Jeffrey Williams | New York Concert Review, Inc.

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

Distinguished Concerts International New York (DCINY) presents the Music of Sir Karl Jenkins in Review

Distinguished Concerts Orchestra; Distinguished Concerts Singers International

Jonathan Griffith, DCINY Artistic Director and Principal Conductor

Sir Karl Jenkins, composer-in-residence

Diana McVey, soprano; Katherine Pracht, mezzo-soprano; Brian Cheney, tenor; Stephen Lancaster, baritone; Imam Chernor Saad Jalloh, Call to Prayer Soloist

Stern Auditorium, Carnegie Hall, New York, NY

January 15, 2018

In what has become a tradition marking the commemoration of Martin Luther King, Jr. Day, Distinguished Concerts International New York (DCINY) presented a concert featuring the music of Sir Karl Jenkins on January 15, 2018. This year’s version included two works, The Armed Man: A Mass for Peace, and the World Premiere of Sing! The Music was Given, commissioned by DCINY in celebration of their tenth anniversary. To add to the excitement, the performance was broadcast live on DCINY’s Facebook page (the live feed of the concert can be seen here: DCINY Facebook page). With singers from Hawaii, North Carolina, Wyoming, Germany, Ireland, Isle of Man, Japan, The Netherlands, Norway Switzerland, United Kingdom, and individual singers from around the globe on hand to give it their all, the stage was set for an extravaganza. The evening was one of profound emotion and unbridled joy.

Maestro Jonathan Griffith took the podium for the first half’s only work, The Armed Man: A Mass for Peace, with the accompanying film of the same name. I have written extensively about this work and its history in past reviews, so those readers who wish to learn more can follow this link: The Sounds of War and Peace -2013. I know this work very well from many hearings, both live and recorded, so I was especially interested in how this performance would differentiate itself from others and whether my somewhat ingrained expectations would be met. It must be stated that Maestro Griffith has complete mastery of this work, including a razor-sharp synchronicity with the film that continues to impress me as if it were the first time.

This performance had some ragged moments, such as cracked notes in the brass throughout, a shaky start in the Save Me From Bloody Men movement, and a Charge! movement that was at times brilliant and at other times lacking cohesion and clear articulation, making it sound muddy. Despite these mishaps, I found this performance to be profoundly moving, no easy feat considering my familiarity with the work. Perhaps these same mishaps knocked me out of my comfort zone and forced me to listen with fresh ears and rediscover the emotional wallop this work delivers. Special mention goes to cellist Elizabeth Mikhael for her ethereal solo in the Benedictus, and to soprano Diana McVey, mezzo-soprano Katherine Pracht, tenor Brian Cheney, baritone Stephen Lancaster, and Imam Chernor Saad Jalloh for their roles.

After intermission, Sir Karl Jenkins and Jonathan Griffith took the stage for a Question and Answer session about Sing! The Music was Given hosted by WQXR Radio personality Jeff Spurgeon. It took the form of light-hearted banter, and Sir Karl’s modest demeanor and droll humor had the audience roaring in laughter. A few instances: Q – When did you get the idea to write this piece? A – When Jonathan asked me to write it! Q – Have you heard the entire work? A – Yes, Today. I think it’s pretty good, actually.

Maestro Griffith said he asked Sir Karl to write a piece that would become as popular as The Armed Man (which now has been performed over 2000 times – an average of two times a week). Time will tell if that hope is fulfilled.

Sing! The Music was Given is a six or eight-movement work (depending on version- we heard eight movements) for orchestra, chorus, and mezzo-soprano soloist. It takes its name from the poem Sing- sing- Music was given, by Thomas Moore (1779-1852), as the opening movement uses this poem for the text. The second movement, M-U-S-I-C, an acrostic poem, and the third, the Music Matters are set to text by the composer’s wife, Carol Barratt. The dual-meaning “Music Matters” refers not only to the importance of music, but to aspects of it, like counter-melodies and pulse. The fourth movement, Waterfall Music, is set to a haiku by Bashō Matsuo (1644-1694). The fifth (That Music Always Round Me) and sixth movements (Tehillim- Psalm 150) are borrowed from the composer’s Gloria, and are optional (although they were included in this performance). The seventh movement, I’ll Make Music uses texts from Deuteronomy 32:2, Psalm 144:9, and I Chronicles 13:8 as adapted by the composer. Finally, the eighth movement Ukukula Umcolo, take its title from the Zulu words for sing (ukukula) and music (umcolo). The texts and Sir Karl’s program notes can be read here: Program Notes.

