Rorianne Schrade | New York Concert Review, Inc.

Distinguished Concerts International New York (DCINY) Presents Wind Songs in Review

The University of Mississippi Concert Singers; Don Trott, Conductor; Richard Culpepper, collaborative pianist;

Amador Valley High School Wind Ensemble; Jonathan Richard Grantham, Director; Patrick Dandrea, Assistant Director;

Rancho Bernardo High School; Zachary Christy, Director of Orchestras; Duane Otani, Director of Bands

Stern Auditorium, Carnegie Hall, New York, NY

April 8, 2018

As one has come to expect from Distinguished Concerts International New York (DCINY), they put on another large-scale celebration of music this weekend, as usual with a variety of styles, and as always, with emotions running high among performers and audience alike. How does DCINY do it? That is partly a rhetorical question, but part of the answer lies in the fact that they are not afraid of the words “college” and “high school” on some of their choral and orchestral programs, frequently alongside professionals of all ages, including world-famous musicians. After all, some of the most passionate, dedicated ensembles come from the ranks of the young, and for anyone disappointed in “youth today” (said with curmudgeonly grumble), such DCINY concerts are a sure remedy. The firepower from the stage on this occasion was matched by the palpable love from the audience.

Sunday’s concert included choral music in the first half, namely the University of Mississippi Concert Singers, and wind ensemble music after intermission – first from the Amador Valley High School Wind Ensemble from Northern California, and then a wind ensemble from the Rancho Bernardo High School from Southern California.

These multi-institutional concerts can include an overwhelming number of works with printed programs containing much information to relay, so this reviewer will share high points and not necessarily in order. For readers interested in seeing the full program notes as they appeared for this concert, they are available here for download: Program Notes- Wind Songs

The first half was impressive to say the least. The University of Mississippi Concert Singers, an auditioned ensemble under the direction of Don Trott is of an extremely high caliber. Renowned composer Eric Whitacre, who has worked with them, stated that “conducting this chorus is like driving a Ferrari,” and that is no joke. They launched the program with a rousing gospel arrangement (by Shawn Kirchner) of Unclouded Day by Rev. J. K. Alwood (1828-1909) and set the tone for the evening with high energy. The energy was no less intense (although quieter!) in the hallowed piece Taaveti laul (from Psalms of David) Estonian Cyrillus Kreek (1889-1962). A stunning setting of Psalm 104, it was a highlight of the program for this listener. It was interestingly one of several gems selected from the Baltic countries, the others being Augu Nakti, a sprightly folk piece with a feeling of seven-eight meter by Latvian Valts Pūce (b. 1962), the more tonally challenging Kanarbik (From Sügismaastikud –Autumn Landscapes) by Estonian Veljo Tormis (b. 1930-2017), and the luminous Magnificat from Latvian Ēriks Ešenvalds (b. 1977), with Brady Bramlett supplying the lovely solo part. These were all wonderful selections that deserve to be heard more often and were expertly done. Clearly there is musical gold being mined from the Baltic region.

Along with the opening spiritual, there was other Americana woven into the program, including Great Day by Warren Martin (1916-1982), which featured well done solos from Sergio Vergara, Dylan Fink, and Carley Wilemon, and the rousing gospel song Hold On! by Eugene Simpson (b. 1932), which was especially powerful at the tricky-to-tune high-pitched Picardy third ending! It was a joy also to hear Sinner, Please Don’t Let This Harvest Pass by William Grant Still (1895-1978) who is enjoying something closer to the recognition he has long deserved, with much thanks to his daughter. Incidentally, as one wanders through the gallery of framed manuscripts at Carnegie Hall, there is one by William Grant Still, a snippet from a symphony that Still himself once noted had not been played there in his lifetime. Here’s to at least partial straightening old scores (no pun intended)!

It would almost be conspicuous to omit Leonard Bernstein (1918-1990) during this centennial year, and Gloria In Excelsis from his Mass (edited by Doreen Rao) was a good addition by “Ole Miss.” It was given a strong rhythmic energy with the help of collaborative pianist Richard Culpepper, who lent fine support throughout the evening.

These offerings were rounded out by two more selections on youthful themes, including the sweetly touching “coming of age” music, Flight Song, by Norwegian Kim André Arnesen (b. 1980), with Debra Spurgeon ably taking the podium as guest conductor, and All of Us, by Craig Hella Johnson (b. 1962), a moving remembrance of Matthew Shepard, who was tragically murdered in 1998. A vocal trio of Lacey Hindman, Melanie Culhane, Caitlin Richardson gave added luster to a rendition that, despite such a tragic subject, finished with a spirit of affirmation.

DCINY’s ensembles often feature such music of special timely relevance, and the second half of wind music after intermission was no exception. The two wind ensembles were the Amador Valley High School Wind Ensemble under Jonathan Richard Grantham for most works, followed by the final group of the evening, the Rancho Bernardo High School.

We heard Michael Markowski (b. 1986) City Trees, dedicated to the Lesbian and Gay Band Association, and honoring in the composer’s words “the unique challenges my friends have faced and had to overcome.” We heard the highly dramatic work, Testament, by David Maslanka (1943-2017) – with winds, brass, and percussion especially powerful the roar of pain and war.

As if afraid to let things get too dark, we had several kinds of levity in alternation. The Amador winds opened with Louis-Aimé Maillart (1817-1871) The Dragoons of Villars Overture (arr. Clifford Barnes) – pure flashy fun, in an Offenbach sort of way, and clearly fun for these young players. Following the Markowski, we heard Shepherd’s Hey of Percy Grainger (1882-1961, arr. Rogers) with Patrick Dandrea, taking the podium with spirit and returning it to Mr. Grantham, who ably resumed with the lion’s share. For more comic relief we heard The Roosters Lay Eggs in Kansas by Mayhew Lake (1879-1955), complete with duck calls and other silly fun.

The final group from Rancho Bernardo High School also played selections with solemn notes. Under their Director of Orchestras, Zachary Christy, they opened with Fanfare – The Benefaction from Sky and Mother Earth by Satoshi Yagisawa (b. 1975), with the percussion section in full force (albeit a bit overwhelming for the upper winds at times), and following, under Duane Otani, Director of Bands, was An American Elegy by Frank Ticheli (b. 1958). Despite being written to honor the victims of Columbine High School in 1999, it was spacious and regal. As the composer wrote, “It is offered as a tribute to their great strength and courage in the face of a terrible tragedy.”

As the final hurrah of the evening Mr. Otani led his winds in Armenian Dances by Alfred Reed (1921-2005) a brisk and colorful set, played tautly and with vigor.

All in all, it was a heartwarming and inspiring evening. Kudos to all involved!

by Rorianne Schrade for New York Concert Review; New York, NY

Distinguished Concerts International New York (DCINY) Presents Anniversaries in Review

Warren Lee, piano

Weill Recital Hall at Carnegie Hall, New York, NY

April 2, 2018

In this centennial year marking the birth of composer, conductor, and pianist Leonard Bernstein (1918-1990), the world is hearing a great deal of his music. The Leonard Bernstein website, www.leonardbernstein.com, features a calendar of worldwide 2018 performances including, for example, a deluge of selections and renditions of West Side Story, Candide, some high-profile performances of this reviewer’s favorite, the Chichester Psalms, and of course some of the Symphony No. 2: Age of Anxiety (including next week, April 11, the Boston Symphony Orchestra with Jean-Yves Thibaudet at Carnegie Hall); by comparison, performances of Bernstein’s piano solo collections entitled Anniversaries are included in a relative handful of events.

