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

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.

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by Jeffrey Williams  for New York Concert Review; New York, NY
Katerina Nafplioti Panagopoulos presents Athens Philharmonic in Review  

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.

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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: 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.

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by Jeffrey Williams  for New York Concert Review; New York, NY
Christoph Denoth in Review

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.

 

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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

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.

 

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
Alexander & Buono International presents Winners of the Barry Alexander International Vocal Competition in Review

Alexander & Buono International presents Winners of the Barry Alexander International Vocal Competition in Review

Oksana Lepska, Kara Mulder, Yunji Shim, sopranos : 1st prize winners
Anna Shelest, Piano
Weill Hall at Carnegie Hall, New York, NY
May 19, 2019

 

On May 19, 2019, the Alexander & Buono International organization (alexanderbuono.com) presented two concerts for the winners of two different competitions (one for voice and the second for piano) at Weill Hall at Carnegie Hall. The first was the Barry Alexander Vocal Competition Winners Concert, featuring the first-prize winners, sopranos Oksana Lepska, Kara Mulder, and Yunji Shim, and will be the focus of this review (with the piano winners concert to be covered separately). Chairmen Barry Alexander and Cosmo Buono started the afternoon by greeting the audience, thanking them for attending, and speaking briefly about today’s performance and upcoming concerts.

Before all else, I must commend Alexander & Buono for the exceptional concert program booklet, which had all the qualities of a keepsake item. In a day when one finds oneself exasperated that often not even a cheaply produced single-sheet photocopied program is provided, it was a much-appreciated show of commitment to excellence that speaks volumes to this reviewer.

Oksana Lepska was the first to perform. Ms. Lepska has already enjoyed considerable successes, including being a finalist on Russia’s Got Talent. Her stage presence exudes confidence, and justifiably so. With a voice that filled the hall without a hint of stridency, coupled with technique to burn, Ms. Lepska is a force. The vocal gymnastics of Fiordiligi ‘s aria “Come scoglio,” from Cosi Fan Tutte were tossed off with what seemed to be an off-handed ease, and “Si, mu chiamano Mimi,” from La Bohème had a plaintive, child-like innocence that was charming; it was, however, in three Rachmaninoff songs, The dream, Do Not Sing, my beauty, and Spring Waters, that Ms. Lepska showed her true artistry. I know the expression is trite, but it does seem as if she was born to sing these songs.

Kara Mulder (www.karamuldersings.com) offered a program that was nearly all Dvořák (“Song to the Moon” from Rusalka, and all eight Love Songs, Op. 83). Ms. Mulder projects her voice with strength, but also with a warmth that is distinctly her own. She has an excellent dramatic sense, using the entire stage as she engages the audience. The gestures are natural and organic, without any “mugging” or other histrionics. The audience was moved by her artistry, with several “delays” for applause between several of the Love Songs. This listener, while holding to the convention of not clapping between parts of a musical set, was in complete agreement. I can’t pick one of the eight as a favorite, so I will happily take the whole! Ms. Mulder offered ” Leise, Leise,” from Weber’s Der Freischütz, which gave further proof to her versatility. It was a fine close to her portion of the program.

After intermission, Yunji Shim took the stage as the final performer of the afternoon. Her program focused primarily on art songs by Reynaldo Hahn and selections by the American composer Ernest Charles (1895-1984). While the uninitiated might think that “art songs” means salon trifles for smallish voices, this is far from the case, especially with Ms. Shim. She is a dynamo, with enough power and passion for several people. She used her power artistically and not as a weapon to bludgeon listeners. Ms. Shim seeks and brings forth the subtle nuances of the songs in such a way as to pull the listener completely in. As much as this listener enjoyed the Hahn and Charles songs, it was “Piangi…Un bel di vedremo,” from Madame Butterfly that won me completely over. Ms. Shim projected Butterfly’s hope of Pinkerton’s return with such absolute certainty that it was heartbreaking poignant.