One familiar with Jenkins’s works would recognize strong influences from earlier compositions throughout. While not identifying direct quotes, this listener was strongly reminded of parts of The Armed Man, The Peacemakers, Cantata Memoria, Stella Natalis, Adiemus, and the River Queen soundtrack. Of course, Gloria must be included as being directly quoted. In Sing! The Music was Given, Jenkins is the musical equivalent of a master chef using his favorite ingredients to prepare a magnificent feast.

I thoroughly enjoyed Sing! The Music was Given. It is a forty-minute sonic love letter to the listener about the power of music. Highlights were the whimsical Music Matters, with the secondary choir of ten attending to the matters of music, the enchanting Waterfall Music, and the ebullient Ukukula Umcolo.

Maestro Griffith once again proved his unparalleled skill with large forces as he led with a sure hand. Kudos to concertmaster Jorge Ávila for his solos and mezzo-soprano soloist Katherine Pracht. I’ll Make Music, which was simply beautiful, was the highlight of her solos. Congratulations to the chorus, both for being a part of this important occasion and for their fine work.

Sir Karl came to the stage to acknowledge the cheers of the audience. The cheers then erupted into a loud, extended ovation. One can imagine in the future a two-thousandth performance of Sing! The Music was Given and saying, “I was there for the very first.”

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

Distinguished Concerts International New York (DCINY) presents Appalachian Winter: A Bluegrass Christmas in Review

Distinguished Concerts Singers International

Joseph M. Martin, composer/conductor

Dailey & Vincent, special guests

Sue Martin, soprano; Sarah Whittemore, alto; Brad Nix, piano

Stern Auditorium at Carnegie Hall, New York, NY

November 27, 2017

The holiday season is now in full swing. The crowds are out in force, being enticed by all sorts of deals, and for those who want to shop at home, “Cyber Monday” is the game. For a few hours, one could escape this madness and go back to a simpler time, to thoughts of family, love, and the true meaning of the holidays, courtesy of Distinguished Concerts International New York (DCINY). Transforming Carnegie Hall into the heart of Appalachia, DCINY presented a concert entitled Appalachian Winter: A Bluegrass Christmas on November 27, 2017. The concert featured the music of Joseph M. Martin, including the World Premiere of his Rhapsody in Bluegrass, with special guests Dailey & Vincent, and singers from California, Oregon, Texas, Missouri, Massachusetts, Mississippi, Kansas, West Virginia, Iowa, Florida, South Carolina, Indiana, Louisiana, Illinois, New Jersey, Maryland, Virginia, and “individual singers from around the globe. One could feel the energy in the hall as the singers filed onto the stage even before a single note was sung.

Concerts of this crossover type present a challenge for the reviewer, even for one accustomed to such DCINY events. It has always been this reviewer’s belief that it is best to surrender to such an experience and judge it on its own merits, as opposed to making any attempt to offer criticism on conventional classical criteria.

Joseph M. Martin (b. 1959), a DCINY favorite, took the stage to conduct his Appalachian Winter, A Cantata for Christmas. There are ten movements in the work, using traditional choral writing with spirituals, Shaker hymns, rustic Sacred Harp and Appalachian country tunes. Each movement can easily stand on its own independent of the others. Soprano Sue Martin and alto Sarah Whittemore were the featured vocal soloists, and Dailey & Vincent was the consort.

It is beyond the scope of this review to detail each movement, so I will mention what I considered to be the highlights. The Prelude is Copland-esque in its sound, with quotes from “Simple Gifts” woven in throughout, which showed Mr. Martin’s fine hand as both a composer and sonic dramatist at setting the ideal mood. Hope and Expectation was powerful, with a steadfast determination that was brought to life by the two-hundred-plus chorus. The Appalachian sounds of Mountain Carol were both inspired and poignant.