Enter pianist Warren Lee. In his recent Weill Recital Hall program, Mr. Lee played eight selections from Bernstein’s four sets of Anniversaries and even entitled his concert Anniversaries, despite also including George Gershwin’s Rhapsody in Blue, and Liszt’s Sonata in B minor (which I believe are not celebrating any particular anniversaries). Liszt’s Sonata in B minor is not often regarded as an add-on – nor for that matter the Gershwin – but the focus was clearly meant to be Bernstein here. Mr. Lee gave his audience a memorable gift of insight into Bernstein’s world, and to round it out with standard repertoire was very much in keeping with Bernstein’s own sense of balance and popular appeal.

For those not familiar with the Anniversaries (totaling 29 miniatures in four sets, but pared down for this concert), each piece is written in tribute to a particular person in Bernstein’s life, in some cases extremely well known, such as Aaron Copland or Stephen Sondheim, but in other cases less so, such as Helen Coates, Bernstein’s piano teacher and later friend and secretary. As expressive character pieces, they are not unlike Virgil Thomson’s Portraits, which presume on the part of the listener some specific (sometimes arcane) knowledge in order to reach full understanding. They therefore pose a potential problem in programming. Even many pianists are not familiar with names such as Helen Coates or Felicia Montealegre (Bernstein’s wife), so to get an audience to pay attention to works bearing those names requires an especially communicative approach. Again, enter Warren Lee.

What was so ingenious about Mr. Lee’s presentation was the alternation of his own carefully selected readings from Bernstein’s letters with his own compelling interpretations of the music. One was drawn into the relationships that inspired the different vignettes, and the music became a tonal autobiography of the composer and his colleagues and loved ones.

Bernstein, in love with humanity in a Whitmanesque way, was insatiable socially as much as musically (by his own description), and so it is fitting that some of his work is, in a sense, “about people” in his circle. In any case, one came away from this concert with a deepened awareness of Bernstein’s own feelings through his words and music. Mr. Lee’s readings and interpretations presented it all in a seamless and accessible way. No heads were in laps glued to program notes, thanks to the spoken introductions – an important consideration, as a single paragraph would take longer to read than some of the miniatures!

The excellent conception was matched by excellent pianism. In the first selection, For Felicia Montealegre Mr. Lee’s gentle and stunningly voiced phrases resembled speech patterns in their sensitive inflection. One almost felt privy to a conversation between Leonard Bernstein and his wife. The next piece, For Johnny Mehegan, inspired by the American jazz musician, brought to life an acerbic, mockingly humorous character, colorfully conveyed by Mr. Lee.

For David Diamond evokes the melancholy and intense volatility that afflicted Bernstein’s fellow composer – and subsequently their friendship – but one still needed Mr. Lee to bring it all to the listener, which he did masterfully. For Helen Coates was appropriately energetic for a woman who was a life force in many ways for Bernstein, conveying the lifelong importance to him of teaching and learning. It was played brilliantly.

For Aaron Copland, as one might expect, had a certain flavor of the composition of Copland himself, with spare, semplice textures that spoke of the vulnerability of art in a world of increasing war (as a prefatory letter illustrated as well). This piece was followed by For Sergei Koussevitzky which had heightened dissonance and a still more ponderous quality.

The variety of these pieces says so much about Bernstein’s own sensitivity and vulnerability. Despite this composer’s larger-than-life personality, each piece represented not so much Bernstein’s own ego but more intensely the impact of others on his life and work. For Stephen Sondheim was dreamy and atmospheric, as one might expect, and one heard the closeness of the two who worked together on West Side Story.

Nothing quite touched the emotional power of the final selection, In Memoriam: Helen Coates. Mr. Lee brought out its profound sadness and, with sensitive pedaling created the otherworldly music of heartbreak. It closed a musical grouping that cast Bernstein as having an even more fragile human quality as man and musician than one normally has seen. Mr. Lee proved himself to be a truly insightful and sympathetic interpreter.

George Gershwin’s Rhapsody in Blue for solo piano closed the first half with the racy, sassy spirit one has come to expect from this piece. Note-wise it was nearly perfect. Some sections seemed a bit straitlaced, but one could argue that at least one such performance is needed for every fifteen that are overblown and hammy. It was in a way refreshing, though I did crave a more ramped up bass in the left-hand octaves towards the end. Perhaps there was a concern about outweighing the rather glassy octaves of the treble, but sometimes one has to just go for broke with the spirit of the thing. Incidentally, though the program notes mention some comments Bernstein made about the loosely strung structure of the Gershwin, no mention was made that Bernstein played this piece often – perhaps that detail was considered self-explanatory.

As for Liszt’s Piano Sonata in B minor, it was a fine and virtuosic close, if a bit understated for this reviewer. Some parts sounded metric to the point of seeming almost perfunctory rather than gestural. On the other hand, the tautness of such passages did set in relief the elasticity of the beautiful dreamier sections, so all in all it worked. One had the occasional quibble with what seemed at some points like slight over-pedaling, and for a brief moment towards the end things did go a bit astray, but all recovered quite well.

An enthusiastic ovation merited several curtain calls and an encore of more Bernstein, For Felicia On Our 28^th Birthday (& her 52^nd). Mr. Lee capped the evening off reading words from Ronald Reagan in praise of Leonard Bernstein – a final tribute to close what was an enlightening and memorable evening. Bravo!

by Rorianne Schrade for New York Concert Review; New York, NY

Bargemusic Presents Masterworks Series: Vera Vaidman in Review

Vera Vaidman, violin and viola

Bargemusic, Brooklyn, NY

March 23, 2018

In celebration of J. S. Bach’s 333^rd birthday anniversary this month, Bargemusic is presenting the composer’s complete works for unaccompanied bowed instruments in five recitals featuring violinist/violist Vera Vaidman. This feast of great music includes all of Bach’s six masterpieces for solo violin (the Sonatas and Partitas BWV 1001-1006) and all six masterpieces for solo cello (the Suites BWV 1007-1012), transcribed for viola.

Ms. Vaidman, one of the last pupils of the legendary David Oistrakh, has enjoyed a highly illustrious career, with concerts and master classes in distinguished venues too numerous to name. She has performed and recorded with Rudolf Serkin and Andras Schiff, as soloist with the Israel Philharmonic Orchestra under Zubin Mehta, the Jerusalem Symphony with Lukas Foss (on US tour), with Gerard Schwarz, Mendi Rodan, Rudolf Barshai, and with numerous orchestras in Israel, Europe, South America, and South Africa. Foremost a violinist, she has also performed as a violist since 2007.

It is not too unusual these days for cellists to take on the cycle of six cello suites in recital, and such programming is usually a noteworthy event. Similarly, some brave violinists take on a cycle of the complete Sonatas and Partitas, an equally formidable undertaking. What is truly extraordinary, though, is that Ms. Vaidman, equally comfortable whether playing viola (in the role of cello) or playing violin, tackled a cycle of both sets within the span of just nine days between March 16 and March 25 (in addition to a sixth recital of completely different repertoire). For those looking to mark what is being called Women’s History Month this March, they’ll need look no further than Ms. Vaidman’s series for a colossal achievement in the field of classical music.

