Jeffrey Williams | New York Concert Review, Inc.

Bachanalia Chamber Orchestra in Review

Michael Avagliano, conductor; Emil Chudnovsky, violin soloist; Julia Zilberquit, piano soloist

Merkin Hall, Kaufman Center, New York, NY

March 7, 2020

A concert advertised as an “All J.S. Bach Program” was presented at Merkin Hall, March 7, 2020, by The Bachanalia Chamber Orchestra, marking the revival of the Bachanalia Concert Series that noted violinist Nina Beilina founded in 1988. This concert was organized in her memory by her son, violinist Emil Chudnovsky, who was host, teacher, storyteller, performer, and at all times loving son as he spoke of his mother. The full hall was witness to an evening full of emotion, along with some exquisite music making.

Scheduled soloist violinist Michael Guttman cancelled due to illness, so the originally programmed Concerto for Two Violins in D minor, BWV 1043, was replaced with the Violin Concerto in E major, BWV 1042. In addition, Michael Avagliano offered his talents as conductor. Regrettably, there was no list of the names of orchestra members in the program.

The Brandenburg Concerto No. 3, BWV 1048, opened the concert. The bold, assertive playing, combined with the impeccable articulation, precise intonation, and ensemble balance, made this listener sit up and take notice immediately. One can’t hide behind a large section in such a small ensemble – any weak players are immediately exposed. Rest assured, there are no weak players in this ensemble (and this listener was seated so close to the stage as to be able to focus on any number of individual players).

The second movement Adagio consists of a single notated measure of a Phrygian half-cadence, which invites improvisation (by harpsichord or violin), and in this case it was harpsichord. The (uncredited!) harpsichordist offered an elaborate and virtuosic cadenza, after which the orchestra launched the Allegro assai finale. The ensemble played with great brio. The audience was a bit late in reacting, as it seems that perhaps the 2nd movement confused some regarding the order of movements, but they applauded respectfully. If anything, this audience seemed a bit too restrained in their responses to these fine musicians, who deserved resounding ovations!

Mendelssohn’s Capriccio from Four Pieces for String Quartet, Op. 81, followed the Brandenburg. Wait, didn’t the publicity say “All J.S. Bach”? Mr. Chudnovsky explained to the audience about Mendelssohn’s leading role in the Bach revival, particularly the 1839 revival of St. Matthew Passion. The Capriccio prominently features a fugue. When one thinks of fugues, the name J.S. Bach is the gold standard and the undisputed master of the form. The programming of the Capriccio is what is nowadays would be called a “hat tip” to Bach. It was played with polish.

After the stage was rearranged and a piano moved to the center, Julia Zilberquit took the stage as the soloist for the Piano Concerto in D minor, BWV 1062, Michael Avagliano conducting. Your reviewer has had the pleasure of hearing Ms. Zilberquit in a past concert (Long Island Orchestra with Julia Zilberquit), so I was well aware of her qualities, both technically and artistically. I admired her approach to this work; it was free of the extravagances and eccentricities that beset too many performances. The outer movements were child’s play in her hands, but her artistry in the central Adagio was what won me over completely. It was moving without any “romanticizing,” just pure beautiful Bach. Ms. Zilberquit offered the Vivaldi-Bach Sicilienne, BWV 596, as an encore. Let’s not forget the orchestra and Mr. Avagliano – they were every bit as compelling as Ms. Zilberquit.

After intermission, the second half opened with the Violin Concerto in E major, BWV 1042, with Mr. Chudnovsky as soloist. Perhaps due to the short notice (Mr. Guttman cancelled five days before the concert), Mr. Chudnovsky used the music. As far as I could see, he never really looked at the music a single time (although Mr. Avagliano made a deft page turn for Mr. Chudovsky as he conducted!). Whatever the case was, Mr. Chudnovsky showed no signs of rushed preparation. He played with the confidence of one who knows he has everything under control. His tone was full-bodied, his intonation impeccable, and his ensemble with the orchestra superb. It was truly impressive.

The story behind the last work on the program, the Bach-Busoni Chaconne from Violin Partita No.2, BWV 1004, is too good not to relate (which I will do very briefly). Charles Jaffe arranged the Busoni arrangement of Bach’s monumental violin Chaconne to be played as a string quartet, then later arranged it further for string orchestra at the behest of Eugene Ormandy. When Jaffe left the Philadelphia Orchestra in 1945 to join Toscanini’s NBC Orchestra, Ormandy angrily cancelled the premiere. Fast-forwarding sixty-two years (2007) Michael Avagliano was asked to play violin at a 90th birthday party for a gentleman who “loves violin music.” That 90-year-old turned out to be…Charles Jaffe! Jaffe told Mr. Avagliano about his string quartet arrangement and gave him the music, with an additional fifth part for bass. Fast forwarding another eleven years (2018), Mr. Avagliano pulled the music out to prepare for performance, and this evening’s performance was scheduled – so, after seventy-five years, we heard the world premiere of the Bach-Busoni -Jaffe Chaconne! It was the highlight of the evening; effective, powerful, and maintaining all the grandeur of Busoni’s arrangement. Bravo!

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

Alexei Tartakovsky in Review

Alexei Tartakovsky, piano

Baisley Powell Elebash Recital Hall, The Graduate Center, CUNY, New York, NY

February 24, 2020

Pianist Alexei Tartakovsky appeared at Baisley Powell Elebash Recital Hall at the CUNY Graduate Center as part of the Ph.D/D.M.A. Programs in Music on February 24, 2020. He is currently pursuing his doctorate with Richard Goode at CUNY Graduate Center, where he was awarded the Graduate Center Fellowship.

Mr. Tartakovsky has an impressive list of accomplishments that the reader can learn more about by visiting https://www.atartakovsky.com/. His program was all twenty-four of Chopin’s Op. 28 Preludes, Einojuhani Rautavaara’s Passionale, and Schubert’s Sonata in B-flat major, D. 960.

The first half consisted of the Chopin. These Preludes have loomed large in this reviewer’s personal and professional life, and consequently, some rather strong opinions have developed about how these pieces should be played. (The reader might already be thinking that my objectivity is compromised, but rest assured I do not claim to own the truth, only my truth.)

