Michele Garzo, piano
St. John’s in the Village, New York, NY

September 26, 2026

This evening’s performance featured Italian pianist Michele Garzo at a familiar downtown venue in Manhattan, St. John’s in the Village. After reading the biography of the performer in the event advertisement, I was intrigued to hear this “former prodigy” who performs with “fearless technique with deep poetic insight.” 

Tonight’s program certainly offered ample opportunity to highlight these qualities in some of the piano repertoire’s most beloved and demanding works: the four Ballades by Frédéric Chopin (1810-1849), Sonata in B Minor & Hungarian Rhapsody No. 6 by Franz Liszt (1811-1886). The concert titled “From Romantic Tragedy to Elation: Love Stories as told by Chopin or Liszt” also provided a unique context. In recent years, it has become increasingly fashionable to give recitals thematic titles such as this, creating a narrative connection among the works and, ideally, send the listener on a kind of journey. It is also not a bad marketing strategy. I was particularly interested to see how the performer would connect these four monumental Ballades, the Sonata and the Rhapsody through the idea of “love stories.”

The recital began with Chopin’s Ballade No. 1 in G minor, Op. 23. The elusive Lento opening is always a challenge for pianists- how does one interpret such a mysterious and intangible beginning? Mr. Garzo’s interpretive choice verged on ignoring the Lento marking altogether. The work began with a hurried broken-chord figuration, not really setting the tone for what followed. The main theme felt similarly rushed and distorted, while the rapid transitional passages that so dramatically propel the music into subsequent themes lacked definition and clarity.

Unfortunately, there was little in the performance that conveyed any adherence to Chopin’s markings or to the poetic ethos of the work. Much, if not all, of the performance remained at a consistently loud dynamic, with little sense of nuance, intimacy, or poetry. This was particularly puzzling, as Mr. Garzo is clearly capable of learning and memorizing technically demanding repertoire. Yet there seemed to be insufficient attention paid to the actual sound emerging from the instrument and to the expressive possibilities contained within the score. The famously bombastic and heroic coda should bring the Ballade to an overwhelming culmination. Tonight, it became a muddled and hurried version of its former self, sacrificing grandeur and dramatic impact for sheer velocity.

The Ballade No. 2 in F major, Op. 38 fared no better. The atmospheric opening was overpedaled and rushed, with little dynamic nuance. As a result, the explosive contrasting section arrived with surprisingly little impact. Once again, this performance felt undifferentiated, with few of the contrasts that give the work its extraordinary dramatic trajectory. I was particularly surprised by the speed at which the Ballade was played. Rather than allowing its drama to unfold naturally, Mr. Garzo seemed intent on moving through the music as quickly as possible, diminishing much of the tension and atmosphere that make the work so impactful.

By this point, I found myself wondering just how quickly the Ballade No. 3 in A-flat major, Op. 47 would pass by. Once again, Mr. Garzo communicated few of the qualities one so readily associates with Chopin- lyricism, elegance, subtlety, and a sense of poetic freedom. Mr. Garzo, however, appeared to be thoroughly enjoying himself!

Chopin’s Ballade No. 4 in F minor, Op. 52 is one of the piano repertoire’s most cherished works, one that pianists revere and collectively regard as a remarkable achievement of compositional craftsmanship. Mr. Garzo did approach the opening theme with some sensitivity, although the persistent lack of alignment between the bass and upper voices raised the question of whether this was an intentional stylistic choice. Beyond these opening moments, however, the performance struggled to convey the work’s extraordinary architecture. Much of the passagework was jumbled, obscuring the remarkable compositional process. The progressive variation that gives the Ballade its sense of inevitable growth and intensifying drama was largely lost. Unfortunately, the concluding coda was unsuccessful, both musically and technically.

The second half of the recital began with Franz Liszt’s monumental Sonata in B minor. This behemoth of a work is a formidable undertaking for even the most skilled and adventurous pianists, and Mr. Garzo was certainly willing to take on the challenge. Although the opening successfully conveyed a sense of misterioso, the notes not being together were far too distracting.

Many of the issues heard in the first half of the recital persisted here: the prevailing dynamic seemed to range from loud, to louder, to loudest. Without sufficient attention to sound production, voicing, and dynamic contrast, even the most dramatic music can eventually lose its hold on the listener. Liszt’s music is often characterized as bombastic and overtly virtuosic, but the Sonata is also an extraordinarily sophisticated and tightly constructed work. Interpretive freedom can be compelling, but when liberties and extremes of tempo begin to obscure the underlying architecture, the coherence of the work itself is compromised. The final fugue started off promisingly, but Mr. Garzo let it get so out of control, it wasn’t intelligible by the end.