While this reviewer heard only the March 23^rd recital, it was clear that Ms. Vaidman is one outstanding violinist and violist. In a program pairing the Suite No. 4 in E-flat major, BWV 1010 (viola) and the Partita No. 2 in D minor (violin), BWV 1004 – known best for its monumental Chaconne finale – she navigated the extreme challenges of both works with the ease of a veteran and the involvement of a highly dedicated musician, all from memory (as one learns was the case for this entire cycle).

The Suite in E-flat major opened the recital. Interpretation of the Prelude from this suite is a particular bête noire for this reviewer, as performances seem to alternate between those with excessive prolongation of the initial bass notes (leading the listener to feel five beats in each measure rather than four as written) and those with a slavish adherence to the beat, which undermine one’s sense of contrasting tonal layers and registers. Thankfully, Ms. Vaidman avoided both extremes and struck the right balance here, lingering on the basses without upsetting the meter. On the subject of basses, Ms. Vaidman’s were warm and full, such that one never even missed the cello sounds so deeply connected to this music. Her lower range was a beautiful, though sometimes it did tend to overpower the higher registers. In cases where Bach’s writing called for almost antiphonal tiers of upper and lower voices, this registral contrast was an asset. Occasionally, though, in longer, more fluid lines, it seemed to result in some slightly pinched peaks. In general, though, Ms. Vaidman’s shaping of phrases and overall conceptions won the day.

One hesitates to criticize details in a venue such as the Barge, in which the resonant acoustics and intimate space leave even the slightest fluctuation of the bow’s weight quite audible. One needs in such a case to distance oneself aurally, just as one might step back in viewing a painting, and to take in the glory of this music. There was much that was glorious. High points in the E-flat Suite were the sensitively rendered Allemande and a very thoughtful Sarabande. Also a delight was the Bourrée II, which had the perfect pesante approach, not prettified as it sometimes is. The Gigue had an exuberance which closed the work with triumph.

Changing from viola to violin presents its own unique challenges, but the transition was made quite skillfully to the Partita in D minor. Though Ms. Vaidman had become acclimated physically to the viola for the first half of the recital, her violin performance seemed to reflect even more naturalness and ease overall. She was able to inflect the Allemande’s phrases with attention to detail without losing the long lines, and the Courante (or perhaps more properly Corrente) projected a lively and precise dance-like spirit. Her Sarabande held this listener (and the audience) completely, and the Gigue was excellent, with only the occasional slip.

All built to the Chaconne, which capped off the evening with grandeur and beauty. One of the high points of the entire music literature, in this reviewer’s mind, it was beautifully paced by Ms. Vaidman, who built the momentum logically and incrementally to its glorious peaks. Her excellent voicing revealed Bach’s contrapuntal lines, and her control of dynamics made for wonderfully varied textures. A few smudged double-stops along the way were the only downside, but en route to building this musical shrine, such matters are fairly inevitable. All in all, it was a tremendous evening. Brava!

by Rorianne Schrade for New York Concert Review; New York, NY

Wa Concert Series Presents Hidden Masterpieces in Review

Charles Neidich, clarinet; Mariko Furukawa, piano;

The Parker Quartet, Daniel Chong, violin; Kristopher Tong, violin;

Jessica Bodner, viola; Kee-Hyun Kim, cello

The Tenri Cultural Institute of New York, New York, NY

March 11, 2018

A riveting program of clarinet music, artfully curated by Charles Neidich, was heard Sunday, March 11, at the Tenri Institute. It included works by Mieczysław Weinberg (1919-1996), Vassily Lobanov (b. 1947), and Alexander Lokshin (1920-1987), three musicians who composed with great power and originality through years of Soviet oppression. Aptly named “Hidden Masterpieces” this program’s treasures have gradually been pulled from an obscurity that came not from mere happenstance but from countless deliberate obstacles including condemnations, imprisonments, murders of family and friends, threats, and lies. Some of this music has only in the past few decades become familiar to musicians, let alone the wider public, so a concertgoer might have been satisfied with the novelty of readings by even a journeyman clarinetist; on the contrary, though, we heard none other than Charles Neidich himself, who could be described (and has been) as arguably the finest clarinetist in the world. What a concert!

In his dual role as performer and Artistic Director of the Wa series, Mr. Neidich spoke eloquently about each work and composer, and then played with near-superhuman skill and intensity. He clearly has studied this music and history deeply and personally, including having been the first Fulbright grant recipient to study in the then Soviet Union in 1975, attending the Moscow Conservatory for three years; he shares his scholarship and experience, though, with disarmingly natural ease. His spoken introductions were not dry, academic lectures, but rather crystalized insights that went to the heart of the music itself.

Introducing Mieczysław Weinberg’s Sonata Op. 28 for clarinet and piano, Mr. Neidich commented on the special tendency of Soviet composers to keep musical “diaries” of a sort, a comment that illuminated the stretches of what Mr. Neidich referred to as almost “banal” music, or the somewhat more prosaic writing that alternated with more dramatic musical moments. One could hear such narrative unfolding in the Weinberg Sonata, and Mr. Neidich’s interpretation had an inevitability that made it irresistible. Particularly stirring were the recurring suggestions of klezmer melody, inflected with utter soulfulness. In its entirety, the work had a deeply moving impact. Because its thoughtful construction emerged most fully in retrospect, it seems that future hearings should serve only to reinforce its important place in the clarinet repertoire.

The evening’s superb collaborator, Mariko Furukawa, went beyond pianistic precision to plumb the depths of this extremely demanding music right with Mr. Neidich. Together they held the capacity audience spellbound.

Haunting this listener long after the concert ended was the comment by Mr. Neidich, that during his Fulbright studies in Moscow in the 1970’s (even shortly after the death of Dmitri Shostakovich, a close friend of Weinberg’s) one simply did not hear of Weinberg. As Mr. Neidich said, “I knew nothing of his existence.” The Lokshin story was similarly heartbreaking. Lest this reader feel as despondent as this reviewer felt over it all, a renaissance for these composers seems well underway. For the sake of thoroughness, it will require a great deal of time, but one is extremely grateful to those such as Mr. Neidich who are infusing this music with new life.

Following Weinberg’s Clarinet Sonata came the Sonata for clarinet and piano by composer-pianist Vassily Lobanov (b. 1947). We were told that Mr. Lobanov had composed the Sonata in the 1980’s and given a copy to Mr. Neidich in 1990. The two musicians are good friends and happen to seem quite well matched musically. If the Weinberg Sonata had struck one as wide in range, the Lobanov work took things to even more intensely dramatic levels. Composed in a language not alien to the Soviet style of his day but also, as Mr. Neidich stated, with some influence from the Russian Orthodox tradition, the work is one of huge emotional scope. It drew upon Mr. Neidich’s incredible variety of timbres and dynamics, along with those of Ms. Furukawa. They held the audience rapt through the musical journey, from quietest whispers and long lines to frenzied repeated motives and cataclysmic explosions and back. By the end one felt exhausted but awakened. It should be a vehicle for virtuoso clarinetists to champion, if they can!