Mr. Tartakovsky’s excellent program notes about the Preludes quote Schumann (some rather backhanded compliments), and Liszt (more generous praise). I would like to add two more. Musicologist Henry Finck said that, “if all piano music in the world were to be destroyed, excepting one collection, my vote should be cast for Chopin’s Preludes.” Chopin biographer Jeremy Nicholas writes that, “Even on their own, the 24 Preludes would have ensured Chopin’s claim to immortality.”

With all that being said, let’s get to it. Mr. Tartakovsky’s conception of the preludes is to treat the set as a single work with (as he states in his notes) “a clear beginning, middle, and end.” I am in general agreement with this concept, even if there is dispute over whether this was Chopin’s actual intent. It is a thoughtful, intelligent approach, and given Mr. Tartakovsky’s consistency in overall style, it also was compelling. That style was one of avoidance of any overt emotion or any exaggerated romanticism, basically “playing it straight.” For this listener, it struck me as overly cautious. It is certainly not a question a technique, as Mr. Tartakovsky has more than enough firepower to handle these works, and his accuracy was outstanding. I’m not wanting hyper-exaggerated emoting, but a little more exploration of emotional depth in a few preludes (notably the E minor, the F# major, and the A-flat major). To be fair, the G major and C# minor were exquisitely done, the D-flat major “Raindrop” had a surprising freshness of quality for such a well-known work, and the B-flat minor (which has caused innumerable pianists to crash and burn as they flew off the rails catastrophically) was lightning fast with each note clearly articulated – truly exceptional. Honorable mentions go to the E-flat major (another ferociously difficult prelude that has snuffed out the dreams of many a pianist), and the final Prelude in D minor. After the last of the three hammer blows on the low D, the audience gave Mr. Tartakovsky a standing ovation.

After intermission, Mr. Tartakovsky opened with Passionale, written in 2003 by Finnish composer Einojuhani Rautavaara. This listener is an admirer of Rautavaara’s works, so it was a wonderful bonus to hear this piece. Rautavaara is “modern” (for lack of a better term) in his harmonic language, but always remains highly accessible to the listener. Passionale is the modern Chopin or Liszt in its romantic conception, but the sound is unmistakably Rautavaara. Mr. Tartakovsky really let loose and “went for it” in a fantastic performance. It was easily the favorite of the night for this listener.

After the Passionale, Mr. Tartakovsky returned to the thoughtful, intellectual side with Schubert’s Sonata in B-flat major, D. 960. Written in the last year of Schubert’s life (1828), it was not published until ten years after the composer’s death. Mr. Tartakovsky writes in his notes that “one can’t help but feel that this sonata is Schubert’s epitaph to himself,” which is not altogether without reason. Thematic material and ideas from previous works abound throughout. Mr. Tartakovsky’s artistry was on full display here. The long lines and autumnal qualities that are much more difficult to render effectively than many realize were done with a natural, organic quality. It’s another thing to keep the listener involved in this very long sonata, but the audience was held in rapt attention, which is no mean feat. I have observed much restlessness from listeners in other performances (by “big name” artists), and that was not the case here. Mr. Tartakovsky can be proud of his superb playing. The audience rewarded him with a loud and extended standing ovation.

Mr. Tartakovsky offered two encores, Schubert’s Liebesbotschaft arranged by Liszt and Chopin’s Waltz in A-flat major, Op. 34. No.1, both played with graceful elegance.

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

Alexander and Buono Competitions presents Kara Mulder in Review

Kara Mulder, soprano

Anna Shelest, piano

Weill Recital Hall at Carnegie Hall, New York, NY

February 23, 2020

On the afternoon of February 23, 2020, soprano Kara Mulder gave her solo debut at Carnegie Hall as the Alexander and Buono Competitions’ 2019 Grand Prize Winner. She presented a program with songs from Richard Strauss, Debussy, Rachmaninoff, Weill, and Gershwin, and Puccini arias from La Bohème and Madama Butterfly. Pianist Anna Shelest (a past A&B prize winner) was Ms. Mulder’s excellent collaborator.

Barry Alexander and Cosmo Buono welcomed the audience to the concert. Mr. Alexander spoke of the mission of Alexander and Buono (alexanderbuono.com) and served as a musical docent. He spoke of the composers, the works, and shared anecdotes from the stage, expressing his unabashed admiration for Ms. Mulder and Ms. Shelest. Mr. Alexander is a gifted speaker with a definite dramatic flair. While this listener would have preferred to read notes rather than to hear them, it was very well received by the audience and did add context to the excellent performances. The program booklet was of keepsake quality, in sharp contrast to the missing programs and cheaply produced photocopies that are all too frequent these days. It speaks of a first-class organization that is committed to excellence in not only musical content, but in the marketing and presentation as well.

This reviewer has had the pleasure of hearing both Ms. Mulder and Ms. Shelest last year. Interested readers can read that review by clicking the following link: Winners of the Barry Alexander International Vocal Competition.

At the risk of repeating myself, Ms. Mulder is outstanding not only in her singing, but in her exceptional dramatic skill. I’m fairly certain that she has invested much thought into her acting, but it all appears completely spontaneous, which is quite remarkable. There are many fine singers who are, to be frank, rather poor at projecting any natural movements or expressions. Some might find my admiration out of place for the non-musical aspect, but it is all part and parcel of the performance.

I’m not going to discuss all twenty-three (!) songs/arias that Ms. Mulder presented. Rather, I’m going to consider them as sets by the individual composers and rank them, in reverse order of my preferences. Please note this is not to say that I disliked or had major issues with any of the selections.

