Jeffrey Williams | New York Concert Review, Inc.

(le) Poisson Rouge presents Taka Kigawa

Taka Kigawa, piano

(le) Poisson Rouge, New York, NY

August 27, 2018

On August 27, 2018, pianist Taka Kigawa (www.takakigawa.com) presented a program called “Music of Aucoin, Furrer, Yamane, Berio” at (le) Poisson Rouge. It was to prove to be a fascinating experience of encountering music of up-and-coming talents (Aucoin and Yamane), an established leading composer of today (Furrer), and an undisputed master for the ages (Berio).

Poisson Rouge has established itself as one of the leading non-traditional venues for classical music concerts. It is a club, complete with food and drink service, in a setting that one might call “edgy.” The audience members included students, middle-aged folks, and assorted hipsters – a mix one doesn’t always see at “traditional” halls. The idea is to “shake things up,” breaking all the so-called rules of classical concerts. It’s not for everyone, and some might argue that the idea itself misses the point of a concert experience, but I’ll leave that debate for others.

There were brief program notes for each work, as written by their respective composers. This was helpful for the listener to gain insights into the works. To learn more about the composers, one can follow these links: Matthew Aucoin , Beat Furrer, Akiko Yamane.

Mr. Kigawa spoke briefly to express his love for the music he was to play and to inform the audience that all of the works on his program were composed in the 21st century. He might have even billed his concert as music of the 21st century, which would be not only an interesting hook but a way to discourage annoying labels of “modern” and “contemporary.”

Opening with Akiko Yamane’s clever piece, Illuminated Baby, a musical depiction of a baby’s march (imagine a toddler somewhat wobbly but planting each step firmly), Mr. Kigawa showed straight away that he is a dynamic performer. It was a delightful beginning to the evening.

Beat Furrer’s Phasma ended the first half. It’s a twenty-five-minute epic journey (described by the composer as looking out the window on a high-speed train) that taxes the performer to the utmost, particularly in terms of stamina. It included playing inside the instrument and other special effects. Make no mistake, this work is challenging for the listener as well, and those with limited attention spans are forewarned. Mr. Kigawa kept the large audience engaged throughout (even as servers negotiated the tables with food and drink), which in and of itself was indicative of a first-rate talent. He was rewarded with loud cheers at the end, which were well deserved.

Matthew Aucoin’s Three Etudes (rondo which devours itself, currents, and a sounding) opened the second half. These short works were offered with virtuosic flair and probing depth. Of the three, a sounding was my favorite, but all three are effective and engaging pieces.

Luciano Berio’s Sonata ended the concert. This work seems to be anchored around the note B-flat, which is repeated continuously through much of the work (it reminded me a bit of Le Gibet from Gaspard de la nuit). It was yet another twenty-five-minute work that made heavy demands on the player. Conceptually it was more accessible than the Furrer piece, so it was an easier task for the listener, but not for the player! Mr. Kigawa was more than up to the demands and made it all seem easy. Perhaps the audience had been spoiled by his earlier dazzle and did not give him the credit he so richly deserved, much to my chagrin. As an encore, Mr. Kigawa offered the 4th (Erdenklavier) of Berio’s Six Encores.

Taka Kigawa is a pianist who not only has technique to burn but possesses an uncommon intelligence. Special note to all 21st century composers: Taka Kigawa is the pianist you have been looking for.

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

Noree Chamber Soloists NYC Concert Series Season Finale in Review

Yoon Lee, Yi Qun Xu, artistic directors

Stella Chen, Francesca dePasquale, Bela Horvath, violins; Caeli Smith, viola; Yi Qun Xu, cello; Yoon Lee, piano

Guest Artists: Catherine Cho, violin; Roger Tapping, viola; James Kim, cello

Church of the Blessed Sacrament, New York, NY

May 24, 2018

The Noree Chamber Soloists (www.noree.org), with special guest artists Catherine Cho, Roger Tapping, and James Kim lending their talents, concluded their NYC Concert Series season on May 24, 2018 with a program of Beethoven, Fauré, and Mendelssohn at the Church of the Blessed Sacrament. This program was originally scheduled for September of last year but had had to be re-scheduled. The unforeseen bonus of this delay was that the Church of the Blessed Sacrament meanwhile received a beautiful new Steinway grand piano (less than a month ago).

The well-written and informative program notes written by Jung-Min Mina Lee, Noree Chamber Soloists’ resident musicologist, made an immediately favorable impression on this reviewer. It should also be mentioned that in a previous review in this journal (The Viola Sings- Noree Chamber Soloists), the lack of printed notes had been noted, so the willingness to address this issue, which some might consider a reviewer’s fussiness, was also appreciated. Biographies of all the artists were included as well.

I will admit to having some trepidation about the acoustics of this venue, but the wise placement of the players in the middle of the hall, with the audience seated close to them, proved to be effective in keeping the sound “local”.

Pianist Yoon Lee and violinist Catherine Cho opened the concert with Beethoven’s Violin Sonata No. 3 in E-flat major, Op.12, No. 3. This early work reflects Beethoven’s most optimistic self. It is brimming with ebullience in the outer movements and lyrical beauty in the central slow movement. Even though this is a violin sonata, with a more or less equal partnership between the players, Beethoven gives the pianist the lion’s share of the difficulties – this is not at all to suggest that the violinist has a “walk in the park” (nothing could be further from the truth) – just to say that the pianist for this work deserves special recognition. Ms. Lee was equal to Beethoven’s virtuosic demands while never overpowering Ms. Cho, even though the piano was on the full stick. Ms. Cho projected a rich, vibrant tone, while tackling the technical challenges with an assured ease. It was a pleasure to witness Ms. Cho’s and Ms. Lee’s rapport. The audience was thrilled by their performance, with many shouts of Bravo! It is always heartening to this listener to witness such an enthusiastic response to a fine performance.