The final work on the program was Liszt’s Hungarian Rhapsody No. 6. This performance did have some effective moments, particularly in the octave passages, which Mr. Garzo played with lightness and, at times, considerable brilliance. As the piece progressed, unexpected accents began to appear throughout the texture, without any relationship to the phrasing or musical direction of the work. By the end, the performance succumbed to many of the same issues that had characterized the rest of the recital. As the tempo and technical demands intensified, the playing became increasingly tangled and indistinct.

The encore was the Adagio from J.S. Bach’s Concerto after Marcello. Although there were fleeting hints of beauty in the opening, the performance gradually evolved into an aggressive caricature of this deeply expressive aria. What might have offered a moment of repose after such an intensely virtuosic program instead suffered from the same lack of restraint and attention to detail that had characterized much of the evening.

By the end of the evening, I had nearly forgotten the recital’s title, “From Romantic Tragedy to Elation: Love Stories as Told by Chopin or Liszt.” While the program certainly took us on a journey, I’m not sure we ever quite arrived at the promised elation.

Wenting Yu, piano

KNS Classical KNS A/202

Acclaimed pianist Wenting Yu’s new recording Enigma on the KNS Classical label (KNS A/202) is a thoughtfully curated tribute to the French piano tradition, centered on the legacy of Robert Casadesus (1899–1972). The album brings together works by Rameau, Debussy, Ravel, and Casadesus, tracing stylistic connections across French composers. Rather than presenting a simple anthology of French works, Enigma explores the musical lineage surrounding Casadesus and the enduring influence of the French piano school. 

Wenting Yu is from Shenyang, China. Mr. Yu earned a Doctor of Musical Arts degree from Rutgers University’s Mason Gross School of the Arts, where he studied with Vladimir Valjarevic and served as a Graduate Teaching Assistant. He previously earned his master’s degree from Mannes School of Music under Pavlina Dokovska, and was the recipient of the 2019 Steinway & Sons Award. His career has been marked by numerous international competition prizes, including distinctions at the Fontainebleau Festival, where he received both the Ravel Prize and the Robert Casadesus Grand Award. His artistic interests have increasingly focused on French repertoire and the performance legacy of the Casadesus family, a fascination that ultimately led to the recording of Enigma. 

The recording begins with three works by Jean-Philippe Rameau (1683–1764). Here Mr. Yu sets the scene for the French sound world that is present throughout the album with these expressive works. Les Tendres Plaintes from the Suite in D from Pièces de Clavecin is intimate and unfolds naturally. The ornaments are elegant while imbuing the music with pathos. Les Cyclopes, the most virtuosic of the three works, stands out for its perpetual-motion figurations. Mr. Yu handles the repeated notes with grace while maintaining a supple pulse. An even more driving rhythm, however, could have enhanced the work’s dramatic qualities. Next comes the Allemande from the Suite in A from Pièces de Clavecin. Though beautifully played, this performance lacks a consistent flow and employs frequent Romantic rubato, which obscures the clarity of the work’s structure.

Next is a selection of preludes by Claude Debussy (1862–1918), works that demonstrate the composer’s extraordinary ability to evoke atmosphere, color, and imagery through the piano. Mr. Yu proves to be a sensitive guide through these landscapes, creating a wide palette of colors from the instrument while maintaining a strong sense of line and direction. Drawn from Books I and II, Mr. Yu presents Voiles, Ce qu’a vu le vent d’Ouest, La Puerta del Vino, and Feux d’artifice. These four preludes showcase different facets of Debussy’s writing and approach to the instrument, which is welcome, though the selection does not feel entirely congruous within the context of this recording.

The performances, however, are strong. Voiles has a vivid sense of mystery, and Mr. Yu delineates its layers sensitively. In Ce qu’a vu le vent d’Ouest, he successfully communicates the drama of the work by capturing the varied nuances of its registers, from the murky to the brilliant. La Puerta del Vino, a sensual habanera, is poetic and imaginative. The treacherous Feux d’artifice is handled with command, though it could have been more convincing in its many passages of contrasting “sound effects.” In a way, the performance is rendered almost too perfectly and might have benefited from a more imaginative and risk-taking approach.

The focus now shifts to Robert Casadesus (1899–1972), the central figure around whom this recording is built. One of the most distinguished French pianists of the twentieth century, Casadesus was celebrated for his clarity, elegance, and intellectual approach to both performance and composition. Although his reputation today rests primarily on his career as a pianist, he was also a prolific composer whose music reflects the refinement and craftsmanship associated with the French tradition. His presence on this recording serves as an important link between the earlier French masters represented on the program and the musical legacy that followed.