What could possibly follow these works? Even after an intermission with bountiful refreshments provided by Mr. Neidich’s wife, Ayako Oshima, also an internationally known clarinetist, the second half was a good point at which to expand the personnel, and Mr. Neidich, with an impresario’s instincts, enlisted the dynamic Grammy-winning Parker Quartet to join him in the American premiere of Alexander Lokshin’s Quintet for clarinet and strings. It was a high-voltage convergence of forces, five stellar musicians in service to a profoundly moving and original work. The ensemble was tightly knit, and the interpretation was potent and cohesive. This quintet begs for further performances, but it would be hard to top the pairing of the Parker and Mr. Neidich.

A word of explanation about Lokshin: he had been known early in his life as a leading expert on Mahler and Stravinsky and had been declared “a genius” by Shostakovich. He was not surprisingly denounced by the Soviet authorities as “decadent” and a “formalist” for the very reasons that his music may be treasured, as a natural outgrowth of the music of the preceding century. Once Stalin had died, Lokshin might have found a certain improved situation, and his 1955 clarinet quintet does reflect some flickers of optimism; tragically, though, he was also accused (falsely, as has only been settled in recent years) of being NKVD-KGB informer and was thus ostracized by even those who would have rallied to his side. In summary, for those wondering why an American premiere is occurring 31 years after the composer’s death and 63 years after the composition date, such tragic and criminal injustice is why – the morass of Soviet slander and obfuscation is slow to unravel. What is encouraging, though, is that there are always those interested in digging for the truth and for artistic treasure, no matter how many years later.

Profound appreciation and admiration go to Mr. Neidich – and to other artists who champion the music of the Soviet composers who endured so much – and huge congratulations are in order for a most meaningful and successful concert. One hopes that Mr. Neidich will share these interpretations more widely, both live and in recording – as the works deserve it – and one hopes that their renaissance will be in just proportion to the chilling decades of silence.

For upcoming concerts, not to be missed, one can visit www.waconcertseries.com

by Rorianne Schrade for New York Concert Review; New York, NY

Si-Yo Music Society Foundation Presents Coloristic Saxophone in Review

Wonki Lee and Brandon Choi, Saxophonists; Kyung-Eun Na, pianist

Bruno Walter Auditorium, New York Public Library for the Performing Arts

Lincoln Center, New York, NY

March 6, 2018

Two superb saxophonists and an excellent pianist collaborator came together in recital this week for what was a described by Soyeon Park (Si-Yo Music Society Foundation’s Artistic Director) as “the first classical saxophone duo recital performed by Korean musicians in New York City.” Just when one thinks that there is very little new under the sun, Wonki Lee and Brandon Choi emerge on the scene not only as pioneers but as brilliant ones.

For the record, not all of the works were for two saxophones with piano, but the highlights of the program were. For this instrumentation we heard Duo Concertant by Jean-Baptiste Singelée (1812-1875), Paganini Lost for two alto saxophones and piano by Jun Nagao (b. 1964), and for a finale Francis Poulenc’s Trio for piano oboe, and bassoon in an arrangement for two saxophones and piano by Junichi Sato, an intriguing selection of works, augmented by several solo compositions.

The opening of the program, the Singelée duo, was given a knockout performance, with Wonki Lee on soprano sax, Brandon Choi on alto sax, and Kyung-Eun Na at the piano. In what might have been saved as a virtuoso finale by a composer known for salon showpieces, the dazzling display in it announced from the start that this ensemble was not some mere ad hoc combination, but a tightly knit meeting of musical minds. What made it so special was the joyous interaction in the duo, sharing each note’s musical impulse rather than merely cleaving to the beat through the cascades of technical wizardry, as might be expected given the challenges to synchronize. The surging arpeggios and scales virtually bubbled up like laughter, and the saxophonists seemed to savor the ride of shared phrasing and musical repartee. Helping to knit the two parts was a balletic energy that was particularly pronounced in Mr. Choi, who appeared to possess within his physique a coiled spring ready to send him airborne.

Paganini Lost by Jun Nagao was a discovery for this listener, adding to the ever-growing body of work based on Paganini’s twenty-fourth Caprice (along with Brahms, Rachmaninoff, Witold Lutosławski, Robert Muczynski, and numerous others). A welcome addition in a jazzy idiom, it afforded exciting solo moments not only for each saxophonist but also for the excellent pianist Kyung-Eun Na, who managed fistfuls of notes with aplomb all evening (often handling her own perilous page-turning, though a page-turner was present).

The Poulenc arrangement by Junichi Sato was also interesting, a remarkably successful adaptation from the original trio, of which this reviewer happens to be a longtime devotee. The reworking was beautiful, certainly helped along by sensitive shading from each player, and it closed the evening with plenty of color, as promised in this program’s title.

Interspersed among these works pairing Mr. Lee and Mr. Choi were four solo saxophone works, three of them with piano. Notably, Mr. Lee performed his own saxophone-piano adaptation of Claude Debussy’s Rapsodie pour orchestra et saxophone. What one generally hears in concert (whether played with orchestra or piano reduction) is a combination of Debussy’s own manuscript and sketches and the work of Jean Roger-Ducasse, in whom Debussy placed enormous trust. While I’ve on occasion enjoyed that “original” piano reduction (perhaps relying partly on what one’s imagination or memory can supply of orchestral timbres), Mr. Lee’s version, as he states, incorporates the music from the complete orchestration more thoroughly, including transferring orchestral wind parts into the solo saxophone part itself. It represents a fascinating undertaking, certainly worthy of further hearings.

Mr. Choi then took the stage to give the world premiere of White Shadow of Passed Time II for solo saxophone (2018) by In Sun Jo (b. 1953). The only selection to allow Ms. Na a much-deserved break from the piano, it featured an encyclopedic range of newish extended techniques for solo sax, alternating with sounds of chimes and a triangle. The changing of stage lighting, from dim to bright and back, accompanied what was a somewhat theatrical piece, although one was not guided much by the program notes on the thinking behind this long work, so this listener was rather flummoxed. One wondered whether perhaps there might be a means to convey within a briefer timespan the same musical message, whatever that might be. Despite the recognizable strains of the chant “Dies Irae” and some semi-audible words spoken by Mr. Choi during the piece, there were what seemed to be several (false) “endings” before more of what one might call “sound effects” followed – a feature which strained even this very receptive listener’s patience at times. What might work beautifully as exotic film music requires a bit more cohesion for the concert hall, because, contrary to avant-garde visual arts, for which one can simply avert one’s gaze when not engaged, an audience member at a live concert remains in effect captive and subject to the composer’s focus or lack thereof. That point, in addition to decibel levels which necessitated plugging one’s ears, left one frustrated overall.

Following the Jo and Nagao pieces, came some lighter fare, namely Gershwin’s Cocktail by Toshio Mashima (1949-2016). Essentially a medley including The Man I Love, S’Wonderful, Somebody Loves Me, But Not for Me, Someone to Watch Over Me, and Fascinating Rhythm, it indeed resembled a “cocktail.” Mr. Lee played it with polish and panache, as did Ms. Na.