Both Ms. Martin and Ms. Whittemore were exceptional in their solo roles, not only exceptional as singers, but for their stylistic understanding. There were no operatic vibratos or similar effects that would have been so very wrong, but just a crystalline clarity, a humble sincerity, and a child-like innocence that simply enchanted. Jamie Dailey’s distinctive soaring tenor was an added treat, and the ensemble of Dailey & Vincent – to be discussed later – provided colorful Appalachian flair.

After the final movement showstopper Children, Go Tell It on the Mountain ended the audience reacted with a standing ovation. The feeling of energy mentioned at the beginning of this review did not abate even with intermission. It was as if a spring were being coiled for the second half as the buzz in the hall continued throughout the intermission.

Dailey& Vincent kicked off the second half with a short set. Founded by Jamie Dailey and Darrin Vincent, this Grand Ole Opry member, five-time Grammy-winning group ranks among the elite entertainers in bluegrass, gospel, and country music. This was not this listener’s first occasion to hear Dailey& Vincent, so I had some idea what to expect. At this concert, though, there was a little less of the banter –perhaps time was an issue. In any case, these musicians know their craft and bring their considerable talents to the table. I may not be a bluegrass aficionado, but I know good playing when I hear it, and this ensemble is built to play. The other members of Dailey& Vincent are Patrick McAvinue, fiddle, Cory Piatt, mandolin, Jeff Parker, mandolin and vocals, Aaron McCune, guitar and vocals, Jessie Baker, banjo and guitar, Shaun Richardson, guitar, Buddy Hyatt, keyboards, Bob Mummert, percussion, and Scott Bolen, audio engineer. I will single out the a cappella rendition of “Wonderful Grace of Jesus,” with the tight harmonies, and the ground shaking descents into the subterranean bass register, that brought the audience to their feet. After this final set number, Dailey & Vincent gave an encore as they played the chorus members onto the stage.

The stage was now set for the World Premiere of Mr. Martin’s Rhapsody in Bluegrass. Mr. Martin addressed the audience to talk a bit about how he was approached by DCINY to create this piece. He was humble, gracious, and his winning personality was most apparent in his self-effacing humor. His quip about his hometown being so small that the 7-11 was a “3-and-a-half” even made this oh-so-serious reviewer roar in laughter!

Scored for choir and bluegrass consort, the forty-five-minute, nine-movement Rhapsody in Bluegrass is stylistically similar to Appalachian Winter. Mr. Martin even refers to the Rhapsody as a seasonal cantata in his notes. Also similar is that each movement can stand alone without any loss of effect, although there is a certain continuity in each movement as to propel the story. Ms. Martin and Ms. Whittemore returned as featured vocal soloists, and once again their beautiful voices and intelligent grasp of style were every bit in evidence in their winning performances. Mr. Martin hit the nail squarely on the head when he said DCINY “picked the right man” for this work. Rhapsody in Bluegrass is a welcome and much-needed addition to the holiday music canon.

In the final movement, A Little Light Was Born, all the stops were pulled out in a big finish. Every member of Dailey & Vincent had an extended solo that built up the excitement to a fever pitch. The audience could no longer restrain themselves and leapt to their feet in a standing ovation while the last notes were sounded. It was a joyous reaction to a wonderful evening. Congratulations to DCINY, Mr. Martin, Dailey & Vincent, and all performers for this gift of music!

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

Young Concert Artists (YCA) presents PyeongChang Music Festival and Young Concert Artist Series in Celebration of the PyeongChang 2018 Olympic Winter Games in Review

Sumi Hwang, soprano, Paul Huang, violin, Todd Phillips, violin, Stephen Waarts, violin, Ida Kavafian, viola, Ziyu Shen, viola, Edward Arron, cello, Myung-Wha Chung, cello, Sang-Eun Lee, cello. Dasol Kim, piano

Alice Tully Hall, Lincoln Center, New York, NY

November 21, 2017

In celebration of the upcoming 2018 Winter Olympic Games to be held in PyeongChang, South Korea, Young Concert Artists (YCA) presented a concert combining the talents of both YCA and the PyeongChang Music Festival at Alice Tully Hall on November 21, 2017. Official mascots of the games, the tiger Soohorang and the bear Bandabi, were in the foyer to greet all, much to the delight of many children (and adults as well!).