For those who must know the entire program: Richard Strauss- Zueignung, Op 10, No.1; Allerseelen Op. 10, No. 8; Ständchen, Op.17, No.2; Cäcilie” Op. 27 No. 2; Morgen!, Op 27, No. 4

Claude Debussy- Ariettes oubliées 1.”Le vent dans la plaine suspend son haleine”: C’est l’extase langoureuse; 2.”Il pleut doucement sur la ville”: Il pleure dans mon cœur comme il pleut sur la ville; 3.”Le rossignol qui, du haut d’une branche”: L’ombre des arbres dans la rivière embrumée; 4.Paysages belges. Chevaux de bois”: Tournez, tournez, bons chevaux de bois; 5.”Aquarelles I. Green”: Voici des fruits, des fleurs, des feuilles; 6.”Aquarelles II. Spleen”: Les roses étaient toutes rouges

Sergei Rachmaninoff, Six Songs, Op. 38 -1.In my Garden at Night ; 2.To Her; 3.Daisies; 4.The Pied Piper; 5. A Dream; 6. A-oo!”

Kurt Weill Foolish Heart; George Gershwin Maybe; S’wonderful

Giacomo Puccini- “Si, mi chiamano Mimi,” “Donde lieta usci,” from La bohème; “Un bel di vedremo,” from Madama Butterfly

Ms. Shelest offered three pieces from Cécile Chaminade to start the second half. They were the Air de Ballet in B-flat major, Op. 37, and the Automne and Scherzo from the Concert Etudes, Op. 36. Ms. Shelest is known for her advocacy of female composers, and her commitment was front and center in as she wowed the audience in her passionate performance. As Mr. Alexander said to the audience after they gave Ms. Shelest a standing ovation, “I told you so!” Yes, sir, you certainly did!

Now, on to the vocal selections. The Weill/Gershwin songs highlighted Ms. Mulder’s versatility in lighter fare, which she did with style. The Puccini arias were full of both innocence and heartbreak, as they should be. They are mandatory for any soprano, and Ms. Mulder presented her bona fides with polish. The Strauss songs are filled with challenges that push even the most technically assured singer to the limit. One hearing these songs for the first time would not have had a clue about that, as Ms. Mulder made such short work of them. They were breathtaking. The Debussy songs were exquisite as well, as Ms. Mulder is a colorist who captures their sensuousness without drenching it in perfume.

It was the Rachmaninoff songs, though, that were this listener’s favorites. While Ms. Mulder excels in all she sings, it seems she has a special affinity for the Slavic (see the earlier review for another instance of this). While Rachmaninoff’s genius for song is indisputable, it still requires a gifted artist to bring that genius out to its fullest. Ms. Mulder is that artist. This listener’s favorite of this set was the one that, for Rachmaninoff, was unusually playful and whimsical, The Pied Piper. Ms. Mulder projected a cocky swagger, complete with a wink at the end, which was delightfully irreverent. One could not help but smile!

The large audience rewarded Ms. Mulder and Ms. Shelest with a standing ovation, completed with admiring fans presenting them with flowers. The sky is the limit for Ms. Mulder, and with the support of Alexander and Buono she has every chance of realizing her dreams.

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

Distinguished Concerts International New York (DCINY) presents Who Are The Brave in Review

Distinguished Concerts Orchestra; Distinguished Concerts Singers

Joseph M. Martin, composer/conductor; Mack Wilberg, composer/conductor

Robert Istad, Christopher W. Peterson, guest conductors

Sasha Grossman, boy soprano solo

Stern Auditorium at Carnegie Hall at New York, NY

February 17, 2020

Distinguished Concerts International New York (DCINY) continued their President’s Day concert series February 17th with a concert entitled Who Are The Brave, with a serving of Americana paired with masterpieces by Leonard Bernstein and Howard Hanson. Singers from Arizona, California, Florida, Georgia, Iowa, Michigan, Minnesota, Montana, North Carolina, Ohio, Oregon, Texas, Virginia, West Virginia, Canada, Australia, and individual singers from around the globe took the stage in what was to be evening of both joyful and profound musical performances. For any hearing-impaired audience members, four “signers” were on stage to sign the lyrics of the works.

DCINY favorite Joseph M. Martin (in his ninth appearance with DCINY) took the podium to lead in a selection mainly of his own works, either in arrangements or original compositions. All were short in duration (the longest was about 8 minutes). Mr. Martin brings an abundance of energy and a winsome personality to the stage, and he uses those qualities to bring out the same from the choruses and orchestra. This night was no exception. One could feel the excitement radiating from the large chorus, the faces full of joy as if they were having the time of their lives. It’s an image this reviewer never tires of seeing. So powerful is this that one can be ‘”coaxed” into being less critical about the actual music. Mr. Martin and his orchestrators, primarily Brant Adams, know what their listeners want and never fail to deliver, but there is something of a “blueprint” often used that makes many works sound overly similar. To be sure, the large audience did not seem to mind one bit. High points included E Pluribus Unum, which had a Latin flavor mingling with a contrasting mysterious quality, perhaps to suggest the “melting pot” concept, ending with a Picardy third. Music in The Morning (a World Premiere) was filled with Appalachian spirit and the bustling energy of a revival. Who Are The Brave is Mr. Martin at his best, imparting an emotional heft worthy of the noble text by lyricist J. Paul Williams. There were no glossy veneers or trite compositional tricks. An aptly described “Festival Edition” of America, the Beautiful closed this part of the concert to the loud cheers of the audience.

Who Are The Brave. Photo Credit, Dan Wright.

After a brief pause, Robert Istad took the stage to conduct Leonard Bernstein’s Chichester Psalms. Mr. Istad is artistic director of the Pacific Chorale (in Orange County, CA), and a professor of music and director of choral studies at California State University, Fullerton (CSUF). Eleven-year-old Sasha Grossman was the boy soprano soloist.

The legendary status of Bernstein the conductor overshadowed his remarkable ability as a composer. One can only wonder what might have been had he dedicated himself more to composing, but we can be thankful for what he did – some of the finest works in the American canon. I’m not going to give a musical analysis of this much-loved (and much-performed) work; there has been plenty written elsewhere that any interested reader can find with little effort. Suffice it to say that the writing is eclectic, ingeniously melding the sacred texts with jazz infused rhythm and harmony.

Mr. Istad (and the directors of the participating choruses) prepared the singers thoroughly and it showed. There are dangers abounding in the opening movement with the large intervals and the parallel sevenths between tenors and basses, but these dangers were overcome without any apparent difficulty. This was a good sign of things to come. Let’s not forget the orchestra – they came ready to play, and play they did! This was one of those times when a reviewer could turn off the meter for the moment and enjoy.