The first work by Casadesus on the recording is Variations d’après l’hommage à Debussy de Manuel de Falla, Op. 47. Based on de Falla’s original guitar work, this homage to Debussy fits naturally within the concept of the album. A gem of a composition, it fuses Spanish elements with an impressionistic color palette. Mr. Yu clearly understands the work’s multiple layers of reference and influence. His attention to detail in sound, articulation, and color is remarkable.

Each variation is distinct and contrasting, filled with passion and a natural spontaneity. Particularly enchanting is the third movement, Presto, in which Mr. Yu vividly evokes the virtuosity and brilliance of the guitar. The fourth movement, Andantino “alla barcarola,” is equally successful, communicating a hypnotic lyrical quality. The last movement, Allegro ben moderato, is an excellent culmination to the work, full of bravura and expressive energy. Mr. Yu plays this wonderful work with abandon and conviction. Bravo!

The album continues with a selection of eight preludes from Casadesus’s 24 Préludes, Op. 5, a collection that reveals another side of the composer’s musical personality. Written early in his career and published in 1925, these concise pieces display a remarkable variety of mood, texture, and pianistic writing and established him as a composer, not just a pianist. Dedicated to Maurice Ravel, Casadesus continues the tradition of writing 24 preludes established by composers who preceded him.

Though this selection of eight preludes offers a glimpse into Casadesus’s compositional style, the format ultimately feels somewhat fragmented. A more substantial selection, or better yet, the complete cycle, would have provided a stronger sense of the work’s overall architecture and made a more compelling case for Casadesus as a composer.

That said, the performances themselves are consistently engaging, combining power and charm in equal measure. Particularly striking is Prélude No. 10, whose rhythmic vitality and incisive articulation create an immediate sense of character. Prélude No. 21, meanwhile, evokes the elegance and color of Ravel’s piano writing. In the end, the selection leaves the listener wanting more, eager to discover the relationships between the individual preludes and to experience the broader narrative formed by their progression through the twenty-four keys.

The preludes are followed by a work by Maurice Ravel (1875–1937), represented here by three movements from Le Tombeau de Couperin. While the rationale behind presenting just these movements is clear, I am less convinced that these excerpts function successfully as a recording project. Stylistically, however, the performances are admirable throughout.

I would have welcomed a greater emphasis on the work’s more luxurious sonorities. Although Ravel draws inspiration from Baroque forms and gestures, he filters them through a distinctly early twentieth-century harmonic and pianistic language. More of that richness and color could have been brought to the foreground. The Toccata, in particular, is delivered at an effective pace, and its notoriously demanding repeated-note passages are executed with remarkable control and precision.

The final group of works returns to Robert Casadesus. By far this reviewer’s favorite selections on the recording are the two Études from Op. 28. Mr. Yu delivers astonishingly clean performances, full of vitality, wit, and charm. Once again, I found myself wishing for a more substantial sampling of this remarkable music, as these two brief works leave the listener eager to hear more. Their playful spirit and unmistakable personality reveal a particularly engaging side of Casadesus’s voice as a composer.

The album concludes with the Toccata, Op. 40, a work that inevitably invites comparison with Ravel’s Toccata. There is no question that this piece presents formidable technical challenges, and Mr. Yu meets them with impressive ease and confidence. Nevertheless, I found it to be the least interesting work on the recording. The toccata material often feels derivative and lacks the freshness and individuality found elsewhere in Casadesus’s output. His distinctive voice emerges far more vividly in the shorter works, like the préludes and études.

Even so, this recording serves as an important contribution to preserving and promoting Casadesus’s music. Mr. Yu’s advocacy sheds valuable light on a composer whose works deserve greater recognition and continued exploration. He should be applauded for this valuable contribution to the discography and for his commitment to bringing this neglected repertoire to a wider audience. One hopes that more recordings of Casadesus’s music will follow in the years to come.

Miriam K. Smith, cello

Ming-Li Liu, piano
Merkin Hall at Kaufman Music Center, New York, NY

April 14, 2026

The Kaufman Music Center’s latest Tuesday Matinee concert featured American cellist Miriam K. Smith, joined by pianist Ming-Li Liu. Ms. Smith, clearly on a path toward international recognition, presented a thoughtfully curated program that highlighted both her dazzling technique and her capacity for nuanced, sensitive expression. Having already appeared with major orchestras and earned top placements in international competitions, she brought these accomplishments into a more intimate setting, engaging an attentive and enthusiastic audience with a compelling sense of communication.