YCA, founded and directed by Susan Wadsworth, is now celebrating its 57th season. YCA has launched the careers of hundreds of artists, many of whom went on to world-wide fame. Just to name a few, Emanuel Ax, Murray Perahia, Ida Kavafian, Pinchas Zukerman, and Dawn Upshaw are all YCA alumni. To view the entire roster, and to learn more about YCA, visit www.yca.org

PyeongChang Music Festival is now in its 15th year. Under the artistic direction of Myung-Wha Chung and Kyung-Wha Chung, the festival and school present both Distinguished Artists and Rising Stars series as well as master classes, student and children’s concerts, and conversation with artists.

Before the concert started, both Ms. Wadsworth and Chairman Kim spoke in welcoming the audience. Ms. Wadsworth added the request for the audience to hold their applause between movements and had Mr. Kim translate that request as well. Alas, it was all for naught, as the enthusiastic audience members could not restrain themselves, and the “request” was ignored immediately! In the grand scheme of things, this is not so bad, as it is infinitely better to have an energized audience that “breaks the rules” as opposed to one that claps at the right time, but without any joy.

This was the pairing of two high-powered organizations, so there would be no question about the credentials of the players. The only question that remained was how well they would mesh together, and how the pairings of the “veteran all-stars” with the “rising stars” would work. Suffice it to say, it all worked wonderfully, in the kind of concert reviewers dream about. No need to obsess over spotty intonation and ensemble balance, tug-of-wars between pianists and strings, or wild histrionics. These musicians came to play, and play they did!

Violinists Paul Huang and Stephen Waarts, violists Ziyu Shen and Ida Kavafian, and cellists Sang-Eun Lee and Edward Arron took the stage for the only work on the first half, Tchaikovsky’s Souvenir de Florence, Op. 70. This work, completed in 1890, has nothing “Italian” about it, but is a tribute to Florence, a city Tchaikovsky adored. The combination of younger artists with more seasoned ones was inspired. The insights and wisdom of the veterans Ms. Kavafian and Mr. Arron were clearly apparent, and played off of the youthful energy of Mr. Huang, Mr. Waarts, Ms. Shen, and Ms. Lee. The combined energies and immense technical prowess resulted in a thoroughly engaging performance. The audience members applauded with gusto after each movement, and really let loose at the end. It was an exceptional performance from six outstanding artists.

Violinists Paul Huang and Stephen Waarts, cellists Edward Arron and Sang-Eun Lee, violists Ida Kavafian and Ziyu Shen -Photo Credit: Sua Kim

After intermission, soprano Sumi Hwang took the stage with cellist Edward Arron and pianist Dasol Kim for the New York premiere of “Told Tales Sweet as Untold”: Three Poems of Fernando Pessoa for soprano, cello, and piano, by Christopher Berg (b. 1949). Commissioned by the PyeongChang Music Festival, the interesting combination of voice with cello and piano was suggested by arts manager John Gingrich, who had suggested the need for more chamber music for voice with more than just piano accompaniment.

The three Pessoa poems Mr. Berg used were “The Poem,” “The Children’s Poet,” and “Elsewhere.” The “Poem” suggests the creative process of the poet, while “The Children’s Poet” does the same from the perspective of a child. “Elsewhere” is suggestive of a place of paradise. Whether or not that is Heaven is for the reader to decide. In Mr. Berg’s conception, only the cello and soprano are used. Quoting the composer, “The desire to go Elsewhere is one of man’s basic needs – and ultimately, both his hope and tragedy. As the representative of this world of ours, the piano (an instrument that does not ‘sing’) is not to be found in that other world.”