Fauré’s Piano Quartet No. 2 in G minor, Op. 45 followed the Beethoven. Violinist Francesca dePasquale, violist Roger Tapping, and cellist Yi Qun Xu, joined Ms. Lee. While I was impressed with the passionate playing of the opening movement, the frenetic energy of the perpetuum mobile second movement, and the “all-in” approach to the driving relentlessness of the finale, it was the third movement Adagio that set this performance apart. Of this movement, Fauré himself said he was inspired by the memory of evening bells from his childhood in the village of Cadirac. The audience listened with rapt attention as the ensemble played this “eerie reverie” (Fauré ‘s words) with exquisite sensitivity.

After Intermission, violinists Catherine Cho, Stella Chen, Francesca dePasquale, Bela Horvath, violists Caeli Smith and Roger Tapping, and cellists James Kim and Yi Qun Xu joined forces for Mendelssohn’s Octet in E-flat major, Op. 20. Written when Mendelssohn was sixteen as a birthday gift for his violin teacher Eduard Ritz (pity the other gift givers who had to follow that!), the Octet is, as stated in the program notes, “a dazzling display of individuality and imagination not commonly matched with a sixteen-year-old.” One could easily add “or one of any age!” It is no mean feat even for ensembles who have played together extensively to successfully navigate not only the technical challenges, but the ensemble ones as well, so I was adopting a “wait-and-see” outlook. Happily, these players meshed together wonderfully. Balance and intonation were excellent, and passagework was crisp and clearly articulated. The third movement, the well-loved Scherzo, which takes inspiration from Goethe’s Faust, had a light, puckish playfulness that sparkled with elfin magic. It was the highlight of not only the Octet, but the entire performance for this listener. After the thrills of the Presto finale, the audience rewarded the players with a richly deserved standing ovation. A wine reception awaited the audience after the concert.

Noree Chamber Soloists is a group with great promise. These young players already possess technical mastery and, given more time playing together, they should mature into a first-rate ensemble.

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

Carnegie Hall presents Laureates of the Sphinx Competition in Review

Elena Urioste, violin; Gabriel Cabezas, cello; Xavier Foley, bass; Tom Poster, piano

Zankel Hall at Carnegie Hall, New York, NY

May 3, 2018

Zankel Hall was the venue for a special concert entitled Laureates of the Sphinx Competition on May 3, 2018. Founded by Aaron P. Dworkin to address the underrepresentation of people of color in classical music, the Sphinx Organization is dedicated to transforming lives through the power of diversity in the arts. Their programs focus on four main principles: education and access, artist development, performing artists, and arts leadership. One can learn more about this outstanding organization by visiting www.sphinxmusic.org. The artists presented, in addition to being fine musicians, have dedicated themselves to furthering the mission of music by spearheading their own groups.

Before anything else, I would like to take the time to mention the excellent program notes, which not only gave both “at a glance” and detailed explanations of the works, but biographical information about the composers and the performance histories of the works. There any many performers who feel that program notes are unnecessary and even chide the reviewer for making it an issue! This is missing the point that audiences are not all experts (and not all so-called “experts” know everything either!), and that to leave the listeners without explanations risks leaving them feeling lost or frustrated. The opportunity to educate is lost, and those left behind will perceive classical music as elitist. One cannot bemoan dwindling attendance levels while failing to do the utmost to make listeners want to return.

Laureates of the Sphinx; Tom Poster, Elena Urioste & Gabriel Cabezas; Photo Credit: Pete Checchia

Cellist Gabriel Cabezas led off with Robert Schumann’s Fünf Stücke im Volkston (Five Pieces in Folk Style), Op. 102, with pianist Tom Poster. Schumann was a master of small forms, and this work is no exception. One sees both his Florestan (1,4, and 5) and Eusebius (2 and 3) personalities in this work. While I found Mr. Cabezas to be technically assured with a warm, rich tone, it was the slower works (2.3) that this listener found to be the most compelling, showing Mr. Cabezas to be a sensitive artist who digs deep into the emotional depths of Schumann without making it overly-sentimental or mawkish.

Violinist Elena Urioste and Mr. Poster followed with two works: Olivier Messiaen’s Theme and Variations (1932) and Amy Beach’s Romance, Op. 23. The Messiaen was mesmerizing; Ms. Urioste’s extreme upper register was crystalline, and, combined with Mr. Poster’s attentiveness to balance, the performance was everything one would hope for. The building in intensity of each successive variation was thrilling. The Beach Romance was lush as one might expect, but also a virtuosic showpiece that showed that Ms. Urioste “has the goods” and can wow an audience. Again Mr. Poster is to be lauded for his superb work, in what was consistently excellent throughout the concert.

Laureates of the Sphinx Competition; Tom Poster & Xavier Foley; Photo Credit: Pete Checchia

I’m going to flip the order of the pieces performed by bassist Xavier Foley to discuss his own composition first. His 2016 Cranberry Juice (a New York premiere) was inspired by the music from StarCraft, a real-time strategy game. Mr. Foley writes that his work features 90’s alt-rock sounds with the slightest dash of R&B. A quote from The Simpsons theme song from the earlier solo version was removed due to possible legal issues. D’oh! Cranberry Juice is a fun trip, with frenzied moments delivered by Mr. Foley in a playful way. He is an extroverted performer and a real crowd-pleaser; it is almost as enjoyable to watch him play as to hear him. Two works by Reinhold Glière, Intermezzo, Op 9, No.1, and Tarantella, Op.9, No. 2 showed Mr. Foley’s technical prowess. It’s no mean feat to navigate the rapid passagework on the bass without blurred, muddy sounds and to maintain a singing tone in the higher range, but Mr. Foley made it all look like child’s play.

Ms. Urioste, Mr. Cabezas, and Mr. Poster took the stage for the World Premiere of Divertimento (2018), commissioned by the Sphinx Organization from composer Gabriella Smith (b. 1991). Ms. Smith writes she was inspired by the “quirkiness” of Haydn and the Scherzo from Beethoven’s Eroica Symphony. Complete with extended techniques, pitch bends, and other noises, it featured “special guest appearances” of themes from Papa Haydn and Beethoven, which peeked in as if the players were naughty children, only to have them return to creating mischief when they turned away. It was the product of a highly imaginative and talented up-and-coming composer. Ms. Smith was in attendance and rose to greet the players and the audience to accept the well-earned applause.