Sasha Grossman was a star. Such incredible poise for such a young performer is noteworthy, but on reading his biography one learns he is already an old pro, with performing credits beginning at age five! His voice was angelic, his diction outstanding, and his intonation was excellent. Thankfully, he was provided a microphone to help project his sound into the large hall. The four other (unmiked) soloists (Jasmine Powell, Meghan Ropelle, Anthony Apodace, and Michael Fagerstedt) were at times covered by the orchestra. Perhaps this was due to their placement behind the piano instead of front and center. Credit goes to Mr. Istad for quickly adjusting the orchestral volume to allow these fine singers to be heard as the work progressed. The audience enthusiastic response was, if anything, a bit more understated then one would have expected. This might have been one of those rare occasions where the reviewer was more impressed than the general listener. Kudos to all the performers – this was the highlight of the evening for me.

Christopher W. Peterson, also a professor of music at CSUF, took the stage to conduct Howard Hanson’s Song of Democracy. Set to the poem of the same name by Walt Whitman, Song of Democracy is a twelve-minute work showcasing Hanson’s gift for dramatic effect with his unmatched skill for accessibility for all listeners. As the same group of choruses were on stage, it was a safe assumption that the high level of preparation would equal that of the Bernstein, and, of course, it was. Especially striking was the extended a cappella section. Often when there are so many singers there is some loss of vocal clarity, but this was not the case here. The triumphant close brought the audience to their feet. It was a fine end to this segment of the concert.

After intermission, Mack Wilberg took the podium to conduct his arrangements of folk songs and hymns. Dr. Wilberg is the director of The Tabernacle Choir at Temple Square (formerly known as the Mormon Tabernacle Choir) and is responsible for all musical and creative aspects of the choir and orchestra. Beneath these impressive credentials is a modest and seemingly bashful man. His conducting style is effective but spare. He would leave the podium after each work, and present the orchestra and chorus for praise, all the while with his back to the audience. The closest he came to a bow before the last work was a nearly imperceptible nod of the head.

Make no mistake about it, Dr. Wilberg knows his craft. He is expert in conveying the qualities of the texts musically, be they sacred, soulful, nostalgic, or simply joyful. My Song in the Night had a luminescent quality that was remarkable. Come, Thou Fount of Every Blessing started a cappella and built in grandeur (without any hints of clumsiness or brashness), in a way that matched the text perfectly. The folk song Cindy was easily the favorite of the audience and this listener. The description “a la hoedown” was completely apt. There was a-plenty of hootin’ and hollerin’ from the chorus in what was unbridled fun, bringing smiles and laughter to all. Ending with a majestic My Country, ’tis of thee, the performers and composers were rewarded with an extended standing ovation. Congratulations to all!

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

Distinguished Concerts International New York (DCINY) presents Sounds of the Season: The Music of Mark Hayes and Pepper Choplin in Review

Pepper Choplin, composer/conductor: Mark Hayes, composer/conductor; Todd Arant, Heather Choplin, narrators

Distinguished Concerts Orchestra; Distinguished Concerts Singers International

Stern Auditorium at Carnegie Hall, New York, NY

December 2, 2019

Distinguished Concerts International New York (DCINY) concluded its 2019 concert season on December 2nd with a concert entitled Sounds of the Season: The Music of Mark Hayes and Pepper Choplin. It featured original works by Mr. Hayes and Mr. Choplin, along with arrangements of holiday favorites. Singers (the program listed 537!) from Arizona, Arkansas, California, Florida, Idaho, Illinois, Indiana, Kansas, Maryland, Mississippi, New Hampshire, North Carolina, Ohio, South Carolina, Virginia, Austria, Canada, and the United Kingdom were present to fill the hall with holiday cheer. Thanks to DCINY for making the program available for viewing on-line: Sounds of the Season: The Music of Mark Hayes and Pepper Choplin.

Pepper Choplin took to the stage to conduct his work Heaven’s Child. Mr. Choplin is a DCINY favorite (this is his 8th appearance with DCINY). His ebullience is always front-and-center, inspiring those under his direction to reflect his boundless energy. His fans are legion – he knows just what they love, and he never fails to delight them.

The Holiday Music of Mark Hayes and Pepper Choplin. Photo Credit: Dan Wright Photography/DCINY Productions

Heaven’s Child is a ten-movement, forty-minute work. Quoting Mr. Choplin, “Heaven’s Child is a poetic telling of Divinity come to earth. The language of the music and narration is not meant to be literal, but serves to open our imagination to discover the Christmas truth.”

Heaven’s Child is quintessential Choplin, full of unfailing optimism, beautiful soaring melodies, abundant climaxes, and avoidance of anything harmonically jarring beyond passing tones. The music is peppered (no pun intended) with quotes from standards (Adeste Fildeles, Angels We Have Heard on High, We Three Kings, Hark! The Herald Angels Sing) throughout.

Narrators Heather Choplin and Todd Arant were excellent in their role. They projected well, even with the large forces sometimes making it a challenge to hear them. The story they told was compelling and unapologetically “religious,” which I did admire, but I did find that referring to God as “the master composer” was a bit much. Special mention for soloists Teri Modelevsky, Stephanie de Jong, Jessica Isaacs, and Colton Ranguette; you all were stars tonight. The orchestra and chorus wrung every last drop of euphoria in a performance that was truly inspiring to witness.

This type of music presents a challenge to the reviewer as how to comment. The lack of tension (harmonically and otherwise) can seem trite very quickly, yet it is that very quality that this style of composition invites. One could argue (and rightfully so) that you do not compare Praise Music with standard concert hall works. Of all the ten movements, Newborn Cry was this listener’s favorite, for the reason of differentiation from the other movements in matters of tone and mode. Perhaps I’ll leave the last word to an audience member seated near me, who was heard to say, “It’s so beautiful! I could listen to this music all night long!” Her enthusiasm was shared by most in the hall, who leapt to their feet in a loud ovation.