I take strong exception to the composer’s assertion that the piano does not “sing,” and I’m sure that this statement does not endear Mr. Berg to pianists everywhere. If “Elsewhere” does not have pianos, then I will give it a pass and stay “here.” This objection aside, I found “Told Tales as Sweet as Untold” to be work of an intelligent and talented composer. Mr. Berg captures the essence of Pessoa’s poetry with remarkable sensitivity. It poignant and ethereal, innocent and questioning, hopeful and ecstatic. Ms. Hwang has a powerful voice that rang through with utter clarity, even in the problematic acoustics of Alice Tully Hall. She navigated the extreme register without ever slipping into harsh sounds or loss of intonation. Other than the occasional clipped word, her diction was outstanding. Mr. Arron and Mr. Kim were first-rate as well. One also recalls Mr. Kim’s fine playing from the 15th Van Cliburn Competition this past season, and the outcry and justifiable indignation that he was passed over for all but a discretionary award. He is a remarkable talent who will undoubtedly enjoy the career that his gifts afford him.

Pianist Dasol Kim, violinist Todd Phillips, cellist Myung-Wha Chung -Photo Credit: Sua Kim

Despite my reservations about paradise and pianos, the composition “Elsewhere” was indeed spellbinding and as the end faded to silence, the rapt audience waited a moment before bursting into loud applause. Mr. Berg was in attendance and stood to accept the ovation.

The final work of the evening was the sublime Piano Trio No.1 in B major, Op. 8 of Brahms. Written when Brahms was only twenty-years old, this work is filled with all the hopes and stresses that the highly sensitive young composer was experiencing in his life. Mr. Kim joined with violinist Todd Phillips and cellist Myung-Wha Chung, another collaboration of “heavy hitters” that paid off handsomely in a top-notch performance. From the first measures of the noble opening of the first movement, to the mood-shifting scherzo, the heartrending Adagio, and the agitated finale, the players left no idea unexplored and no subtlety overlooked. It was a brilliant performance.

The turbulent final measures in B minor were played with élan, bringing the work to an exuberant close. The audience immediately sprung to its feet. The well-deserved standing ovation went on for several minutes, necessitating several returns to the stage for the fine performers.

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

Distinguished Concerts International New York (DCINY) presents The Suite Sounds of Christmas in Review

Distinguished Concerts Orchestra; Distinguished Concerts Singers International

Jonathan Griffith, Artistic Director and Principal Conductor

Randol Bass, composer-in-residence, and narrator

Mark Hayes, composer/conductor

Laura Sutton Floyd, soprano; Jessica Best, mezzo-soprano; Scott Joiner, tenor; Mark Gilgallon, baritone/bass

Stern Auditorium at Carnegie Hall, New York, NY

November 19, 2017

The holiday season is upon us, even before Thanksgiving. We are already being bombarded with early sales and “Black Friday” teasers, as people gear up for the latest crazes and finding special gifts for all on their shopping lists. It’s all so noisy and overwhelming that one can easily feel oppressed by it all. Thankfully, there are moments that remind us what Christmas was meant to be, and peace and serenity fill one’s heart despite it all. Distinguished Concerts International New York (DCINY) gifted all those in attendance with a reminder of what the holidays can be. In a program entitled The Suite Sounds of Christmas, DCINY featured the music of Randol Bass and a suite of carols from around the world arranged by Mark Hayes. Singing them were groups from Texas, New Jersey, Montana, Florida, Idaho, South Carolina, New York, California, Kansas, Nevada, Maryland, Connecticut, Indiana, Canada, and “individual singers from around the globe.” It proved to be an evening filled with holiday magic.

The first half was dedicated to the music of Randol Bass (b. 1953). Opening with the popular Gloria, a dynamic work that is always a crowd pleaser, conductor Jonathan Griffith got things off to a fine start. His ability to take forces of singers in the several hundreds from many different choirs and get them to sound so polished is something that I have come to expect as par for the course, yet it continues to elicit my admiration time and time again.

Mr. Bass joined Maestro Griffith for an impromptu chat on stage. Regaling the audience with stories of the headaches that a composer has to deal with from commissioning groups, Mr. Bass proved to be a seasoned raconteur. He paraphrased a proposal by the commissioning as follows: “Do you know the style of John Williams? To be honest, there is no way we can afford John Williams, so we want you to write something in his style. And we want a bombastic ending!” Mr. Bass showed mock offense at this less-than-elegant request, but with a smile said to the audience, “You can decide how well I did.” (Spoiler alert: He did brilliantly!)