Ms. Urioste spoke briefly to thank Sphinx and Carnegie Hall, but also to explain some of the thoughts behind the concert. Diversity not just of skin color, but of gender, country of origin, and musical style, was considered, as well as the presentation of living composers. Ms. Urioste then said that, “we don’t need to talk about it, but just do it” – to some laughter. The message was clear; talk is nice, but action is better.

Maurice Ravel’s 1914 Piano Trio in A minor, completed at the end of August, the first month of World War One, was the final work on the program. It is not surprising that the events of the day had an influence on Ravel (“[I am] working with the assurance and clarity of a madman,” he wrote to a friend), and the end result is a work filled with strife, but also mournful majesty. I was wondering if these young players would fully grasp the pathos of Ravel’s conception and also be able to navigate the considerable difficulties that Ravel placed upon all three players. I should have not feared a thing, as this was one of the best performances of this work I have heard. It was the highlight for this listener, and the audience seemed to second that notion, judging by the extended standing ovation awarded to the players.

Mr. Cabezas humorously vamped as his partners tracked down Mr. Foley for an encore. A charming arrangement by Mr. Poster of Manuel Ponce’s Estrellita (as transcribed by Heifetz) was a lovely ending to a great evening of music. Keep up the good work, Sphinx – I look forward to hearing more from your fine organization!

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

Lynn Spurgat in Review

Lynn Spurgat, soprano

Jason Wirth, piano

Zankel Hall at Carnegie Hall, New York, NY

May 2, 2018

Soprano Lynn Spurgat and pianist Jason Wirth joined together at Zankel Hall at Carnegie Hall for a recital dedicated to songs of love; love lost, love unfulfilled, and the passion and despair were all themes. With works from Beethoven, Wagner, Liszt, and Granados, it was to prove to be a compelling concept realized with excellence.

Lynn Spurgat (www. lynnspurgat.com) is a performer with not only the requisite credentials as a singer, but with a breadth as an artist and communicator. She wrote fine program notes, which helped the listener gain further insights into the presented works. Ms. Spurgat has a commanding stage presence, complete with a big personality and an intense focus as she “locks into” her roles. Jason Wirth (www.jasonwirth.com) is an impressive musician in his own right, and as Ms. Spurgat was to relate to the audience, her “rock from day one.”

When Ms. Spurgat took the stage, the large audience gave her one of the most enthusiastic welcomes that this reviewer can recall witnessing in some time. It was a wonderful thing to see such support for an artist, and I am sure that support lent wings to her performance.

Ms. Spurgat opened with Beethoven’s Ah! Perfido, Op. 65. Ah! Perfido is sung by a woman who has been deserted by her lover, torn between wanting the gods to punish her lover or wanting them to show him mercy for his sins – or sacrificing herself. Ms. Spurgat cycled through the song’s emotions in a frenzied manner, revealing the near madness of the protagonist. It is quite a challenge for the singer to portray these quicksilver mood swings in a believable fashion, and it could be so easy to descend into cartoonish melodrama, making a mockery of it all. Thankfully, Ms. Spurgat avoided these traps. The pleading, the angry outbursts and vengeful spite, the longing and remorse, and the final despairing resignation were all stylishly captured by Ms. Spurgat. The audience loved it.

Wesendonck Lieder, WWV 91, is the common name of a set of five songs for female voice and piano by Richard Wagner, Fünf Gedichte für eine Frauenstimme (Five Poems for a Female Voice). He set five poems by Mathilde Wesendonck while he was working on his opera Tristan und Isolde. The poems are, as Ms. Spurgat (charitably) states, are not on the level of Petrarch. All issues of poetic quality aside, this work, other than the Siegfried Idyll, is the most frequently performed non-operatic work of Wagner’s. Highlights were Der Engel (The Angel), in which Ms. Spurgat’s voice was ethereally light, with nice dynamic restraint while still projecting well into the hall, the lament of Im Treibhaus (In the Greenhouse), and Träume (Dreaming) which Ms. Spurgat transported the listener to another world. Her German diction was outstanding. The audience responded with raucous approval, including many shouts of Bravo! It was a fine end to a fine first half.

After intermission, Ms. Spurgat offered Liszt’s Tre sonetti di Petrarca (Three Petrarchan Sonnets). The story of Petrarch and Laura is so well-known that it is unnecessary to discuss here. This set was the highlight of the evening for this listener. Liszt not only offers brilliant settings of these magnificent texts for the singer, but some virtuosic writing for the pianist, in what is a partnership between the two, as opposed to the secondary role the pianist plays in the Wesendonck Lieder. Ms. Spurgat was superb in projecting these emotionally charged texts with sensitivity and passion. Her voice soared in the upper register without loss of quality or intonation. Mr. Wirth was more than equal to Liszt’s challenges and deserves high praise. The entire set was exceptional, but I’ vidi in terra angelici costume (I saw angelic virtue on earth) was a cut above.

Two works by Granados, selections from the Tonadillas en estilo antiguo, and La Maja y el Ruiseñor (The Maiden and the Nightingale) from his opera Goyescas (as adapted from his 1914 piano suite of the same name) ended the recital. The Tonadillas are song portraits of the working-class neighborhoods of 19^th century Madrid. The words majo and maja refer to men and women of the poorer areas, such as Lavapiés. They are mostly light-hearted and whimsical, qualities which Ms. Spurgat played up to the hilt in a delightful way. When she shook her head and waved a finger in a “no-no” gesture in El majo discreto (The Discreet Man) the audience roared in laughter. We already knew that Ms. Spurgat has the technical goods, so it was enjoyable to see her having some unbridled fun. That said, she reminded us that while she can let her hair down, in the end she is still a force, and La Maja y el Ruiseñor was that reminder. It was a powerful close that had the audience leap to their feet in a standing ovation. After two encores, it was time for her to take her leave, with the audience still clamoring for more.