The unsung hero of the afternoon was pianist Anna Shelest, who was a star in her own right. I am sure that Ms. Lepska. Ms. Mulder, and Ms. Shim were all delighted and grateful to have such an accomplished collaborator as Ms. Shelest.

Ms. Lepska, Ms. Mulder, and Ms. Shim returned to the stage for a final bow to the appreciative audience.

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
Long Island Concert Orchestra with Julia Zilberquit in Review

Long Island Concert Orchestra with Julia Zilberquit in Review

Long Island Concert Orchstra
Jason Tramm, conductor; Julia Zilberquit, piano;
Good Shepherd Church, Lincoln Center, New York, NY
April 27, 2019

 

The Long Island Concert Orchestra (LICO) under Principal Guest Conductor Jason Tramm brought an all-Mozart program to the Good Shepherd Church near Lincoln Center this past weekend, playing three iconic works including the Piano Concerto in A major, K. 488 with pianist Julia Zilberquit. Though still a young group (founded in 2016), the orchestra is already faring well under the energizing baton of Mr. Tramm and the guidance of Executive Director, composer David Winkler.

 

The evening opened with a vibrant account of the ever-popular Overture to The Marriage of Figaro, a perfect choice to precede the A Major Concerto, which was composed the same year as that opera (and completed just weeks before the premiere of it). The rousing style of Mr. Tramm set a tone of excitement, and though the LICO ensemble is not large, their sound was robust. They transmitted its driving energy and established its sense of imminent drama. The harmonic foundations were well grounded by a superb double bassist who sounded like a full section by himself – perhaps with some help from the church’s live acoustics. The sizable audience applauded warmly.

 

Enter soloist Julia Zilberquit, with regal deportment and clad in brilliant sparkling silver. Hailing from Russia, she has established her credentials well, including solo performances with orchestra (American Symphony Orchestra and the Moscow Virtuosi, among others) and recordings on the Harmonia Mundi, Warner Classics, and Naxos labels. As Ms. Zilberquit has recorded the complete Bach Solo Keyboard Concertos, it did not seem like a stretch to expect from her the precision and detail required in a Mozart Concerto – and in general she did not disappoint.

Julia Zilberquit, Pianist

 

The opening Allegro movement seemed off to a good orchestral start but there were some signs at the first solo entrance that there was not a true meeting of the minds, tempo-wise. Early on, some piano sixteenth notes seemed to run away, not quite dovetailing with the orchestra, and though this can often be the case near the opening of a concerto, the issue recurred. One is inclined to blame this (and some sketchy attacks and cutoffs) on acoustical issues. Synchronization can hard to achieve when articulations are obscured, and when rapid passagework tends to feature outlines and underpinnings; as a result, the need for more metric projection became clear, which tended to shackle even some solo passages (notably the imitative piano theme in the recapitulation). In any event, the musicians pulled it off, and the mastery in this magnificent piece shone through. Thankfully, Ms. Zilberquit chose to play Mozart’s own cadenza, bringing the movement to a fine closing tutti.

 

The profound Adagio movement (in the singular key of F-sharp minor) revealed much more about the pianist and her expressive style, and keen listeners were rewarded. Though the opening theme offers numerous expressive possibilities which were bypassed, Ms. Zilberquit turned out to be saving her expressive emphasis for the theme’s final measure, emerging as a player of long lines. It is always interesting, when reviewing, to need to revise one’s immediate reaction, and some of the most thought-provoking interpreters invite this retrospection. Ms. Zilberquit interpreted this movement with unique thoughtfulness. Her final Allegro was brimming with Mozart’s inimitable spirit, including very playful articulations towards the end. It was a delight!