Seasonal Sounds is a medley of four well-loved Christmas songs (in order Santa Claus Is Comin’ to Town, Rudolph the Red-Nosed Reindeer, Frosty the Snowman, and Jingle Bells) played without pause. It was delightful.

The Night Before Christmas, with Mr. Bass narrating the famous poem A Visit From St. Nicholas, followed. It should be an instant classic. One imagines that it could be used for an animated or live-action video which would enchant audiences of any age. Mr. Bass writes in his notes that “the piece is cinematically conceived, and each poetic image of the narration is imaginatively colored in such a way that audiences can clearly visualize the happenings from passage to passage.” Mr. Bass’s narration was filled with dramatic flair, and though it was perhaps a bit over-the-top, it enthralled his audience. Even this jaded listener found the work completely mesmerizing. John Williams could not have done it any better (wink, wink)!

A Feast of Carols, a medley of six carols, Gloucester Wassail, Il est né, le divin enfant, O come, O Come Emmanuel, The Holly and the Ivy, God Rest Ye, Merry Gentleman, and We Wish you a Merry Christmas (again played without interruption), ended the first half in triumph. Mr. Bass came back to the stage to accept the loud ovation from the audience.

After intermission, Mark Hayes (b. 1953) took to the stage to conduct his International Carol Suite, a five-section work with thirty carols from twenty countries around the world. Starting in Western Europe, then moving onto Eastern Europe, then the British Isles, to Central and South America, and finally ending in North America, it was a remarkable fifty-five-minute musical journey. The featured vocal soloists were Laura Sutton Floyd, soprano, Jessica Best, mezzo-soprano, Scott Joiner, tenor, and Mark Gilgallon, baritone/bass. Mr. Hayes is a skilled composer and arranger, and he used his talents as a conductor to present his fine work in a winning performance.

It is not possible to comment on all thirty carols (for a list of the thirty, click Program Notes), so I will limit myself to my favorites from each region. For Western Europe, Angels We Have Heard on High; For Eastern Europe, Carol of the Russian Children; For the British Isles, Deck the Halls; For Central and South America, Song of the Wise Men; For North America, The Huron Carol. Likewise, I will mention the highlights from each of the four excellent soloists. Ms. Floyd showed the agility of her lovely voice in Song of the Wise Men. Ms. Best’s Infant Holy, Infant Lowly (in Polish) was very moving in its innocence. Mr. Joiner’s Gesu Bambino was delivered with a crystalline clarity, and Mr. Gilgallon’s strong voice filled the hall in Song of the Russian Children (In Russian). It reminded one of the great Russian bassos.

After the last notes of Go Tell it on the Mountain sounded, the audience leapt to their feet in a loud ovation for Mr. Hayes, the soloists, chorus and orchestra. Congratulation to all performers!

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

The Center for Contemporary Opera Presents Gordon Getty’s “Scare Pair”: Usher House and The Canterville Ghost in Review

The Center for Contemporary Opera Orchestra, Sara Jobin, conductor

Gordon Getty, composer

The Sylvia and Danny Kaye Playhouse at Hunter College, New York, NY

October 19, 2017 at 7:30pm

It is something of a rarity to have two operas performed in a single evening, but on October 19, 2017, The Center for Contemporary Opera presented what was billed as a “Scare Pair”: Usher House and The Canterville Ghost, by American composer Gordon Getty. Each single-act opera is approximately sixty-minutes in duration. There was a pre-concert interview with Mr. Getty to learn more about these works. The program contained a synopsis of each work, and it was a nice touch to have the names of the orchestra members listed in the program along with the members of the creative and production team.

Gordon Getty is well-known for his patronage of the arts, but he considers composing his true passion. The now 83-year-old composer is the subject of a PBS documentary, Gordon Getty: There Will Be Music. His style is strictly tonal, often to the point of being monochromatic. Quoting Mr. Getty, “My style is undoubtedly tonal, though with hints of atonality, such as any composer would likely use to suggest a degree of disorientation. But I’m strictly tonal in my approach. I represent a viewpoint that stands somewhat apart from the twentieth century, which was in large measure a repudiation of the nineteenth and a sock in the nose to sentimentality. Whatever it was that the great Victorian composers and poets were trying to achieve, that’s what I’m trying to achieve.”