Mark Hayes took the podium for the concert’s second half to conduct his Magnificat and Sounds of the Season, along with his arrangements of six other works. Mr. Hayes is also a DCINY favorite (this is his 7th appearance with DCINY). As I wrote of Mr. Hayes in an earlier review, “While Mr. Hayes is skilled in all aspects of composition, it is his undeniable gift for melodic writing that is his calling card.” That quality was much in evidence this evening.

His Magnificat, which takes its text from Luke 1:46-55, opened the half. Mr. Hayes alternates Latin with English, which he has often done in his works. His setting has rhythmic drive and some angular harmonic lines, yet also moments of serene beauty. He tops it off with a quasi-baroque fugue at the ending, culminating in a final shout of Amen. It was a thrilling ten minutes. One cavil – the fugue was a challenge for the chorus that was not entirely met, though hardly a disaster. It is difficult with forces of this size to have the crispness of sound to avoid muddling the counterpoint.

Next up was Mr. Hayes’ other original composition, Sounds of the Season. It’s a brief (about three -minute) work that takes inspiration from Carol of the Bells. The chorus shone brightly, with good projection, diction, and ensemble balance. Without break, Mr. Hayes launched the orchestra and chorus into a medley of It’s Beginning to Look Like Christmas and It’s the Most Wonderful Time of Year. Believe (from the movie The Polar Express) followed. Another extended medley followed, with Winter Wonderland of Snow (a pairing of Winter Wonderland and Let It Snow! Let it Snow! Let it Snow!), Sing We Now of Christmas, and Variations on Jingle Bells. This set can be simply described as a pure celebration of the season, delivered with ebullience. While each work was entertaining, it was the Variations on Jingle Bells that was a real showstopper. Mr. Hayes describes it as “a journey of multi-meter madness, a holiday waltz, a jazzy swing section, a Baroque detour complete with operatic diva and cadenza, and a splashy ending worthy of Barbra Streisand.” That all sounds a bit corny, but it was madcap fun that even an ultra-curmudgeonly Scrooge would have found irresistible. Soprano soloist Candice Helfand-Rogers brought the house down with her humor-filled “Diva,” but make no mistake, while the act was good fun, her voice is the real deal. The “Hollywood blockbuster” finish was the icing on the cake, and the audience roared in approval. Congratulations to DCINY for a great night, and Happy Holidays to all!

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

Distinguished Concerts International New York (DCINY) presents The Holiday Music of Eric Whitacre in Review

Eric Whitacre, composer/conductor; Kelly Yu-Chieh Lin, piano

Distinguished Concerts singers International; Distinguished Concerts Orchestra

Stern Auditorium at Carnegie Hall, New York, NY

November 24, 2019

It does seem that each year the “holiday season” starts earlier and earlier; Halloween is barely in the rear-view mirror, Thanksgiving is still weeks away, and the retailers are all ready in full frenzy with “door busters” and deals galore. The early season also applies to concerts – today’s concert (November 24th) is the second pre-Thanksgiving holiday concert presented by Distinguished Concerts International New York (DCINY). Entitled “The Holiday Music of Eric Whitacre,” with choruses from Georgia, Wisconsin, California, Ohio, New York, Maryland, Nevada, Florida, Mississippi, Maine, North Carolina, Connecticut, Arizona, New Jersey, United Arab Emirates, and “individual singers from around the globe,” it was an afternoon of holiday cheer delivered with joy.

DCINY favorite Eric Whitacre (in his 18th appearance with DCINY) took to the stage. As I wrote in an earlier review, “Eric Whitacre is a true force of nature – Grammy-winning composer, conductor, public speaker, and evangelist for the cause of music. He is one of the most charismatic people in any field this reviewer has seen in action.” One is reminded of Oscar Levant’s famous quip about George Gershwin: “A concert with Eric Whitacre is an Eric Whitacre concert.” This is not to take anything away from the performers, but simply to remark on the infectious enthusiasm of Mr. Whitacre; one cannot help being drawn in by this dynamic personality.

The program itself was a mixture of traditional selections and holiday favorites, interspersed with the music of Mr. Whitacre (not all of which could be considered conventional “holiday,” but vive la différence). Interested readers can view the program by following this link: The Holiday Music of Eric Whitacre. This is not a concert about which a reviewer fills the page with criticisms of singers not properly forming vowels and such matters, but rather takes in the experience for what it is intended to be – a celebration of music by singers of all ages and abilities giving their very best and having the time of their lives doing so.

The standards Carol of the Bells and O Christmas Tree got the concert off to a good start. The intonation was commendable for such a large ensemble, and one got the impression that Mr. Whitacre was coaxing magic from them. The first piece on the program by Mr. Whitacre, little tree (text by E.E. Cummings), followed. With the childlike innocence of the text, combined with poignancy of the music, this piece tugs at the heartstrings.

Vince Guaraldi’s Christmas Time is Here (with lyrics by Lee Mendelson), from the classic A Charlie Brown Christmas, featured the Avondale Children’s Choir, in an arrangement by Robert Sterling that avoided those “nails-on-the-chalkboard” moments of the television version. It was delightful to hear and see these talented youngsters give such a polished performance. Great job!

Mr. Whitacre’s The Boy Who Laughed at Santa Claus, with text from Ogden Nash, ended the first half. It’s the story of Jabez Dawes, who, let’s just say, was not a very good boy. He delighted in telling all that there is no Santa Claus, but got his come-uppance delivered by Saint Nick himself! As is typical with Nash, the wordplay is hilarious. Today’s performance was the World Premiere of the orchestrated version (roughly twenty players). This is Mr. Whitacre at his whimsical best, in the vein of his early work for wind ensemble, Godzilla Eats Las Vegas!. There are quotes from Carol of the Bells, Joy to the World, and other snippets interwoven (and I detected even a small hint of Rachmaninoff’s Piano Concerto No. 3!) with highly imaginative music bringing the text alive. I was reminded of the movies of Tim Burton throughout, and this story is right up his street. If Mr. Burton ever wanted to bring this to the screen, the music is ready to go!

The second half, with all new choruses on stage, began with an old favorite, Mr. Whitacre’s Lux Aurumque. The close intervals were rendered with refinement, and the intonation was solid as well. It was a lovely way for the chorus to settle in.