 

Much to one’s surprise Ms. Zilberquit responded to the hearty ovation with not one but two encores. First, she played an arrangement announced as Bach Siciliano (the Largo from the Vivaldi-Bach Concerto in D minor, BWV 596). It was a stately offering, not unrelated to the siciliano elements of the Mozart slow movement. One was mystified, though, by her next selection, announced as a Shostakovich Waltz (the Lyrical Waltz from Shostakovich’s Dances of the Dolls), which had been given a “beefed-up” treatment complete with glissandi. It didn’t seem in keeping with what one had admired about her style in the Mozart.

 

The evening concluded after intermission with Symphony No. 40 in G Minor, K. 550. Accurately described by Charles Rosen as “a work of passion, violence, and grief,” this masterpiece is one of Mozart’s most loved and most frequently performed works. Mr. Tramm’s interpretation was simple, to let the music speak without resorting to any “novel “approaches, which was an intelligent choice. While one might have wished for more pathos in the opening movement, the net result was still compelling. The second movement Andante’s lyric qualities were brought forth with sensitivity. The third movement’s angry Menuetto was played with a good dose of agitation without lapsing into grotesqueness, while the trio, passed from strings to winds, cleared the storm clouds. The finale, launched with a “Mannheim rocket,” was played with vigor, bringing the evening to a successful close. The performance, to be sure, was not without some issues (notably balance and some cracked notes), but it showed the promise of good things to come from this orchestra.

 

The Long Island Concert Orchestra returns to the Good Shepherd Church for a program titled “Tango with Orchestra” on May 17, 2019.

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by Jeffrey Williams  for New York Concert Review; New York, NY
The Center for Musical Excellence (CME) presents Brannon Cho in Review

The Center for Musical Excellence (CME) presents Brannon Cho in Review

Brannon Cho, cello
Victor Santiago Asuncion, piano
Weill Recital Hall at Carnegie Hall, New York, NY
April 22, 2019

 

On April 22, 2019, The Center for Musical Excellence(CME) presented 2015 CME Artist Winner Brannon Cho in his Carnegie Hall (Weill Hall stage) recital debut. CME Founder and Director Min Kwon spoke briefly before the recital about CME, and to explain the four-year gap between Mr. Cho’s award and his debut by explaining that CME did not want to rush, but to allow Mr. Cho to continue exploring opportunities. It appears that Mr. Cho has been quite busy since then, and, given the quality of his performance on this evening, he should continue to be for the foreseeable future.

Mr. Cho and pianist Victor Santiago Asuncion took the stage and opened with Boccherini’s Sonata in A major, G.4 (the first two movements only). A sunny work, it was an ideal opener. Mr. Cho’s beautiful singing tone, combined with razor-sharp articulation, made one eager for what was to come.

Following the Boccherini came Matthias Pintscher’s Figura V/Assonanza (part of a larger work Figura I-V for String Quartet). With fluttering ultra-soft harmonics and sounds of atmend (breathing), it has an eerie, atmospheric quality. Mr. Cho’s playing was mesmerizing, even if one was left wondering whether this was meant to be chiefly an exercise in special effects. In any case, it showed Mr. Cho’s versatility as an artist.

More mainstream fare came next with Brahms’s Cello Sonata in E minor, Op. 38. Brahms entitled it Sonate für Klavier und Violoncello with the intent that the pianist is not merely a background accompanist, but a full and equal partner. Completed in 1865, the sonata is Brahms’s homage to J. S. Bach and uses material from Contrapuncti 4 and 13 of The Art of Fugue, as Mr. Cho reminds us in his program notes. This work always brings to mind the famous story associated with it, about Brahms and the cellist Robert Hausmann, its dedicatee. Hausmann was playing this work with Brahms at the piano, and Brahms was playing so loudly that Hausmann remarked that he could not hear his cello. “Lucky for you!” was Brahms’s reply! This listener thinks that the gruff Brahms would have been delighted with this performance. The rapport between Mr. Cho and Mr. Asuncion was striking, each attuned to the other as if they shared a single mind. The opening movement was filled with the feeling of sorrow, but also the glimmers of hope, as the duo robustly conveyed. The second movement Menuetto was played with charm. The finale was thrilling in its mutuality of conception. The large, and very enthusiastic audience gave the players a standing ovation. It was one of the finer performances of this masterpiece this listener has heard.