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

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

Eric Whitacre, composer/conductor

Kelly Yu-Chieh Lin, piano

Sarah Jean Ford, soprano

Distinguished Concerts Singers International

Stern Auditorium at Carnegie Hall, New York, NY

April 8, 2018

How does one make a concert that is both entertaining and musically substantive? This is something that many concert organizers struggle with, but Distinguished Concerts International New York (DCINY) has discovered a simple formula that is a lock for sure-fire success: Invite Eric Whitacre to conduct a concert of his own works. This is Eric Whitacre’s fifteenth appearance with DCINY. Five hundred forty-three singers from Ohio, Massachusetts, California, Canada, United Arab Emirates, Pennsylvania, South Carolina, Utah, Wisconsin, Texas, Tennessee, New Jersey, and individual singers from around the globe gathered under the direction of Mr. Whitacre for an afternoon of some old favorites (Lux Aurumque, Seal Lullaby, The City and the Sea, Cloudburst, and Sleep) with newer works (e.g., Hurt and “Home” from the Sacred Veil), in addition to works by Moses Hogan and John Mackey.

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. His enthusiasm is simply infectious; one cannot help being drawn in by this dynamic personality.

The Star-Spangled Banner, as arranged by Whitacre, was a welcome pre-concert opener overall. It has some of his characteristic close harmonies, and some other additions for dramatic effect, including that hackneyed leap of a fourth on the held note “Free,” and a Hollywood-esque soundtrack finish. Thankfully, it was not the melisma-fest one so often hears at sporting events by various pop stars.

The program did not follow the printed order, but Mr. Whitacre announced each work with some of the history/back story behind each work. There was a moment of confusion when a string quartet appeared on stage at the appointed time after Mr. Whitacre had just announced the ensuing piece, but without missing a beat, he vamped à la Airplane! – “I picked the wrong week to stop taking amphetamines.” Roaring laughter followed.

Lux Aurumque, one of his earlier works, opened the concert proper. I’ve heard this work countless times, yet it still amazes me how the simplest means have such a profound effect. The chorus rendered the close intervals flawlessly, with excellent balance and intonation. This was an excellent start!

The next piece, Little Birds, to text by Octavio Paz, could be described as “Fauré for the 21st century.” Mr. Whitacre acknowledged Fauré’s influence in his remarks. Complete with bird whistles and paper waving at the end, it was enchanting.

Five Hebrew Love Songs, written in 1995 for his wife Hila Plitman to her texts, is filled with passion. Even a person with little musical training could sense that Mr. Whitacre poured his heart and soul into these songs. The addition of the string quartet added further depth to an already emotionally charged work. Each song was captivating in its own way, but Temuna (A picture), with its almost mournful sentimentality, and the atmospheric, shimmering Eyze sheleg! (What Snow!) were my favorites.

The next work, The Rumor of a Secret King, by John Mackey (b. 1973), set to text from Mr. Mackey’s wife Abby Jaques, was written at the request of Mr. Whitacre. Mr. Mackey and Mr. Whitacre were classmates at Juilliard and remain close friends. It is not a secret that I am an admirer of Mr. Mackey’s works, so I was especially looking forward to this piece. It is filled with driving rhythmic energy, combined with hints of John Tavener. My admiration is intact; this is a worthy addition to the repertoire that was given a winning performance. Mr. Whitacre told the audience that Mr. Mackey is very active on social media and to send him a tweet telling him how good his work was! I am sure many people did just that.

Seal Lullaby, with text from Rudyard Kipling, followed the Mackey. It originally was intended for a DreamWorks project that was abandoned in favor of Kung Fu Panda. Mr. Whitacre called this piece “trunk music,” a work written that is stored away to be used at some point in the future. The tune is simple, yet very moving, and the timbre of the singers was ideal in a touching performance.

The first half concluded with two well-loved and frequently performed spirituals arranged by Moses Hogan (1957-2003), Elijah Rock and The Battle of Jericho (and a third selection in the printed program was omitted). The audience loved the rollicking works and gave all a standing ovation that one usually sees only at the end of a concert.

The second half was all music of Mr. Whitacre. His Goodnight Moon opened. The lyrics come from the beloved children’s book of the same name, which Mr. Whitacre said he has read to his son “at least a thousand times.” It had all the child-like innocence in a sweet, wistful performance that would enchant children of all ages from one to ninety-nine.

The New York premiere of i carry your heart, with text from E.E. Cummings, was next. It was composed as a surprise gift to two friends of Mr. Whitacre. He said it was the favorite poem of the two, and that it was hoped that he could set it to be used at their wedding. Alas, it was not to be, as Mr. Whitacre was unable to get the setting to his satisfaction, instead giving “the worst best man speech in history.” Sometime later, Mr. Whitacre was sitting at the piano randomly striking chords, when a simple two-chord sequence was the catalyst for showing him the path he could not find previously. I’m sure his friends loved the post-wedding gift. The chorus was superb in the “unfolding” of the layers of sound, as it expanded into its full grandeur.

Cloudburst, with text by Octavio Paz, is one of Mr. Whitacre’s signature pieces. With added percussion for the “storm” and chorus member finger snaps for “rain,” it is an aurally and visually arresting tour-de-force. I was disappointed that so few in the audience took the cue from Mr. Whitacre to snap their fingers rapidly in creating the cloudburst effect. It would have been amazing if the entire hall had joined in! Nonetheless, it was still a mesmerizing eight minutes.

The World Premiere of “Home” from The Sacred Veil, courtesy of the DCINY Premiere Project, followed. It is a part of a larger work that Mr. Whitacre is writing in collaboration with his friend Charles Anthony Silvestri. Mr. Whitacre described the veil as the dividing point between the living and the dead, but not a barrier to communication between these worlds. The text is a remembrance of the second date Mr. Silvestri had with his wife, who passed away twelve years ago from ovarian cancer, of the feeling of falling deeply in love with her – “You, feel like home.” A cellist joined the piano and chorus. It was heartbreakingly beautiful, and the emotional impact is still lingering inside me. I very much want to hear the complete work.