Mr. Whitacre’s Winter (text by Edward Esch) is a work that Mr. Whitacre mentioned he has not heard performed in nearly twenty years. This might be due to a prominent role for sitar, playing a specific raga (Desh). It’s a fascinating work that joins the sounds of Western and Indian music together seamlessly. Serene and atmospheric, it gives the listener the sensation of floating without ever really leaving the ground. One hopes there is not another two-decade gap before hearing it again!

Glow (text by Edward Esch) was written by Mr. Whitacre for a light-show attraction at Disneyland’s California Adventure theme park. It’s also a part of Mt. Whitacre’s Virtual Choir project, where singers from around the world record themselves, send it to Mr. Whitacre, and those thousands of individual recordings are joined together. Mr. Whitacre said this project had over 8000 singers from 120 countries! For those people who can’t make it to Anaheim, click the following link to enjoy the show: Glow. The concert hall version was quintessential Whitacre – the maximum effect with the simplest of means. Kudos to the chorus for a beautiful performance.

About the other (non-Whitacre) selections on this half: Winter Wonderland and Lully, Lulla, Lullay were charming. Brightest and Best, with fiddle solo, had an Appalachian flavor that filled the hall with energy. Silent Night was an unconventionally low-key ending to a DCINY concert, but it was a thoughtful reminder that the real meaning of the season is not all about hoopla. The audience gave their stars a standing ovation.

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

Katerina Nafplioti Panagopoulos presents Athens Philharmonic in Review

Yiannis Hadjiloizou, Artistic & Music Director

Larisa Martinez, soprano; Daveda Karanas, mezzo-soprano

New York Choral Society

David Hayes, Music Director

Stern Auditorium, at Carnegie Hall, New York, NY

October 10, 2019

In a concert in memory of Pericles Panagopoulos, and to support the construction of the St. Nicholas Greek Orthodox Church and National Shrine (to replace the original that was destroyed on September 11, 2001), the newly formed Athens Philharmonic took the stage at Carnegie Hall in a program of two Cypriot works and Gustav Mahler’s monumental Second Symphony, the Resurrection. Program notes were printed in Greek and English, and a short message of welcome from the concert sponsor Katerina Nafplioti Panagopoulos referred to New York as a place where no one is a “foreigner” including her late husband and even Mahler himself. Her idea was that faith and love triumphing over fear and death.

Formed in early 2019 by the energetic pianist/composer/conductor Yiannis Hadjiloizou (b. 1976), the Athens Philharmonic (AthensPhilharmonic.gr) staged their first concert on April 23 in Athens. Tonight’s concert was the introduction of this orchestra to Carnegie Hall, and the hall was filled to capacity with supporters (although the top two tiers were closed).

At 8:15pm, Mr. Hadjiloizou took to the stage. Two US premieres, the Ballet from Act II of the opera 9th of July 1821, by the conductor’s father Michael Hadjiloizou (b. 1945), and his own Cyprus Dance No.1, Servikos, opened the evening. The Ballet opens with the sounds of what the composer calls “the melodic tweet of a bird in the forest of Kykkos,” then shifts to a Christian hymn “We Praise You,” then returns to opening material . This Ballet is a lively, charming piece that got the night off to a good start. Servikos takes Brahms and Dvořák as role models, and while the brilliance of these masters is much in evidence, the sounds have a more than a little Bartókian flavor. Servikos is a definite crowd pleaser!

So far, so good, but the real test awaited in the Mahler. Let’s get some of the criticisms out of the way. As might be expected by a group that has been together for only about six months, there were some ensemble issues that should work themselves out as time goes on. There were some moments where the intonation was not up to standard, with a few instances of clashes between strings and horns that jarred, especially in the opening movement. It would seem that most of the issues were in the opening movements, so I will not nitpick too much, but attribute them to a combination of nerves and “growing pains.”

In the grand scheme of things, these issues were minor hiccups in what was a remarkable performance, all the more so considering how new this orchestra is. Maestro Hadjiloizou was impressive. He has a commanding presence on the podium, his direction is crisp, his motions are precise and economical, and his mastery of the score was much in evidence. His approach was well thought out, and he maintained a firm hand on the wheel, never allowing things to devolve into bombast.

Mezzo-soprano Daveda Karanas’s voice was radiant in the Urlicht movement, and the clear voice of soprano Larisa Martinez was heavenly. The New York Choral Society was perfection, and their pianissimos were breathtaking!

Maestro Hadjiloizou and the orchestra saved their best for the final movement, which brought the evening to a triumphant close. The audience responded with a loud, extended roar of approval, justly deserved. The future should be bright for this promising orchestra.

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

Eun Chong Ju: Camille Saint-Saëns – Introduction and Rondo Capriccioso, Op. 28 in Review

Eun Chong Ju, violin

Min Kyung Kim, piano

Recorded at First Korean United Methodist Church, Main Chapel, Richardson, TX,

Oct 28, 2018

Korean born violinist Eun Chong Ju, with pianist Min Kyung Kim, recently released her recording of the Introduction and Rondo Capriccioso, Op. 28 by Camille Saint-Saëns. There are no physical copies available, but it is digitally available from iTunes, Spotify, and YouTube Music.

Composed in 1863 for Pablo de Sarasate (1844-1908), this work has been a mainstay of the violin repertoire ever since. It has become almost a mandatory showpiece for violinists to dazzle audiences with their virtuosity. Indeed, one can easily access performances of nearly every big-name (and not- so-big name) violinist. Millions of new listeners were introduced to this work after it was featured in an episode of the anime series Shigastu wa kimi no uso (Your Lie in April). It is thus reasonable for a listener to ask in what way another recording of such a warhorse can be differentiated from the others. In a way, a listener needs to put on “fresh ears” for each performance, and Ms. Ju’s recording is no exception.

This listener has always tried to judge live performances “in the moment” and to resist making too many comparisons to other performances; when the performances have been recorded, however, the listener ‘s expectation level is higher, given the opportunities for multiple takes and editing. Also, comparisons with other recordings are inevitable, though some of those comparisons are unhelpful or even misleading, such as the “Stopwatch” approach (Performance A lasted 1:43, Performance B lasted 1:39, often with the implication that “faster is better” when it may be the exact opposite!). Technique and tonal quality are fair game for comparison, but often the key differences are stylistic choices, in which the preference of the listener rules the day.