After intermission, Mr. Cho opened the second half with Benjamin Britten’s Cello Suite No. 1, Op. 72. The first of three suites written for and dedicated to Mstislav Rostropovich, it is inspired by Bach’s cello suites and Rostropovich’s cello playing. It is a haunting nine-movement solo cello work, with a beautiful opening canto that repeats several times in later movements, each time with an increasingly disturbing tone. The movements that surround the canto suggest memories, some playful and childlike, and others of a nightmarish quality. The ending is manic, with a final angry outburst in its final notes. The challenges are immense. The cellist must not only deal with the technical demands (which are considerable), but also convey the almost manic mood changes while trying to maintain the sense of structure and continuity for the work’s twenty-plus minutes.

There was none of the coughing or fidgeting from the audience that one often hears/sees in a work of this type – indeed, their attention was locked to the stage with utter silence. This listener was completely transfixed, experiencing the joy, the innocence, and the nightmares, as if privy to a particularly emotional therapy session. To convey this musically was something extraordinary. It was my favorite performance of the evening, and it is still resonating in my mind as I write these lines.

After the emotionally demanding Britten, it was time for Mr. Cho to have some fun, and this took the form of Sarasate’s Zigeunerweisen, Op. 20, a staple of the violin repertoire. Why should violinists have all the fun? In an arrangement by Hans Jørgen Jensen (Mr. Cho’s teacher at Northwestern), Mr. Cho let loose with a performance that many a violinist would be hard pressed to equal. With all of the Roma soulfulness coupled with the scintillating virtuosic fire, Mr. Cho’s playing exceeded all expectations (and for full disclosure, this reviewer heard Mr. Cho in a 2015 performance on YouTube as pre-concert preparation, so there was already some idea of what to expect). The audience leapt to their feet in a loud ovation, which almost seemed an insufficient response to such a dynamic performance!

Mr. Cho offered two encores. The first, Chopin’s Etude, Op. 25, No. 7, as arranged by Alexander Glazunov, was announced from the stage by Mr. Cho. The heartfelt melody was played with melting beauty by both players. The second, with the grandiose title “Concert Paraphrase on ‘Largo al factotum’ from Barber of Seville” (sometimes simply called “Figaro”), arranged by Mario Castelnuovo-Tedesco, was not announced, but it is highly likely that most made the Rossini connection. It is a sure-fire crowd pleaser. Mr. Cho played it to the hilt, with wit, whimsy, and brilliance.

After such a showstopper as the Zigeunerweisen, this reviewer had reservations about doing another such piece as an encore, lest it diminish the effect of the “serious” works (especially the Britten) – and yet it was a savvy move on his part to whip the audience into a frenzy. It worked – the audience loved every second and once again reacted with an extended standing ovation.

Mr. Cho is an artist to watch – mature beyond his years as a musician. Yes, he has technique to burn (and he is not at all shy about using it), but he pairs this with a fine sense of line and phrase shaping. He knows when to “breathe,” and does not hurry, letting the sound linger organically, without “chopping” phrase endings. Mr. Asuncion deserves high praise as well for both his attentive collaboration as well as his assured technique. I hope to hear this duo again in the future.

 

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents Windsongs in Review

Distinguished Concerts International New York (DCINY) presents Windsongs in Review

Ed W. Clark High School Concert Band (NV)
Jeffrey A. Lacoff, director; David Seifert, assistant director; Julio Vargas, guest director
Ed. W. Clark High School Symphonic Strings
Charles Cushinery, Eric Maine, directors
Susan E. Wagner High School Wind Ensemble (NY)
Paul Corn, director; Brian Worsdale, guest director
Stern Auditorium at Carnegie Hall, New York, NY
April 12, 2019

 

We often hear about the lamentable state of affairs regarding music education in our country. Lack of funds and a focus on the latest fads in education are often cited as causes. Thankfully, there are still many programs not only surviving, but thriving, with the next generation of talent being nurtured and filled with a lifelong love of music. Distinguished Concerts International New York (DCINY) hosted two such programs last Friday, the Ed. W. Clark High School (wind and string ensembles) from Las Vegas, Nevada, and the Susan E. Wagner High School (winds) from Staten Island, New York. They called their concert Windsongs.