Milhaud’s Scaramouche for alto saxophone and piano continued in the same accessible vein. A classic perhaps best known in its two-piano version, it was, as the program notes remind us, originally commissioned by and written for saxophonist Sigurd Raschèr, so it was refreshing to hear as written. Mr. Choi brought it more of his infectious energy, though occasionally some sixteenths seemed to lose “traction” and run away a little. Is it possible that he was somehow trying to compensate for a longer than expected program? After all, what had been announced at the start as a program with no intermission, starting at 7:30pm, ran to around 9:20pm with no break. Whatever the case, one wanted to relax with this piece and savor it some more (especially breathing between phrases in the central Modéré movement).

All in all, despite the occasional reservation, there was much to admire about this concert, and especially about these young saxophonists. The duo of Choi and Lee are mesmerizing. Wherever life takes them, they simply must continue to play together.

by Rorianne Schrade for New York Concert Review; New York, NY

CD Review: “Kid Stuff” – Soli for Piano with Percussion Orchestra

McCormick Percussion Group; Robert McCormick, Director; Eunmi Ko, piano;

Music of John Liberatore, Seunghee Lee, Hilary Tann, Ciro Scotto, and Matt Barber

Ravello Records, LLC, an imprint of Parma Recordings LLC, 2018

RR7997

Recorded at the Springs Theatre in Tampa, Florida

Recording Engineer, John Stephan; Executive Producer, Bob Lord

“Kid Stuff” is an intriguing new percussion ensemble CD just released on the Ravello Records label and featuring performances by the McCormick Percussion Group under Robert McCormick with pianist Eunmi Ko. The disc is named after the longest work on it, Kid Stuff (composed 2015-17, subtitled Five Figments for Piano and Percussion) by composer Matt Barber (b. 1980), but the CD also contains four substantial compositions by composers John Liberatore, Seunghee Lee, Hilary Tann, and Ciro Scotto.

Though the subtitle of this disc, Soli for Piano with Percussion Orchestra, may set the listener up for something along the lines of the most notable piano-percussion compositions, such as Bartók’s Concerto for Two Pianos and Percussion, this disc favors much more heavily the ensemble instruments, often treating the piano as simply part of the group or even submerging its sounds amid the percussive textures of the marimba, xylophone, and other instruments.

Such an aesthetic is understandable in this case, as the McCormick Percussion Group is, on its own, a virtuoso ensemble with superb synchronization and the ability to realize highly complex scores. That said, piano soloists spend much of their lives striving for long legato lines or at least the illusion of such, and – without engaging in that age-old debate about whether piano should be categorized as a percussion instrument – movements where such piano lines came to the fore emerged as high points for this reviewer.

This Light That Pours from the four movements, This Living Air (2015), by John Liberatore was one such high point. It is a movement inspired by the poem of the same name by Garrett Brown (as are the other three movements, For Scraps of Manna, Mandrake, and It is not the Mold), and through Liberatore’s sensitive writing, the poem’s subject comes to life. From the movement’s quiet opening, pianist Eunmi Ko establishes a contemplative mood and luminous tone, gaining color and resonance through the percussion ensemble’s delicate shadings. It is a hauntingly beautiful performance. The remaining three movements of the Liberatore set are engaging in their own way – brimming with infectious patterns and brilliantly rhythmic writing – though pride of place still goes to The Light That Pours.

Considering this reviewer’s piano predilections, it may not be surprising that another highlight of this disc is a movement that borrows heavily from the Berceuse in D-flat major, Op. 57 of Frédéric Chopin, the fourth piece of Matt Barber’s Kid Stuff, entitled Cuddleys. Inspired by the composer’s infant twin daughters and a quotation from James Joyce’s Finnegan’s Wake (“what chance cuddleys…”), it is an ingenious melding of some of Chopin’s lullaby (now in G major) with the “thousands of new stimuli” that confront a vulnerable infant, all represented in the artfully “random” percussion accompanying the rocking piano part. Here is another “keeper” for this reviewer. Surrounding this movement are the playful and fantasy-filled explorations of Chimera, Night Owl, Quench, and, perhaps the most playful of all, Goofball. Each one, in its own way, reflects a fertile compositional imagination, and each is dazzlingly performed by pianist and ensemble alike.

The balance of the CD is made up of three quite different works, Pung-Kyung (2016) by Seunghee Lee, Solstice (2013) by Hilary Tann, and Dark Paradise (2016) by Ciro Scotto. Each maximized the performers’ special qualities in different ways.

Pung-Kyung, a word which the composer tells us has two meanings – both scenery and wind chime – is an apt title for this exploration of percussive tone painting. As Ms. Lee states, she uses some “repetitive yet unpredictable patterns of Korean traditional music” in evoking the mysterious lushness of an imagined Korean countryside. Timbral “images” suggest intermittent rains, rivers, sudden movements, and other fluctuations one recognizes in all nature but with a particularly exotic atmosphere here. It was good to hear such an idiomatic piano part, surely reflective of the composer’s background as pianist. One can imagine this piece finding itself welcome on many programs.

Dark Paradise, one of the lengthier works on the CD (at 13:06), is perhaps best described by its composer, Ciro Scotto, who writes that it “evokes a trip to an alien world that is simultaneously enticing but fills one with anxiety, stable and unstable, familiar and unfamiliar, and perhaps darker than earth.” Running the gamut of percussive techniques and instruments, with the pianist Eunmi Ko playing claves and crotales as well as the piano, the piece creates quite a sonic journey!

Solstice, by Welsh-born Hilary Tann, is the one duo on the CD, a pairing of pianist Eunmi Ko with marimbist Michael Skillern. An involved and imaginative work based on the writing of Adirondack woodswoman, Anne LaBastille, it is divided into the sections White Pines, Lilypad Lake, and Kestrel, bookended by preludes to spring and winter. Piano and marimba are perfectly paired here in the evocation of icy and woodsy tones, full of timbral variety and yet remarkably unified by these two fine players.

All in all, this CD makes a fascinating collection. For its important new contributions to the percussion repertoire and the sheer expertise in performance, it seems destined to become a staple in the libraries of percussion aficionados at the very least. A number of the works here may also reach a much wider audience as well.

by Rorianne Schrade for New York Concert Review; New York, NY

Distinguished Concerts International New York (DCINY) Presents “Messiah … Refreshed!” in Review

Distinguished Concerts International New York; Distinguished Concerts Orchestra and Distinguished Concerts Singers International

Jonathan Griffith, Conductor

Penelope Shumate, Soprano; Claudia Chapa, Mezzo-Soprano;

John McVeigh, Tenor; Christopher Job, Baritone

Stern Auditorium, Carnegie Hall

New York, NY

November 26, 2017

DCINY has a magic touch. Distinguished Concerts International New York (DCINY) under the direction of Jonathan Griffith has made a name since 2008 with extravagant large-scale productions, but their performance this weekend of Handel’s Messiah (the larger-than-life Goossens version) just may have topped all.

The sounds at their fullest were glorious, thanks to an enormous cast of musicians supporting fine soloists Penelope Shumate, Claudia Chapa, Christopher Job, and John McVeigh. Not only does DCINY have its own capable orchestra for such occasions, but it gathered close to five-hundred singers from Arizona, California, Georgia, Indiana, New Jersey, New York, North Carolina, and Ohio, as well as international choruses from Austria, Canada, France, Hong Kong, Mexico, and “individual singers from around the globe.” The emotions created by such large musical forces, mirrored and magnified by the excitement of the packed hall of music-lovers, have to be experienced to be believed. Suffice it to say that anyone proclaiming the end of classical music needs to crawl out from under his rock and witness it.

