious that the audience did not take this very clear sign to give Mr. Schultz the ovation he so richly deserved. To be sure, there were those who “got it,” but I am going to assume the rest were so bowled over as to not know what to do. Bravo, Mr. Schultz, Bravo!

After intermission, Matthew Aubin took the podium to conduct Leonard Bernstein’s Symphonic Dances from West Side Story. Bernstein extracted and reorchestrated nine selections from the musical into the Symphonic Dances. Maestro Aubin thanked all for coming this evening, and stated it was an honor to conduct the Symphonic Dances in the presence of Mr. Corigliano, who personally knew Leonard Bernstein. Everything about West Side Story is so well known that there is no need to spend any time on anything other than the performance itself (for those recent arrivals to our planet, I will point you in the direction of the program notes to learn all you wish to know). How was the performance? Other than some unfortunate cracked notes in Somewhere, it was very good! I am always delighted when the players let loose in the Mambo, and whip it into a frenzy, but also when the delicate lightness of the less flamboyant moments is given the appropriate tenderness – and it was. It was an enjoyable finish to the night.

Lone Star Youth Winds

Andrew Trachsel, conductor

Stern Auditorium at Carnegie Hall, New York, NY

June 13, 2024

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Holly Sedillos, soprano; Jimmer Bolden, tenor

Distinguished Concerts Orchestra; Distinguished Concerts Singers International

Stern Auditorium at Carnegie Hall, New York, NY

June 9, 2024

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

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

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

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

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

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

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

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

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

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

Knox Peters, visuals

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

Holy Trinity Lutheran Church, New York, NY

June 8, 2024

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

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

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

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

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

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

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

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

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

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