The next work, the city and the sea, brought back a light mood. It uses the texts of five poems by E.E. Cummings. Three selections, the jaunty No.1, i walked the boulevard, the nostalgia-tinged No. 3, maggie and milly and molly and may, and the furiously hectic No.5, little man in a hurry were this listener’s favorites.

Hurt, by Trent Reznor (b. 1965), from the group Nine Inch Nails, is a song that Mr. Whitacre told the audience is one of his favorites. An unforgettable cover of this song by Johnny Cash is one of the very last things The Man in Black did before his death. The power of the lyrics is undeniable regardless of one’s feelings about the music itself. Mr. Whitacre’s conception harnesses the rawness of emotion with an otherworldly feeling. Sara Jean Ford’s soprano voice wandered in and out like a calling from beyond. It was haunting, and even a bit unsettling, which might account for the somewhat bewildered response from the audience. This listener found it to be most compelling.

Sleep was the final work. Originally written using Robert Frost’s Stopping by Woods on a Snowy Evening, Mr. Whitacre was denied permission by the Frost estate to use the text in any form, including performance, until 2038 (when the work would enter the public domain), and was threatened with legal action. Luckily for Mr. Whitacre, his friend Charles Anthony Silvestri was able to provide him with a metrically identical poem, for which Mr. Whitacre was able to use the already written music. It was a sublime ending to a memorable afternoon. The audience gave Mr. Whitacre a long standing ovation. The formula remains effective: Mission accomplished, DCINY!

Kudos to the unsung hero of this concert, pianist Kelly Yu-Chieh Lin, who was a superstar in her own right. If one missed this concert, it will be encored on April 15, 2018 at David Geffen Hall at Lincoln Center.

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

Legato Arts presents Ivan Ženatý in Review

Ivan Ženatý, violin

Weill Recital Hall at Carnegie Hall, New York, NY

April 4, 2018

For the 333rd anniversary of the year of J.S. Bach’s birth, Czech violinist Ivan Ženatý presented three selections from the celebrated Sonatas and Partitas for solo violin (BWV 1001-1006). He offered two partitas (No. 3, BWV 1006 and No. 2, BWV 1004) and one sonata (No.1, BWV 1001) in a program played without intermission or significant pause (more about this later). It was to prove to be a night of profundity and artistry that held the sold-out Weill Hall enthralled.

Mr. Ženatý (www.ivanzenaty.com) is what one might call a “throwback.” In today’s world, where many performers resort to “shock and awe” tactics with edgy wardrobe choices and brashness, often with a heavy dose of histrionic gestures, it is refreshing to see a performer honoring the traditions of days past. Dressed elegantly in white tie and tails, Mr. Ženatý has a regal bearing that exudes confidence, but without arrogance. There are no mannerisms to draw attention to himself; rather, he is a faithful servant of the music, investing in it his full attention and energy.

Written in 1720, the Sonatas and Partitas are models of the violin’s technical capacity as a solo instrument, and they have become an essential part of the violin repertoire. Georges Enescu considered them “The Himalayas of violinists,” and he recorded all the sonatas and partitas in the late 1940s. Perhaps more relevant to this evening, though, is mention of Josef Suk’s recordings and performances of these very works, as Mr. Suk was among the important mentors of Mr. Ženatý. It occurred to this listener at several points in the evening that his influence was discernible in matters of tone and artistry – both exceptional.

Opening with celebrated Partita No. 3 in E major, BWV 1006, Mr. Ženatý established his command immediately. The quick dynamic changes in the Preludio were flawless, and without any loss of sonority or tempo. Particularly beautiful were his softer passages. So many string players lose the quality of projection when playing softly – or worse, in amateurish cases, slow down! – but Mr. Ženatý demonstrated an effortless mastery with no such issues. His ornaments were delicate without being brittle or strained sounding, and he never rushed in the lively movements. He showed a flexibility of phrasing and elegance that were just what was needed for the courtlier dance movements, with exemplary clarity and crispness of articulation.

Throughout the evening, it should be noted, Mr. Ženatý’s intonation was always precise and his bow work exquisite, without any hint ever of scratchiness. One can only hope that, in his capacity as a teacher (on the faculty of the Cleveland Institute of Music and elsewhere), he can impart his secrets to the next generation! It doesn’t hurt that Mr. Ženatý plays a 1740 Giuseppe Guarneri del Jesu violin, courtesy of the Harmony Foundation of New York, but naturally even such a violin doesn’t play itself!

Following the E Major Partita was the Sonata No.1 in G minor, BWV 1001. Played incisively throughout, with careful attention to the smallest of details, it was a virtual masterclass on how to play this work.

I must offer one serious criticism, not about the quality of Mr. Ženatý’s playing, but that he did not allow sufficient time between works for the audience members to “reset” their ears. This listener needs the sonic equivalent of a glass of water (i.e., a moment of silence), and while the violinist might have not wished to lose his momentum, it was apparent that some in the audience were not even clear about where in the program they were (as was evidenced by the lack of any applause until the complete end). Leaving the stage for just a moment would have solved all issues, and I am a bit surprised that such an intelligent musician failed to avail himself of this simple action.

The Partita No.2 in D minor, BWV 1004, with its epic final Chaconne, ended the program. This Chaconne, in the right hands, is always the pinnacle of a program, and as much as one had been mesmerized by the playing throughout this concert, including the beautifully played earlier movements of this Partita – especially the Sarabande – one could feel the anticipation building right up through the Giga that precedes it. Yehudi Menuhin called the Chaconne “the greatest structure for solo violin that exists,” and Joshua Bell has said the Chaconne is “not just one of the greatest pieces of music ever written, but one of the greatest achievements of any man in history. It’s a spiritually powerful piece, emotionally powerful, structurally perfect.” It is indeed all of the above, but it takes a violinist of the highest order, and Mr. Ženatý fit the bill. He not only did not flag after the preceding works but, on the contrary, he seemed to be even more energized and focused than during the rest of the evening. He took a deep breath before launching into it, and it was clear that he was embarking on an unforgettable journey. His conception was breathtaking, and no detail was amiss in the realization of it. One was left simply awestruck.