This reviewer was on a cloud of joy and admiration, a remarkable state in view of the fact that she has heard the entire piece many dozens of times in various incarnations, not counting excerpt performances, collectively bringing the tally into the hundreds. One might expect this music to feel “old hat” but Sunday’s concert was the farthest thing from it.

The overriding thrill has to be expressed first, as it is a shame to leave a concert floating on air, only to lose that spirit in the myriad details of the music’s history, its different arrangements, its performance practice, and more – though those details are rich and important in this much-storied work. Fortunately, for several years now, the illustrious reviewers of New York Concert Review have written about DCINY’s “Messiah … Refreshed!” as it has been titled, and so for background one can read their work here, Messiah Refreshed 2016 and here, Messiah Refreshed 2015. Because many among the personnel have been the same, even much of that information is still pertinent, though of course the performances are new each time.

The first solo of the day was from tenor John McVeigh in the recitative “Comfort ye my people.” He projected a warm sound and beautiful clarity of diction here, though he truly seemed at his best in the aria “Ev’ry valley shall be exalted.” Where some singers blur Handel’s long lines with indistinct pitches, and others manage the pitches with machine-gun-like attack, Mr. McVeigh established the perfect balance of flow and precision.

Baritone Christopher Job made his strong entrance with the recitative “This saith the Lord” but was particularly impressive in the “Why do the nations so furiously rage together?” (hundreds of years later, as relevant as ever!). In the latter, thanks to Goossens’ expanded forces, Mr. Job had much to compete with, but he was more than up to the challenge.

Mezzo-soprano Claudia Chapa, with arguably the most to contend with in terms of balance against a similar range orchestrally, emerged victorious with her warm burnished phrases. What struck one about this singer was her musical sensitivity in subtly inflecting her held notes in “O thou that tellest good tidings in Zion.” She seemed responsive to each nuance in the orchestral parts, performing as a true ensemble member. Also excellent was her “He was despised.”

Soprano Penelope Shumate projected her bright sound quite powerfully, and there was never a hint of being overwhelmed by the substantial forces of chorus and orchestra. Her “How beautiful are the feet” was delivered with devout feeling, but perhaps her most memorable moments were in “I know that my redeemer liveth,” in which her softer dynamic levels were absolutely haunting.

Bringing everything together was Maestro Griffith, who managed the veritable army of musicians with heroic energy and skill. At times Handel – and Goossens – left an easier task than at others. For example, there are stretches of more homophonic textures, fairly cut and dried, in which Goossens’ ample orchestration simply makes everything fuller. On the other hand, in some of the more polyphonic sections where one part’s melismatic lines interweave, overlap, or synchronize with others’ – or in the rapid sixteenth notes of the chorus “And he shall purify” – ensemble matters become more daunting, not unlike getting several hundred centipedes to march in tandem. Occasionally a section of the chorus tended to dwell a bit too lovingly on their own lines, threatening to upset the rhythm by just a crucial nanosecond, but miraculously Maestro Griffith held them together throughout the entire concert. He is part conductor, part ringmaster, and part magician. Bravo!

There is not much space here to engage in debate on the relative merits of Goossens’ vs. Handel’s orchestrations (or Mozart’s), but there is, after all, much to appreciate in each one. The Goosens version, with expanded percussion, winds, and brass was first made famous by Thomas Beecham’s 1959 recording with the Royal Philharmonic Orchestra and has, despite much controversy, earned a rightful place in the music world. The numerous voices decrying it as a bombastic juggernaut will eventually have to accept that it is here to stay along with its earlier versions – one can always simply opt to listen only to one’s preferred versions.

Yes, there are moments in the Goossens when the use of the tuba seems superfluous, or harps and piccolo seem like so much window-dressing, but at the same time, the expanded forces make possible some gripping contrasts. The tender quietude of the pastoral “Pifa” movement, for example, stands out precisely because of the full orchestral sonorities preceding it.

Most of all, though, there is just nothing quite like the full orchestral forces unleashed in the famous Hallelujah, an apotheosis augmented by full brass, crashing cymbals, and the heightened decibels of hundreds of choristers singing from the balconies. The movement can be a life-affirming musical high, and we can thank Goossens for making that high even higher.

In the world of historic performance practice, if a musician is to be faithful to the spirit rather than the letter of musical “law,” then one perhaps ought to consider Handel’s own famed remark upon writing the Hallelujah chorus, “I did think I saw heaven open, and saw the very face of God.” If the music is to suggest such a revelation, then it might not be considered outrageous for the floors of Carnegie Hall to vibrate with the thundering resonance – and they did just that. It might also be considered appropriate that the audience leave a Messiah performance with mouths agape from wonderment – and they did just that, after a prolonged and deafening ovation.

Under the circumstances, one can best close this review with just one more word – Hallelujah!

by Rorianne Schrade for New York Concert Review; New York, NY

Pro Musicis Presents Juliann Ma in Review

Juliann Ma, pianist

Weill Recital Hall at Carnegie Hall, New York, NY

November 9, 2017

A noteworthy recital debut occurred last Thursday, that of excellent pianist Juliann Ma, under the auspices of the Pro Musicis organization. Pro Musicis, founded in 1965, has for decades had a track record of presenting outstanding and communicative young artists in both conventional venues and community service concerts. Their roster has had such an illustrious array of musicians that it is impossible to select just a few names (but one can visit www.promusicis.org to learn more). Whether the Pro Musicis magic is more in their choosing of exceptional talent or in their nurturing of it through concerts and outreach may be up for debate – surely a mixture of both – but, in any case, they continue to thrive. Juliann Ma, their 2016 addition to the roster, provided ample evidence of that at her recital.

Ms. Ma is much more than an excellent pianist. A graduate of the Juilliard School (MM), she also has a degree in music from Stanford University (BA) with a minor in Creative Writing, plus a Diplôme d’Exécution de Piano from the École Normale Supérieure de Paris Alfred Cortot (on a Fulbright grant) and a Professional Studies certificate from Mannes (The New School for Music). She possesses the communicative gifts, appealing stage presence, and keen instinct for clever, accessible programming that will serve her well in her musical ambassadorship in the coming years.

Ms. Ma has an individual mission as well, which is to spread the message about the beauty and fragility of nature. Her carefully crafted program, entitled “Arise, Awake” was filled with works inspired by nature, including Debussy’s Prélude à L’Aprés-midi d’un faune (“The Afternoon of a Faun”) transcribed by the pianistic wizard, Vyacheslav Gryaznov, and three movements from Stravinsky’s Firebird, in Guido Agosti’s knockout version that has experienced quite a popular resurgence in the past decade.

Ms. Ma’s passion for nature became most overt, though, in her dramatic performance of Ravel’s exquisite Oiseaux Tristes (“Sad Birds” from Miroirs), upon which she based a collaborative interdisciplinary project. She preceded her performance with her own environmentalist poem entitled “Arise Awake,” and then incorporated six dancers into her piano interpretation to dramatize the sad birds’ story. Towards the close, the “birds” fell into a despairing cluster around the piano, and Ms. Ma folded her arms over the nearest one, thus in a sense becoming part of the dance. A similar performance (though more elaborate and without the finish around the piano) was just released by her organization, Sustainable Environment through the Arts and Sciences (SEAS): https://juliannma.com/seas/ .