To any regular reader of New York Concert Review it is no secret that I am a fan of both “band” music and young ensembles. At heart, I am still as much of a “band geek” as I was in the long-ago days when I was one of those youngsters having the time of my life. It’s truly a delight to see all the excited faces as the young musicians walk onto the stage of Carnegie Hall, ready to give their all. Lest people think that my feelings of nostalgia mean that a rave review is “in the bag,” they would be missing the fact that my experiences mean I am not easily fooled or dazzled by the tricks of the trade.

A few housekeeping items before I get to the performances. There were twenty-one works played this evening, so I am not going to mention each work, as that would turn this review into a book report. In the past, I would provide a link to the program so the reader could investigate further, but regrettably, DCINY has appeared to have ceased posting the concert programs on their website. Also, though the Susan E. Wagner High School Wind Ensemble played between the two Ed W. Clark groups, I am going to begin with them.

Led by Paul Corn, with guest director Brian Worsdale sharing the podium, the Susan E. Wagner High School Wind Ensemble hit the ground running. They did their tuning before taking the stage, something I wish more ensembles would do (especially the younger ones), and they lit right into the music. The instrumentation was well-balanced overall (something not always the case in High School ensembles), and no one section was dominant (also something not common in High School ensembles). The intonation and the ensemble were excellent overall.

Glenn Miller in Concert (arrangement by Paul Murtha), with quotes from In the Mood, Tuxedo Junction, A String of Pearls, Little Brown Jug, and Pennsylvania 6-5000, was smartly played with the old-time big band feel. Saturn Returns by Michael Markowski is a showstopper that these young players tore into with gusto. John Mackey’s This Cruel Moon, a poignantly beautiful work (adapted from the “Immortal thread, so weak” movement of his Wine-Dark Sea: Symphony for Band), was the highlight of their selections for this listener. It was an “A” that could have been an “A+” if there had been a bit more feeling of the heartache that abounds in this piece (as heard in an excellent recording done by the University of Texas Wind Ensemble led by Jerry Junkin). Yes, it is persnickety, but as the saying goes, “If you can do it this well, then you can do it even better!” Two Leonard Bernstein works (Slava! and a concert suite from On the Town) bookended their selections. Their supporters gave them a standing ovation at the end, and it was richly deserved.

The Ed W. Clark High School Concert Band took the stage to open the concert (and as a side note, I was intrigued by the tuning to Concert F). The conducting duties were shared by Jeffrey A. Lacoff, David Seifert, and Ed W. Clark alumnus Julio Vargas (Mr. Lacoff was also to been seen in the percussion section when not on the podium). Running though my standard checklist again: Well-balanced instrumentation – check (actually check-plus, as that is a dream come true for most High School ensembles), and good intonation and ensemble – check. There was again no single overly dominant section. Ten pieces were played, each from two to five minutes in duration.