The audience (finally!) responded and gave Mr. Ženatý an immediate and richly deserved standing ovation. Shouts of Bravo! beckoned Mr. Ženatý to return to the stage four times, perhaps hoping to coax an encore. After the monumental Chaconne, this would have been akin to popping open a can of beer after eating at a three-star restaurant. Of course, Mr. Ženatý did not do that, but took his final leave with the Chaconne’s last notes still resounding in one’s ears.

There are not many chances to hear a violinist of this caliber live – music lovers who have the opportunity to hear Ivan Ženatý in future performances should not hesitate to go.

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

Distinguished Concerts International New York (DCINY) presents Total Vocal in Review

Deke Sharon, host, conductor, arranger, and creative director

Shelley Regner, Matthew Sallee, guest soloists

VoicePlay, Shemesh Quartet, special guests

Distinguished Concerts Singers International

David Geffen Hall, Lincoln Center, New York, NY

March 25, 2018

Distinguished Concerts International New York (DCINY), masters of the “big show,” outdid themselves in the fourth edition of Total Vocal. Deke Sharon, arguably the leading force in the world of a cappella, was once again on hand to host and direct. What used to be the domain of East coast colleges, with a few hundred groups, has now exploded into a worldwide phenomenon, with over 3000 groups, largely to the popularity of shows and movies such as The Sing-Off and the Pitch Perfect franchise, to which Mr. Sharon’s contributions were integral.

The two-hour extravaganza had something for everyone, and even the crustiest of curmudgeons would have been hard pressed not to feel the pure joy that filled the hall. The concert was live streamed on DCINY’s Facebook page. Click here to watch and re-live the fun: DCINY Facebook page

There are concerts after which a reviewer will offer specific comments about intonation, diction, balance, and other musical considerations. This is not one of those concerts; for one, it would be almost obnoxiously nitpicky, and secondly, it would miss the point of the concert altogether. Quoting Mr. Sharon: “This is not a classical concert. You can clap, sing along, or dance if you want to.” Many audience members in the sold-out David Geffen Hall took up Mr. Sharon on his offer, and it was one of the most pleasurable two hours this listener has had in a long while.

Mr. Sharon informed us that there were 525 singers from nine countries, and one might make the assumption that all of the performers would all be youngsters. This would be wrong! The ranks of the singers were filled with not only teens and twenty-somethings, but many “veterans” as well. It was wonderful to see the young with the old, people from around the world all joined together having the time of their lives. My attention was especially drawn to an elderly gentleman in the front row who showed the enthusiasm and energy of a teenager. You’ll be sure to find your own favorites.

With twenty-two songs (eleven on each half), and nearly thirty soloists, it would turn this review into a book report to name each and every song and soloist. I’m going to limit myself to the guest soloists, featured ensembles, and highlights of the other selections. For a full list of songs, soloists, and performers, click here: Total Vocal Program Notes.

An ensemble named Room 100, from the Peters Township High School in Pittsburgh, offered a stylish performance of Norah Jones’s Don’t Know Why. The Shemesh Quartet from Mexico, favorites from the third Total Vocal, returned again this year and wowed the audience with their Latin Medley, which dramatized song samplings by pantomiming changing stations on a radio. The group Evolve, from Chesapeake High School in Maryland, gave us a high-octane performance of Duffy’s Mercy. Layne Stein, from VoicePlay, was dazzling in a solo of vocal percussion (sometimes called beatbox). Matthew Sallee, the newest member of Pentatonix, closed the first half with Lionel Richie’s All Night Long. His voice and engagement with the audience brought the house down in what was the highlight of the concert for this listener.

On the second half, the entire ensemble of VoicePlay sang a touching rendition of Waving Through a Window, from the Broadway hit Dear Evan Hansen. The delightfully named Psycho-Chor de FSU Jena, from Germany (the name refers to members being psychology students at the Friedrich-Schiller-University, Jena) was both slick and sophisticated in the song Royals, by Lorde. Candice Helfand-Rogers’s F You (by Lily Allen, not to be confused with the CeeLo Green song of the same title) was appropriately saucy. No Treble, from Bangalore, put their own imprint on Cups, a version of the 1931 song When I’m Gone that became popular after Anna Kendrick’s rendition in the first Pitch Perfect movie from 2012. Shelley Regner, from the Pitch Perfect movies, was ebullient in the Katrina and the Waves hit Walkin’ on Sunshine.

This listener’s favorites from the other selections were Toxic, in a James Bond meets Britney Spears arrangement, Proud Mary (the Tina Turner version, of course!), Louis Prima’s Sing, Sing, Sing, which broke out into a swing dance party on stage, and Randy Newman’s tear-jerker When She Loved Me.

The hyper-energetic Mr. Sharon obviously loves what he does. His enthusiasm was infectious as he roamed the stage, sprinting to help a performer with microphone issues, dancing along and blowing kisses to all, while working the audience as if he had been born to do it. He also arranged nearly every song on the program, and even sang solo on George Gershwin’s Summertime. His vocal mimicking of a trumpet, complete with Harmon (“Wah-Wah”) mute was mind-blowing. What a talent!

U2’s I Still Haven’t Found What I’m Looking For had Voiceplay, Ms. Regner, and Mr. Sallee return in a showstopper finale. Singers from the first half raced up the aisles to join in.

The built-in encore The Lion Sleeps Tonight, with “mandatory” audience participation brought the concert to a rousing close. The fifth Total Vocal is already on the calendar for Palm Sunday in 2019. Mark your calendars now and be there. You’ll have the time of your life!