Mr. Getty has the integrity to post on his website all available reviews (www.gordongetty.com), many of which are very harsh. For this decision he has my respect, especially in a world where artists share only praise.

This is not this reviewer’s first experience with the music of Mr. Getty, as he previously reviewed “The White Election,” a song cycle of Emily Dickinson poems (The White Election in Review April 19. 2012). I was especially curious to hear how Mr. Getty handled larger works.

Usher House is based on Edgar Allan Poe’s short story The Fall of the House of Usher. In the words of Mr. Getty on the subject of the libretto he wrote, “I found myself taking liberties.” Poe himself is inserted as the narrator. Roderick and Madeline are re-cast much more sympathetically than in Poe’s actual tale, while introducing/inventing a character named Dr. Primus as the villain. Mr. Getty’s libretto would have benefitted from editing by an experienced librettist, as his version lacks clarity and there is far too much superfluous dialogue. Dr. Primus seems like an evil version of Sarastro, but his motivations other than just being evil were never made clear. In addition, calling Poe “Eddie” was bizarre to my ears.

The set was a series of projections on the stage, which was very good in creating the gloomy atmosphere of the Usher House, along with some “guest appearances” of ancestors, who may or may not have been apparitions depending on one’s viewpoint. Perhaps these projections were designed for a larger stage, as they were often out of proportion to the surroundings, especially the ancestors, who dwarfed the “living” persons on stage. There were supertitles projected above stage, which were helpful, without being entirely necessary, given the excellent diction of the performers.

Almost all the vocal writing in Usher House is recitativo, so much so that it wears thin on this listener. One can almost predict how the lines will be sung because of the repetitiveness of style, overly laden with fourths and fifths. The one actual aria, the lovely “Where is My Lady” as sung by Poe is proof that Mr. Getty can write effectively, making it all the more frustrating that there is not more. The orchestrations are sparse and rely heavily on creating effects (some bordering on stereotypical kitsch) instead of propelling the story or providing melodic material. It all meanders about, with the final destruction of Usher House rendered with a whimper instead of a bang.

All praise goes to the cast, who gave this material their full commitment. Dominic Armstrong as Edgar Allan Poe proved his vocal talents despite little material to work with. Keith Phares played Roderick Usher sympathetically, Matthew Burns was appropriately sinister as Dr. Primus, and Jamielyn Duggan’s macabre dance as Madeline might have been the highlight of this performance for the audience, who applauded respectfully.

After intermission, the hardworking cast members were back for American premiere of The Canterville Ghost. Based on Oscar Wilde’s 1887 story of the same name, the tale centers around the ghost Sir Simon de Canterville, and the Otises, an American family who purchased the property known as the Canterville Chase. For hundreds of years, Sir Simon has been terrorizing residents of the Chase, but the Otis family proves less than intimidated by his presence. Sir Simon is continually humiliated by the members of the family, save for daughter Virginia, the one member of the family sympathetic to Sir Simon.

As with Usher House, The Canterville Ghost relies heavily on recitative. There is a need for “smoothing” the libretto, as many scenes end abruptly, with awkward silences filling the air as the next scene is being set. Projections were used as well as fixed sets. There must have been limited rehearsal time, as the performers often were standing in the middle of projected images.

At the risk of repeating myself, the overuse of recitative, the skeletal orchestration, and the hackneyed musical elements are every bit as present in Canterville as in Usher House. Where The Canterville Ghost succeeds is in its fidelity to Oscar Wilde’s brilliant wit – the music is completely incidental. In spite of this, The Canterville Ghost is a delightful romp. Kudos to the cast, with special mentions to soprano Summer Hassan, who as Virginia wowed with her soaring voice in “Stay With Me Beautiful,” and to Matthew Burns as Sir Simon, whose comedic gifts stole the show.

The audience gave the cast a standing ovation, and when the affable Mr. Getty joined all on stage there were shouts of “bravo!” that filled the hall.

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