This presents an interesting challenge for the reviewer, as the short duration of the pieces lends itself much more to “adjudication” then it does to a review. Reading of the band’s many superior ratings in adjudicated festivals does not surprise me, as their program seemed almost built to succeed in such format. I’ll try to do a bit of both adjudication and reviewing here. First, the review portion: Gershwin’s Second Prelude (arranged by John Krance) won me over, despite initial incredulity over the arrangement itself (from the piano version). It was a stylish and persuasive performance. Caesar Giovannini’s Overture in B-Flat (scored by Wayne Robinson) was brimming with energy and played with polish. Ginastera’s Danza Final from Estancia enjoyed a restrained tempo that allowed a cleanly articulated performance. It can so easily spiral into a helter-skelter, indistinct mess if too fast, but the group neatly avoided that fate. Derek Bourgeois’s Serenade with its irregular meter has a quirky charm which the ensemble captured well and with an appropriate sense of whimsy – good work! Finally, John Philip Sousa’s immortal march, The Stars and Stripes Forever (composed in 1896, not 1928 as stated in the notes), brought the audience to a standing ovation. Adjudication verdict: Superior, with one suggestion. The notes are all there, but there is an opportunity to heighten performance further with more careful attention to ensemble timbre. Poignant phrases (especially in Eric Whitacre’s The Seal Lullaby) need to be “softer” (in tone, not dynamics) to maximize the effect.

After intermission, the Symphonic Strings (also from Clark High School) took the stage. They were an impressive assemblage with fifty violins, twenty-one(!) violas, twenty-two cellos, and six string basses. Charles Cushinery and Eric Maine shared the podium. The sheer number of players had this listener thinking that perhaps this group was one of those in which “everyone gets in” regardless of ability. I was quickly disabused of this notion after a few measures of the opening movement of Tchaikovsky’s Serenade for Strings. Such true intonation for such a large group was striking, and the ensemble balance was every bit as impressive as well. The high level continued in the Intermezzo from Mascagni’s opera Cavalleria Rusticana.

Three selections from Béla Bartók’s Romanian Folk Dances had a young girl (probably four or five-years-old) two rows in front of me happily dancing along to the music, which says more than any fusty “critic” words, and it was followed by the World Premiere of High Resolution by Jennifer Bellor, commissioned by the Ed W. Clark High School Symphonic Strings. This work has an atmospheric, dream-like quality, and Ms. Bellor writes in her notes that she took inspiration from two states of realities, being awake and being asleep. It is an effective work that is a worthy addition to the repertoire. The composer was present and rose to acknowledge the audience’s applause and to salute the orchestra.

The delightfully named Kwoktet, three brothers and a cousin sharing the last name Kwok (two violinists, a violist, and a bassist), were featured front and center in Por Una Cabez. What talents they proved to be, with the added bonus of all being personality-plus – they may be stars of the future, so keep your eyes and ears open! The fourth movement Fugue finale from Ernest Bloch’s Concerto Grosso No. 1 was scintillating. It was this listener’s favorite on a program that had much that was excellent. The audience gave them an extended standing ovation. This was one of the finest high school string orchestras that this reviewer can recall hearing in sometime.

An encore of the Temptations’ classic song My Girl had the audience clapping along in rhythm and was a joyful end to this well-presented evening of music. Congratulations to all!

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by Jeffrey Williams  for New York Concert Review; New York, NY
Monteux School and Music Festival Winter Workshop Showcase Concert in Review

Monteux School and Music Festival Winter Workshop Showcase Concert in Review

Featuring Music Director Michael Jinbo, Monteux Alumni Conductors, Winter Workshop conductors, and the Monteux Heritage Orchestra
Michael Jinbo, David Alexander Rahbee, Reuben Blundell, Michael Shane Wittenburg, conductors; Monteux Heritage Orchestra
Rick Basehore, oboe; Christopher Johnson, piano; Uli Speth, violin; Allison Kiger, Marisela Sager, flute
Good-Shepherd Faith Presbyterian Church, New York, NY
January 4, 2019

 

In 1943, French-born conductor Pierre Monteux founded a summer school for conductors and orchestra musicians in his adopted hometown of Hancock, Maine. “Conducting is not enough, I must create something. I am not a composer, so I will create fine young musicians,” he said. Musicians from around the world came to Hancock to study with the beloved master. To celebrate seventy-five years of workshops at the Monteux School and Music Festival, distinguished alumni (conductors, instrumental soloists, and orchestra members) appeared in concert at the Good-Shepherd Faith Presbyterian Church in New York City on January 4, 2019. With four different conductors, five featured soloists, and two works by lesser-known female composers, it was an evening that was both musically rewarding and historically interesting.