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

Distinguished Concerts International New York (DCINY) presents Reflections of Light in Review

Distinguished Concerts Orchestra; Distinguished Concerts Singers International

Jonathan Griffith, DCINY Artistic Director and conductor

Hilary Apfelstadt, conductor laureate; Martha Shaw, director; Carol Joy Sparkman, accompanist;

Dinos Constantinides, composer-in-residence; Iris Derke, flute soloist; Kirsten Agresta Copely, harp soloist

David Geffen Hall, Lincoln Center, New York, NY

March 17, 2018

On a chilly St. Patrick’s Day, Distinguished Concerts International New York (DCINY) offered a respite from the holiday revelry in New York City by way of a concert entitled Reflections of Light. Featured were the World Premiere of a work by DCINY favorite Dinos Constantinides and Luigi Cherubini’s masterful Requiem in C minor. Singers from Georgia, Mississippi, New Jersey, New York, Ohio, Oklahoma, Canada, and New Zealand were on hand to reach for the stars.

The concert was live streamed on DCINY’s Facebook page. Click here to watch: DCINY Facebook page

Martha Shaw took the podium to open the concert with a set of eight songs on celestial themes. The chorus was made up of middle school and high school singers. For a complete list of the works, I recommend that the reader take a moment to read Ms. Shaw’s charming program notes by following this link: Reflections of Light Program Notes.

One has to expect a certain unevenness with groups of younger singers, which is not meant as a criticism, but the reality of a wide range of abilities of the participants. In this case, the sopranos were the dominant force.

Ms. Shaw coached her young charges well. Even if there were occasional balance issues, the intonation was solid, and the poise of the singers was admirable. It is always a joy to see the smiles of young performers regardless of any musical considerations. Pianist Carol Joy Sparkman was an integral part of the success.

Highlights included the opening Salmo 150 (Psalm 150) by Ernani Aguiar, which was delivered with a driving intensity, and Gus Edwards’s 1909 vaudeville hit By the Light of the Silvery Moon. True Light, by Keith Hampton featured an unnamed male singer, who came to the front of the stage and gave an impassioned solo. He had the audience cheering. The chorus swayed to and fro in rhythm to the music. Their families and friends rewarded their stars with a standing ovation, something these young performers will remember for a lifetime.

After a short pause, the stage was set for the World Premiere of Dinos Constantinides’s Concerto for Flute, Harp, and Orchestra, LRC 268b, written for and dedicated to Iris Derke and DCINY in celebration of their ten-year anniversary.

This work is meant as a companion piece to Mozart’s Concerto for Flute, Harp, and Orchestra, but with the Greek-themed style in which Mr. Constantinides excels. The composer writes in his notes that he used materials from prior works, notably in the second movement, Hymn, which uses the Delphic Hymn dating back to 200 B.C. (As I have mentioned in a prior review, I am somewhat incredulous about this, but will defer to Mr. Constantinides). Jonathan Griffith took the podium to conduct.

The Concerto showed Mr. Constantinides to be quite skillful in writing idiomatically for both the flute and harp soloists. Both Ms. Derke and Ms. Copley were shown to great advantage, with passagework that showcased their virtuosity, including the use of extended techniques. This listener’s favorite movement was the finale, Dance, a lively romp that could be called “Greek Hoedown.” Mr. Constantinides joined Ms. Derke, Ms. Copley, and Maestro Griffith on stage to take a bow for a well-deserved ovation from the audience.

After intermission, conductor laureate Hilary Apfelstadt took the podium to lead Luigi Cherubini’s Requiem in C minor. Written in 1816 for an 1817 memorial service for Louis XVI (who was beheaded twenty-three years earlier), this work was greatly admired by Beethoven, Schumann, and Brahms. Cherubini used small forces (no flutes) and no vocal soloists, perhaps because of the limitations of the space available for that memorial service.

Ms. Apfelstadt took a careful, well-considered, and meticulous approach. Her directions were spare and without any histrionics, confident that the excellent Distinguished Concerts Orchestra would produce maximum results. That confidence was well-placed in what was truly an exceptional performance. The sinister Dies Irae, complete with gong(!), and the Agnus Dei, which began in an almost defiant manner, but resolved into a beautiful serenity, were the highlights for this listener. Much praise must be given to the chorus as well. They were well-prepared and thrived under Ms. Apfelstadt’s leadership. The audience gave all the performers a standing ovation at the concert’s end. Keep reaching for the stars, DCINY!

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

Vocal Artists Management presents Kyunghee Kim in Review

Kyunghee Kim, soprano

David Holkeboer, piano; Paul Won Jin Cho, clarinet

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

February 27, 2018

Vocal Artists Management (www.vocalartistsmgmt.com) presented soprano Kyunghee Kim in recital with pianist David Holkeboer on February 27, 2018 at the Opera America National Opera Center America. She offered a variety of works, including arias from Le nozze di Figaro and Adriana Lecouvreur.

Ms. Kim’s biography lists an impressive number of appearances throughout the world, both as a soloist and in featured operatic roles. Mr. Holkeboer is both highly sought after as a vocal coach and collaborator.

The program provided translated text of the works (but not the original), which was welcome, but it would have been desirable to have some information about the lesser known composers.

For those unfamiliar with the venue, the recital hall has the intimate feel of a salon but with the acoustics one doesn’t find in a typical salon. While the number of audience members was not large, it still had the appearance of being relatively full.

Ms. Kim opened with three works, Pergolesi’s Se tu m’ami, se tu sospiri (If you love me) and Selve amiche (Friendly Woods) from Antonio Caldara, followed by Rossini’s La promessa (The promise). Ms. Kim’s vocal gifts were immediately apparent. Her vibrato was well-controlled and used sparingly, which for this listener was ideal, and her intonation was true. While she possesses a powerful voice, she was clearly aware of the lively acoustics of the small hall without any loss in vocal quality. This was the sign of a sensitive musician at work.