For the visually oriented audiences of today, Ms. Ma’s conception may have a strong impact. There is always something extra-musical to watch or consider, so it may well touch the hearts of audiences not yet enamored of this music; for someone already deeply devoted to this music, however, the composer’s pure creation already represents an artistic pinnacle. Ravel transformed nature’s sounds into something uniquely spiritual, and the question arises as to whether it serves his creation to go the reverse direction and concretize the ethereal. For this listener, the dance ultimately distracted from the music, and increasing the distraction were various extraneous issues – percussive footsteps on Weill Hall’s wooden floor, the hard-to-ignore squeak of a barefoot pirouette, and some unforgiving lighting, all necessitating some suspension of disbelief in order for one’s imagination is to truly take flight. In the polished video, the latter were non-issues, yet this listener’s preference for the unadorned music remains the same. Admittedly, pianist/reviewers are probably not the target demographic.

Just as Oiseaux Tristes needs no enhancement, Ms. Ma as a pianist does not. She possesses the ability to find the essence of each work, and with help from her strong, fluid technique, she projects the musical shape, color, and drama vividly. Her opening Debussy was a joy, and the lush Gryaznov version made up in pianistic shadings whatever was lost in the transcription from the orchestral original. One could hardly imagine it performed better than Ms. Ma did.

Her Scriabin Sonata No. 5 (Op. 53) was also excellent, as brilliant and full of fire and ecstasy as one ever hears, as well as remarkably clean and polished throughout. Additionally, she gave it one of the strongest and most dramatically persuasive endings that I can recall in a lifetime of hearing the piece. Brava!

On the subject of drama, Ms. Ma has a strong bent for theatricality, which may make some curmudgeons spring to the accusation “all flash and no substance”; I am delighted to report, however, that this is definitely not the case. The supreme test was after intermission, with J. S. Bach’s Chromatic Fantasy and Fugue in D minor (BWV 903), and Ms. Ma more than passed with flying colors. Her performance was a model of thoughtful phrasing and voicing – the highlight of the program for this listener.

Following the Bach was Darknesse Visible by Thomas Adés (b. 1971), a musical descent into despair that Ms. Ma performed impressively from memory. The last few measures (after John Dowland) led without pause – a wonderful segue – into the opening octave blast of Danse Infernale, Berceuse, and Finale” from Agosti’s transcription of The Firebird, a musical phoenix rising from the ashes.

It was a marvelous evening, all in all, and the cheering audience was rewarded with an encore of the jazz standard “Body and Soul.” It will be a genuine pleasure to watch Ms. Ma’s career advance from this highly auspicious debut.

by Rorianne Schrade for New York Concert Review; New York, NY

New York Chamber Players Orchestra in Concert presents Zehavi Rodriguez in Review

Zehavi Rodriguez, cello; New York Chamber Players Orchestra; Giacomo Franci, Artistic Director

Liederkranz Concert Hall, New York, NY

October 13, 2017

Four prizewinning young string soloists had an opportunity last month to be heard with the New York Chamber Players Orchestra as part of their Young Artist Showcase Concert, chosen through NYCP’s Young Artists 7^th Annual competition. As stated on the orchestra’s website www.newyorkchamberplayers.org, the competition finals in June were “open to 12 prodigies” with the intent of choosing three winners. Four were ultimately selected to perform October 13^th at the lovely Liederkranz Concert Hall off Fifth Avenue.

As I was assigned to review only the cellist among the winners, I will focus on that shortly, but wanted to acknowledge also the other performers, in all cases exceptionally accomplished for their ages. In addition, one should mention that the NYCP Orchestra performed the much-loved Symphony No. 40 in G minor (K. 550) by Mozart as the first part of the program, acquitting themselves well of its challenges, especially for an orchestra that is not a large full-time one. The second part was devoted to soloists with orchestra.

The first soloist was Fourth Prize winner, Chelsea Xia, a violinist, who played Mozart’s Concerto No. 5 in A major (K. 219). She played just the final movement, for which the piece has been nicknamed the “Turkish” on account of its incisive rhythmic section in A minor (resembling the Rondo from the later Piano Sonata in A major K. 331). Ms. Xia played with admirable technical polish for one so young and a good amount of gusto in the jaunty “janissary music” moments. She has a very promising start on what should be a fine career ahead.

Third Prize went to Sara Yamada, violinist, playing Pablo de Sarasate’s Zigeunerweisen, Op. 20 (Gypsy Airs). It is always a striking experience to hear such a youngster (whom one might expect to see playing in the park) performing at such a high level in a Romantic virtuoso style. She played with exceptional technique and assurance. One should be accustomed to such accomplishments by now, with prodigies abounding, but it never fails to jolt one out of one’s seat. Granted, there is room for further growth, but if this is childhood, what amazing things may await!

The First Prize Winner, violinist Joseph Hsia, finished the concert with the Vieuxtemps Concerto No. 5 in A minor, all three movements. The most mature of the players we heard, he appears ready technically to take on any challenges that music offers. He demonstrates the ability to immerse himself fully in a long, involved work and approaches even the perilous spots with the assured kind of bull’s-eye intonation that invites the listener to relax and do the same, without bracing nervously at each Olympic hurdle, as one often does in youth concerts (and even concerts by established professionals). Bravo!

The only cellist of the evening was the winner of Second Prize, Zehavi Rodriguez, also the youngest of the players at just age eleven. He performed the Saint-Saëns Cello Concerto in A minor, Op. 33, with a command and flair belying his youth.

On the subject of age, there was nothing about this cellist’s demeanor that screamed “prodigy” in the stereotypical way – no overdone attire, no precious mannerisms – but rather a no-nonsense attitude about what seemed an earnest pursuit of music. When he walked out to play, there was a mature suavity about him that was matched by some very mature playing. He is a young musician who may well be on his way to some grand achievements.

From his first declamatory phrases to the rapid double-stops, and particularly the more chromatic descending sixths section, he was undaunted. He demonstrated a keen awareness of the shifting drama and lyricism of the piece, and he always reflected a sense of where he fit in with the overall supporting harmony and structure – no small feat for one his age. While one can always find little issues here and there to critique – an isolated intonation glitch, an occasional need for more time or accentuation – there was no question that this young man has the ability to go far in music, should he ultimately desire that.

On a side note about the shortened version chosen, many teachers do have their students make some cuts, though this was perhaps one of the most radically shortened versions heard to date, leaving the piece at just six minutes duration (as opposed to around twenty). It “worked” to put it in practical terms, but one might envision Mr. Saint-Saëns cringing at the radical surgery. This reviewer (in the role of accompanist) recalls flipping through the chaos of omitted pages of a piano reduction of it decades ago in the studio of a famed cello teacher, having learnt the harsh lesson that “that is how everyone does it.” To fit something of the piece into a showcase concert or a competition time limit, yes, one can understand dispensing with the more “meandering” parts – and for an eleven-year old, even six measures of this piece can provide ample challenge! – but down the road one hopes to hear this young man in unaltered repertoire.

In any case, all flowed fairly seamlessly to an exciting conclusion. Mr. Rodriguez handled the final build-up with just the right bit of swagger in the syncopated passages, and there was joyous momentum towards the exciting finish. Even the most jaded reviewer has to admit that there is little that is more exciting than hearing a young musician’s first concerto appearance with orchestra.