Now, with all that said, it is time to get to it. First, the positives: Ms. Ju is fearless in her approach; there is nothing tentative or lacking in commitment. There is a good amount of “swagger” where appropriate, and the pacing is effective. She does not try to gloss over difficult passages by increasing the tempo and sliding over the notes. The articulation is generally clean, and the ensemble is commendable.

Now, on to the negatives. In the effort to make every note heard, there is a certain heaviness that weighs down the rapid passages. One misses the light bounce bow work that one often hears in other performances. There are also some signs of straining, especially in the extreme upper register, along with some problems in the triple-stop section, with one particularly jarring moment. All this being said, these are issues that can certainly be addressed in future performances/recordings.

Ms. Ju is without a doubt a talented and promising musician. This recording shows that she is a work in progress, and I wish her the best in developing her talents and career.

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

Christoph Denoth in Review

Christoph Denoth, guitar

SubCulture, New York, NY

June 10, 2019

In celebration of his newest CD release Tanguero: Music from South America (Signum Classics SIGCD 538), guitarist Christoph Denoth appeared in recital at SubCulture on June 10, 2019. With works by Villa-Lobos, Brouwer, Piazzolla, and Matos Rodriguez, it was an opportunity for one to hear not only the work of a outstanding musician, but also his thoughts about composers and their works as he spoke to the audience.

The basement confines of SubCulture are ideally suited to this type of event. It has the intimate feeling that is characteristic of smaller venues, but also comfortable seating and ample room to move about. One could enjoy a wine or other beverage at the bar before the concert. The one oddity was the almost subliminal level music being piped in prior to the performance, which might be okay for a more casual concert, but really was distracting for this kind of program, which benefits from some silence beforehand.

Mr. Denoth opened with the Villa-Lobos Cinq Préludes, one of the staples of the guitar repertoire. They pay homage to the varied peoples of Brazil, from peasants and urbanites to the indigenous, with a tribute to J.S. Bach as well. They are filled with Villa-Lobos’s characteristic folk idiom as well as a Romantic spirit. Mr. Denoth captured the flavor of this music in highly nuanced performances. He followed with the Villa-Lobos Etude No, 11 (Paris 1929), another example of both the composer’s highly idiomatic guitar writing and the fine playing of Mr. Denoth.

Leo Brouwer’s 1990 Sonata (for Julian Bream) followed the Villa-Lobos works. Each movement is influenced by a different epoch. The first movement, Fandangos y Boleros was humorous, an almost self-deprecating example of Spanish styles, with occasional “wrong notes” popping up. The second movement, Sarabande de Scriabin was a look at the Russian before his “Mystic” transformation. The final movement, Toccata de Pasquini was a moto perpetuo with a “cuckoo” call. Mr. Denoth played with unflagging energy as the music simmered, but he was always well under control. The Brouwer was this listener’s favorite work of the evening.

Four Piazzolla pieces followed, Chiquilín de Bachin, Verano Porteño, Oblivion, and Triunfal. When one thinks tango, one thinks Piazzolla, such is the power of the composer’s mastery of the style. Mr. Denoth did not disappoint- the soulful laments, the fiery passions, and the infectious rhythmic vitality were all on full display.

Gerardo Matos Rodriguez’s La Cumparsita ended the program. It’s the tango everyone knows, even if they don’t know the name or the composer. Heaven knows how many cartoonish renderings have been done, complete with the rose-in-mouth, but thankfully there was none of that here. Mr. Denoth played it straight, which revealed subtleties often lost in the hammy performances.

Mr. Denoth does not rely on his formidable technique alone. The fast runs, the harmonics, and the cascades of sound that made it seem if there were multiple players were all there, but one never was overwhelmed by these qualities to the detriment of the music itself. Mr. Denoth is like a skilled painter carefully creating a masterpiece – each note and phrase is given the right “color.” The pacing is never hurried, but the rubato used is never excessive either, and the expressive aspect is always the priority. Even though it was obvious that Mr. Denoth had thought out every note carefully, the end result was still completely natural in sound and execution.

Mr. Denoth offered Joaquin Malats’s Serenata Española as an encore, to the delight of the appreciative audience.

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

The Dwight and Ursula Mamlok Foundation Presents The 2019 Mamlok Prize for Interpreters of Contemporary Music in Review

Amber Evans, soprano; Mivos Quartet: Olivia De Prato, violin, Maya Bennardo, violin, Victor Lowrie Tafoya, viola, Tyler J. Borden, cello

Jon Clancy, percussion, Thomas Feng, piano, Francesca Ferrara, flute

Marc Scorca Hall at National Opera Center, New York, NY

May 20, 2019

On May 20, 2019, the Marc Scorca Hall at National Opera Center was the venue for the presentation of the 2019 Mamlok Prize for Interpreters of Contemporary Music. The featured performers were Amber Evans, soprano , winner of The Dwight and Ursula Mamlok Advancement Award for Interpreters of Contemporary Music, and The Mivos Quartet (Olivia De Prato, violin, Maya Bennardo, violin, Victor Lowrie Tafoya, viola, Tyler J. Borden, cello), winner of The Dwight and Ursula Mamlok Prize for Interpreters of Contemporary Music. Along with two works of Ursula Mamlok, there were works from five other composers (four living, and all four were present on this occasion). For those who are contemporary music aficionados, this was an evening of excellent performances of stimulating music. For those who might feel qualms about “contemporary music,” this was a sampling of generally more accessible works that would serve as a bridge towards further musical explorations.

Bettina Brand, the manager of The Dwight and Ursula Mamlok Foundation, welcomed the audience and shared some reminiscences about Ursula Mamlok. Dr. Nicolai von Cube, the foundation chairman, introduced the winners after the intermission. A short biographical film, “Ursula Mamlok- Berlin-Guayaquil-New York and Back,” by Anne Berrini was a basic introduction to the life of Ms. Mamlok. Perhaps the foundation in the future will issue an English language version of her biography Time In Flux: Die Komponistin Ursula Mamlok, by Habakuk Traber, so more people can learn about her life and music.