Franz Schubert’s Der Hirt auf dem Felsen, D. 965 (The Shepherd on the Rock), for soprano, clarinet, and piano, ended the first half. Clarinetist Paul Won Jin Cho joined Ms. Kim and Mr. Holkeboer. The interplay among the three musicians was exquisite, from the lovely opening “echoes,” to the darker tones of the middle sections, ending with the optimistic and hopeful last section. I would like to give Mr. Cho special mention for the deep, rich tone he projected, along with the agility of his technique, which blended perfectly with the voice. Ms. Kim captured the emotion with skill, in what the highlight of the evening for this listener.

After a very short intermission, Mr. Holkeboer played a solo version of the lovely Meditation from Jules Massenet’s Thais. He then launched into the introduction of Porgi amor, from Mozart’s Le nozze di Figaro. Ms. Kim then strode onto the stage, wearing a different dress from her opening half. There is no need to go into detail about this aria, as it is so well-known, with almost every soprano of note having had a turn with it. Ms. Kim suffered no complexes, as her interpretation would hold its own with any other. It was achingly poignant as Ms. Kim drew out all of its despair.

Ms. Kim had already established her artistry, so it was now time for a display of vocal gymnastics. Three songs from Spanish composer Fernando Obradors (1897-1945) fit the bill. Chiquitita la novia (given a literal translation as “Tiny the Girlfriend” where “A Tiny Bride” would be more idiomatic), Del cabello más sutil, and El vito are highly dramatic works which push the singer to the limits, both in range and technique. They also feature virtuosic piano accompaniments, keeping both performers on their toes. Any mishaps could render the effect almost cartoonish, but Ms. Kim pushed aside these dangers as trifles and made it all seem like child’s play. Her diction was also excellent. The audience showed its appreciation with enthusiastic calls of brava!

Io son l’umile ancella (I am but the humble servant) from Francesco Cilea’s Adriana Lecouvreur ended the recital. After the pyrotechnics of the Obradors works, it might have been an anti-climax, but this was far from the case. Skillfully done, it was a triumphant ending which the audience rewards Ms. Kim with a standing ovation.

As an encore, Ms. Kim offered the Korean folk song Arirang, often called the unofficial national anthem of Korea, which she sang with a special reverence.

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

Distinguished Concerts International New York (DCINY) presents Perpetual Light In Review

Distinguished Concerts Orchestra; Distinguished Concerts Singers International

James M. Meaders, DCINY conductor; Jean-Sébastien Vallée, guest conductor

Maribeth Crawford, soprano; Cecelia Stearman, mezzo-soprano; Shawn Mlynek, tenor; Patton Rice, bass

Stern Auditorium at Carnegie Hall, New York, NY

February 19. 2018

Distinguished Concerts International New York (DCINY), now in their 10th season, has made the “themed concert” a staple of their programming. A particular favorite of DCINY is a format featuring two requiems, either introducing a newer work with one of the classics, or both being well known and well-loved offerings. On this occasion, the latter combination was used. In a concert entitled Perpetual Light, the Requiems of Mozart and Duruflé were to be featured. The Distinguished Concerts Singers International personnel hailed from California, Louisiana, Mississippi, Oregon, Tennessee, Virginia, Wyoming, Canada, Germany, The Netherlands, and the United Kingdom, and also included individual singers from elsewhere around the globe.

Mozart’s Requiem in D minor, K. 626 has a storied history. Commissioned by Count Franz von Walsegg as a memorial to his late wife, it was unfinished by Mozart at the time of his death in 1791. His student Franz Xaver Süssmayr completed the work, relying on various sketches as well as his own assumptions of familiarity with Mozart’s wishes for the composition. How much of the work is Mozart versus how much is Süssmayr is still being debated to this day, but this a task best left to the musical forensics experts.

James M. Meaders took the podium to conduct. His approach was assured, but with what seemed to be a special emphasis on restraint. The “fire and brimstone” that abounds in this work never became overblown. It simmered under the surface, which made the listener feel as if a soul were in the balance and that Heavenly Judges were weighing the evidence with the utmost severity. Mr. Meaders proved to be a musician who understands that Mozart has provided all the drama necessary – it was all very compelling. One was left with the uneasy feeling at the end that judgment was still forthcoming. This listener found it all quite gripping.

Some words of praise for the soloists, both as individuals and as an ensemble, are in order here. Soprano Maribeth Crawford sang with a soaring brilliance. Mezzo-soprano Cecelia Stearman’s lovely voice delighted. Tenor Shawn Mlynek sang with striking projection, and bass Patton Rice’s strong voice was appropriately imposing. One must not forget the (unnamed) trombone soloist in the Tuba Mirum for her flawless playing.

After intermission, guest conductor Jean-Sébastien Vallée took to the podium to conduct the Requiem, Op. 9, of French organist, pedagogue, and composer, Maurice Duruflé (1902-1986). Modeled after Gabriel Fauré’s Requiem, this serene work is the polar opposite of the Mozart. It is devoid of some of the fearsome elements of the requiem mass and omits the Dies Irae. While I am continually awestruck by the genius of Mozart’s work, I feel that Duruflé’s conception is more in the spirit of a final mass that is asking for a peaceful eternal rest.

Mr. Vallée took an expansive approach, bringing out all the beauty that abounds in this wonderful work. He was a passionate leader, with sweeping gestures to the large chorus to exhort them to “sing to the heavens.” His approach was to pay off handsomely. This listener counts this work among his favorite Requiems and was enthralled with this performance. There is so much to praise that I will limit myself to a favorite – it is always a thrill to hear the bold Domine Jesu Christe burst forth with its majesty.

Mezzo-soprano Cecelia Stearman’s Pie Jesu was stunningly beautiful, and the power of bass Patton Rice’s voice filled the hall in the Libera Me.

As the final notes of the In Paradisum faded to silence, the judgment was rendered and the doors of Heaven opened. The silence in the hall held for a moment as if the audience felt this great relief before bursting into a standing ovation. Congratulations to all!

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