Let me state straightaway that the Monteux Heritage Orchestra is a crackerjack ensemble. In this acoustically unforgiving venue, there was never a hint of trouble with balance. The playing was crisp and clear, and the intonation was impeccable throughout.

David Alexander Rahbee opened the concert with a spirited reading of Franz Joseph Haydn’s Overture to Il mondo della luna (The World on the Moon). Mr. Rahbee is an extroverted conductor whose energy is shown at all times with sweeping gestures and demonstrable attention to all details. Mr. Rahbee also conducted the opening work of the second half, J.S. Bach’s Brandenburg Concerto No. 4 in G major, BWV 1049. While I believed that there was a bit too much direction from Mr. Rahbee, there can be no dispute about the excellence of the performance. The soloists, violinist Uli Speth and flutists Allison Kiger and Marisela Sager, were sparkling. They each displayed their virtuosity with a practiced ease. Special kudos to Mr. Speth, whose part has some of the most demanding passages that Bach ever wrote for the violin (especially in the first and third movements).

Reuben Blundell conducted two works, Andante quasi recitativo by Elfrida Andrée (1841-1929) and Concentus Brevis by Matilde Capuis (1913-2017), with oboe soloist Rick Basehore. Both pieces were presented thanks to a grant from the Women’s Philharmonic Advocacy Group. The 1877 Andante quasi recitativo is a short (approximately five minutes), lyrical work, tinged with what seemed to this listener a mournful nostalgic quality. Written in 1975, Concentus Brevis is a ten-minute concerto for oboe and string orchestra. It is an effective work with highly virtuosic writing for the oboe soloist.

Mr. Blundell was economical in his motions, but his direction was clear in what were highly nuanced performances of works that one does not often encounter in the concert hall. Mr. Basehore projected strongly without any stridency, and his passagework was exquisite.

Michael Shane Wittenburg was the conductor for the final work in the first half, Camille Saint-Saëns’s Piano Concerto No. 2 in G minor, Op. 22, with piano soloist Christopher Johnson. This blockbuster concerto, which in the words of Sigismond Stojowski “begins like Bach, and ends like Offenbach,” is a tour-de-force for the pianist that is always an audience favorite.

Mr. Johnson spoke before sitting down at the piano, including a few humorous remarks. He gave me the impression of being filled with nervous energy, like a tightly coiled spring waiting to release. That quality was to serve him well, as he let loose with a fury in a “no holds barred” performance. Mr. Wittenburg, himself a highly accomplished pianist, was an attentive collaborator. Like Mr. Blundell, his direction was clear and without any large gestures.

After the pyrotechnics of the final movement, the electrified audience leapt to their feet to give Mr. Johnson a well-deserved standing ovation. While this reviewer has been to many a concert where everyone was given a standing ovation, this was the only such occurrence in an evening filled with outstanding performances.

The Music Director of the Pierre Monteux School for Conductors and Orchestra Musicians, Michael Jinbo, had the place of honor in conducting the final work on the program, Aaron Copland’s Appalachian Spring Suite for 13 Instruments (double string quartet, bass, flute, clarinet, bassoon, and piano). Maestro Jinbo also wrote very detailed and educational program notes.

While on the surface it would seem that this famous piece should be a walk in the park, it is simply not so. It is deceptively difficult, made more so by the small numbers, and it requires skills are not readily apparent to one sitting in the audience watching. Maestro Jinbo demonstrated his ability with a reading that was technically taut, but still sounded vital and fresh. While I enjoyed the fireworks of the Saint-Saëns, this was the most musically satisfying performance of the evening.

Congratulations are due to all. May the Monteux School and Music Festival enjoy the next seventy-five years of successes!

 

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