Quoting from the program: “The Dwight and Ursula Mamlok Foundation was formally established in May 2016, with headquarters in Frankfurt-am-Main and operational base in Berlin. The Foundation centers on the promotion of music and literature. Its purpose is to support and maintain the place of Ursula Mamlok’s oeuvre in performance repertoire and to support musicians who have made a notable contribution to the development of modern music and have raised the profile of Ursula Mamlok’s music. In addition, the Foundation promotes the study of the body of literature produced by her husband, Dwight Mamlok, and supports its publication. The Dwight and Ursula Mamlok Prize for Interpreters of Contemporary Music is awarded annually, alternating in Berlin and New York. The Prize was awarded for the first time in Berlin in May 2018 to the Trio “Catch”. In the U.S. the Prize is channeled through the Contemporary Performance Program of the Manhattan School of Music, where Ursula Mamlok taught for over 40 years. Amber Evans and the founders of the Mivos Quartet are graduates of the program.”

Since this evening was to honor the Mamlok winners and Ursula Mamlok herself, I am going to focus mostly on them. This is not to slight the works of the other composers or to suggest they are not worthy of praise, as they all most certainly are. For the sake of completeness, I will mention those composers and works : Two Poems of Czeslaw Milosz by Nils Vigeland (b.1950), Thirteen Ways of Looking at a Blackbird (1978), based on the Wallace Stevens poem, by Lukas Foss (1922–2009), “…und ich bin Dein Spiegel” (2000/2012), by Reiko Fueting (b.1970), the promise of the far horizon (2002, revised 2013, 2017), by Jeffrey Mumford (b.1955), and String Quartet No. 2 (“Kazakh” 2017), by Meilina Tsui (b.1993). Jon Clancy (percussion), Thomas Feng, (piano), and Francesca Ferrara, (flute/alto flute/ piccolo), all lent their considerable talents as well.

Now, about the prize-winners. Amber Evans must have been the easiest pick for this award. If one created a checklist of the necessary criteria, she would have no doubt met them all. Her voice has a crystalline quality, without strain or stridency in the extreme upper register. Her diction was always crisp and precise, and her projection was well-suited to the small and acoustically live hall. While many singers have contemporary works in their repertoire as a demonstration of their stylistic breadth as opposed to any true affection or affinity for these works, Ms. Evans is not one of those. It is abundantly clear that she loves these works with an intense passion, which shines through in her performances. With boundless energy, both on and offstage (her biography lists a long list of activities as a composer, conductor, and vocalist), she is personality-plus, and a treat to watch and hear.

The Mivos Quartet is highly active in playing and promoting contemporary music. They collaborate with a diverse group of artists in a variety of mediums, commission new works, and have created awards for composition. One of those award winners was composer Meilina Tsui. Also active in education, the Mivos Quartet conducts workshops around the globe. They are worthy champions of the cause, and with their zeal, paired with fantastic individual and ensemble technique, they should be a force for many years to come.

On to the music of Ursula Mamlok. One of the main features of Mamlok’s music is her emphasis on Klangfarbe to express moods and colors. This gives her music an attractive and accessible quality often not found in so-called “contemporary music.” While others might be about sonic effects, I get the impression that she strives above all else to communicate to the listener, and that her compositions are musical conversations to her friends and loved ones.

Five Songs from Stray Birds and the String Quartet No. 1 were bookends on the program. Since I am unable to provide a link to the thoughtful program notes written by Barry Weiner, I am going to quote from them here. “Five Songs from Stray Birds (1963) consists of five aphorisms, selected from the 326 aphorisms that constitute the poem, Stray Birds, by the Bengali poet Rabindranath Tagore (1861-1941). It was the first work for voice in which Mamlok used aphoristic texts. She attempted to ‘express the character of the poetry’ in this emotionally intense and expressionistic piece, juxtaposing the nervous, convoluted lines of the opening movements with the slow, sustained music of the lengthy final movement. The flutists’ shifts between flute, alto flute and piccolo throughout the work produce dramatic timbral and registral contrasts. The cello plays a central role in the musical discourse at the beginning of Stray Birds, but is subordinated to the voice and flute in the final two movements. Its lengthy palindromic solos frame the second movement. The Group for Contemporary Music premiered Stray Birds in New York in 1964.”

The five moments and the aphorisms: 1. In a sustained mood: Stray birds of summer come to my window to sing and fly away and yellow leaves of autumn, which have no songs, flutter and fall there with a sigh. 2. Majestic: Let your music like a sword pierce the noise of the market to its heart.3. Very airy: Tiny grass – your steps are small but you possess the earth under your tread. 4. In a melancholy mood: This rainy evening the wind is restless, I look at the swaying branches and ponder over the greatness of all things. 5. Still, with utmost simplicity: My day is done and I am like a boat drawn on the beach listening to the dance music of the tide in the evening.

This was mesmerizing music. Ms. Evans captured the emotion with a voice that soared, whispered, and charmed. Mr. Borden was a sensitive collaborator, but special mention should be made of flutist Francesca Ferrera for her exquisite playing.

Mr. Weiner’s notes continue: “The String Quartet No. 1 (1962) displays many signature traits of the composer’s style. In the first movement, a scherzo, contrasting motives are presented in continuously varied shapes and palindromic form. In the second movement (scherzo) the opening, wide spanning figures are played by all members of the quartet at different speeds and articulations. In the trio, marked ‘Intense’, the cello and viola play cadenzas, prestissimo and fortissimo. In contrast the music of the final movement is rhythmically static, sparse in texture, and extremely quiet. Abruptly the ideas of the first movement reenter creating a soundscape of dense textures and violent gestures.” The Mivos Quartet offered a highly polished and dynamic performance that was a fitting end to the concert.

All the performers and composers joined Ms. Brand and Dr. von Cube for a final bow. The next New York Area Ursula Mamlok event is scheduled for June 10, 2019 in Brooklyn- a must-see/hear for fans of her music, including the ones she made this evening.

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