All in all, the evening was a resounding success. Hats off to the NYCP Orchestra for pulling off such a worthy endeavor!

by Rorianne Schrade for New York Concert Review; New York, NY

A Concert Celebrating the Publication of Barrett Cobb’s book, Walk, Shepherdess Walk, in Review

Barrett Cobb, flute/mezzo-soprano; Chris Fecteau, piano;

Teresa Diaz, flute; Rae Ramsay and Ruth Ann Cunningham, sopranos;

Elizabeth Thorne, Mezzo-soprano; Kate Goddard, violin; James Diaz, narrator

Special guest: Harry Saltzman

Church of the Good Shepherd, New York, NY

October 29, 2017

In celebration of the recent release of her sing-along book, Walk Shepherdess Walk, the author/illustrator Barrett Cobb, in her other roles as singer, flutist, and composer, gave a delightful program this Sunday based on pastoral themes. The above sentence warrants a long pause: singer, flutist, composer, author, and illustrator/painter! One often calls versatile artists “triple-threats” but Barrett Cobb is really a quintuple threat and more. For full disclosure, I had encountered some of her writing in her work for New York Concert Review, but her other gifts, as well as her winning presence in person, are new to me.

The concert was subtitled “A Program of Mostly Sheepish Music.” Though musical themes of lambs and shepherds might to the untutored seem rather limiting, the program’s reach was actually quite broad, touching on profound and beautiful themes that have recurred in music for centuries. Along with the likeliest choices (naturally several Agnus Dei – Lamb of God – settings), there was related music of pan pipes, satyrs, and walking woven into the program in organic ways, including Claude Debussy’s exotic Syrinx and the show tune You’ll Never Walk Alone from Carousel (Richard Rodgers), without ever straying too far afield.

The concert opened with Barrett Cobb singing Antonín Dvořák’s Songs My Mother Taught Me, in homage to her own mother, who taught her the book’s title song Walk, Shepherdess, Walk, by Eleanor Farjeon. Ms. Cobb sang the Dvořák with true feeling, sure intonation, and a lovely tone that projected well in the highly reverberant church. It was a deeply touching tribute. Sensitive accompaniment for the entire program (except the unaccompanied Debussy and Scull selections) was provided by pianist Chris Fecteau.

Following the Dvořák came the song Walk, Shepherdess, Walk, for which Ms. Cobb played the flute in her own charming arrangement, along with soprano Ruth Ann Cunningham and Mr. Fecteau. Again, it was beautifully done. It was a novel experience to hear a performer move so fluently from singing to playing the flute on the same recital, both at such a remarkable level. Incidentally, I listened to Ms. Cobb’s recording that accompanies her book (as the title song can be downloaded at www.walkshepherdesswalk.com), and it is winsome, but it actually does not do justice to her voice as we heard it live on Sunday – one usually finds the reverse to be true!

After this introductory set of songs came a grouping entitled “Sheep” containing some of the world’s most famous pastorally inspired music. Naturally a program about lambs and shepherds would be unthinkable without J. S. Bach’s Sheep May Safely Graze (from Cantata BWV 208), and so this aria followed with the three performers we had just heard, joined by Teresa Diaz on second flute. It was a beautifully balanced rendition of a beloved classic. Equally appropriate was He Shall Feed His Flock, from Handel’s Messiah, and Ms. Cobb and Mr. Fecteau handled it well. The spiritual, Listen to de Lambs, closed the set in a soulful way.

Walk Shepherdess Walk, the author/illustrator, singer, flutist, and composer

Barrett Cobb

The program’s next section, containing just one piece, was entitled “A Shepherdess” and cast the shepherdess as object of the unrequited love through Mozart’s setting of Goethe’s poem, Das Veilchen (The Violet). Ms. Cobb found just the right balance of mood between the song’s bucolic innocence and the pain of the trampled violet’s story, giving a light touch to the disturbingly facile resolution of Mozart’s final added line.

Moving to music about lambs in a more religious context (a section entitled “Lambs of God”) we heard the Agnus Dei from Bach’s Mass in B minor, followed by Barrett Cobb’s own Agnus Dei, and the Agnus Dei from Petite Messe Solemnelle by Rossini. It was quite interesting to hear three settings of the Agnus Dei in a row. Bach’s is famously heart-rending and was sensitively done by Ms. Cobb with the addition of Kate Goddard on violin. Ms. Cobb’s own composition followed it well stylistically, without any attempt to overturn tradition or to be original for originality’s sake. The Rossini brought the first half to a grand close, followed by a brief intermission.

Along with the text of the song Walk, Shepherdess, Walk, illustrated line by line with enchanting pastoral watercolor images in Ms. Cobb’s book, the book also contains her own brief story entitled “A Lamb’s Tale.” Present to read this tale was narrator James Diaz, a welcome new voice. To set the stage was Schumann’s tender ode to delicate innocence, Du Bist Wie Eine Blume (You are Like a Flower), sung by Ms. Cobb, and the reading was followed by another of Ms. Cobb’s own compositions, The Lamb’s Lament, for alto flute and piano. The piece reminded one faintly of Poulenc or Ibert, though with its own distinctly individual and melancholic voice. It was played hauntingly by Ms. Cobb, with gentle support from Mr. Fecteau, as ever.

The section of the program entitled “Pan’s Lament” featured Debussy’s Syrinx, a musical depiction of the mythological origin of pan pipes. Here, Ms. Cobb as flutist was at her finest, with Debussy’s sinuous lines shaded perfectly.

On a nostalgic note, the program continued under the heading “Lost Lambs” with the Whiffenpoof Song by Guy H. Scull (ending with Baa-ing). It brought a collegial (and collegiate) touch and was given a spirited performance by the quartet of Ms. Cunningham and Ms. Cobb, joined by soprano Rae Ramsey and mezzo-soprano Elizabeth Thorne. The classic Gershwin tune Someone to Watch Over Me, sung by Ms. Cobb, closed the grouping with sentimental grace.

The final selections under the heading “Walking Songs” began with one of my personal favorites, Handel’s Where’er You Walk (from Semele), inadvertently listed as being by Purcell (who was also inadvertently listed as having lived from 1659-75, a mere sixteen years). It is not my intent to (ahem) lambaste anyone or in any way, er, ram these corrections through, but given this program’s potential for future performances, these typos should be fixed. No one wants to “pull the wool over anyone’s eyes” about composers’ lives!

An unexpected delight was the unannounced appearance next by Ms. Cobb’s husband, Harry Saltzman, singing Walkin’ My Baby Back Home, by Fred Ahlert. Complete with baseball cap and vaudevillian gestures, he brought added fun to an already very friendly event, and the audience loved it. Ms. Cobb followed with her finale, a powerful rendition of You’ll Never Walk Alone (from Carousel, by Richard Rodgers). What a pair!

The sizable and enthusiastic audience gave a standing ovation and for an encore was invited to sing along in Walk, Shepherdess, Walk, before a reception that included (you guessed it!) “Goats do Roam” wine. Bravo to the many people involved in this memorable afternoon, at least five of whom were Barrett Cobb!

by Rorianne Schrade for New York Concert Review; New York, NY