The recital opened with Seven Variations on Bei Männern, welche Liebe fühlen by Ludwig van Beethoven (1770–1827). Taking inspiration from a theme from Mozart’s The Magic Flute, the work proved an effective and well-considered choice, gently inviting the audience into her magical sound world. From her first entrance, Ms. Smith’s elegant playing was immediately evocative, as she and Ms. Liu shared both accompaniment figures and thematic material with a strong sense of partnership. Each variation was clearly characterized through nuanced tone and articulation, and Ms. Smith navigated the intricate technical passages with command. At times, however, the piano obscured the cello, compromising the impact of Ms. Smith’s refined playing. Particularly compelling were Variations IV and VI, which were poignant and probing. Variation VII was buoyant in its dance pulse but could have been more clearly maintained through the driving coda.

Next on the program was La Scandinavie (Scandinavian Suite)by Percy Grainger (1882–1961). Known for his deep admiration of Nordic traditions, Grainger drew extensively on Scandinavian folk elements and dance idioms in this work. Smith and Liu demonstrated a clear understanding of this style, shaping its intricacies with care and sensitivity.

The first movement, Air et Dance Suédois (Swedish Air and Dance), unfolded with understated elegance. Smith’s expressive slides felt both natural and profoundly affecting. The contrasting dance section was lively and energetic, suggesting a joyful pastoral scene. In the second movement, Värmlandsvisa (Song of Varmeland), Smith sustained a lyrical, romantic line, conveying a strong sense of pathos while suggesting a distant, nostalgic landscape. The fourth movement, Mélodie Danoise (Danish Melody), was performed with elegant restraint – the closing harmonics were just exquisite. The standout was the final movement, Air et Finale sur des Danses Norvégiennes (Air and Finale on Norwegian Dances). While the piano introduction might have benefitted from more suppleness, it nonetheless established a warm character. The folk tune, with its drone and unadorned melody, was both delightful and deeply moving.

Last on the first half of the program was a set of pieces by Nadia Boulanger (1887-1979), Trois Pièces for Cello and Piano. Each piece inhabited its own distinct character and sound, and Smith conveyed these shifts with clarity and immediacy, drawing the listener into the composer’s imagination. Most interesting of the three works was the third movement, Vite et nerveusement rhythmé (Fast and nervously rhythmic), whose playful, almost circus-like material reminded one of Poulenc, while also evoking the bustling energy of a city with images of machinery in motion, footsteps, traffic, and the constant hum of urban life. Smith was able to capture the élan of this movement with great flair.

First on the second half of the program was the well-known Sonata for Violin and Piano by César Franck (1822-1890), arranged for cello by Jules Delsart. This staple of the string repertoire is a rite of passage for every violinist and cellist and today’s performance was admirable, with many special moments. Ms. Smith demonstrated impressive technical control, which is commendable for such a young musician. There is already a strong musical instinct at work here, and much of it was exciting and thoughtful. As her interpretation continues to develop and mature, I have no doubt that a greater sense of freedom and abandon will further enhance its impact and allow the music to fully speak.

Ms. Smith did not disappoint, but one felt that Ms. Liu could have created more of a magical atmosphere in the opening material. As the movement continued, however, the ensemble flowed and swayed effortlessly, emphasizing the drama between the parts. The notoriously difficult second movement was played with ferocity and sweep. Particularly moving was the third movement where the cello sang solo in a Récitativo. The ensemble, here, was quite ethereal, arresting the attention of the audience. The last movement, Allegretto poco mosso, was also quite satisfying. Each of the climaxes so well-crafted by Franck felt natural and was executed with such honest emotion that it was truly riveting.

The last piece on the program was Humoresque, Op. 5 by Mstislav Rostropovich (1927-2007). This wonderful showpiece was full of effervescence, and one could hear so much through the cello writing, from bees buzzing to cars zooming, and Ms. Smith was able to deliver this with poise and elegance, but also a visceral energy that was palpable in the room. The concert ended with a rousing and well-deserved standing ovation. It is clear that Smith has a long and successful career ahead of her, and I look forward to hearing her in recital in the future.

Minyoung Rho, piano
Weill Recital Hall at Carnegie Hall, New York, NY
March 2, 2026

I was interested to hear pianist Minyoung Rho after seeing the intriguing repertoire on her recital program. Although it has become more common to program works of living composers alongside classic repertoire, it takes a certain tenacity and belief in the music to make the program truly work. This is what was heard tonight at Weill Recital Hall; pairings of works with meaningful connections that were communicated with nuance and pianistic integrity.

Commissioned in 2007 for the Second International Beethoven Competition, Ludwig’s Alptraum (Ludwig’s Nightmare) by Lera Auerbach (b. 1973) opened the program. The work begins with a quote from the Sonata in E-flat major, Op. 27, No. 1, but quickly goes off into new territory ending in a shambles after a section of brutal turbulence. Ms. Rho might have been more captivating in her sound as she established the opening “dream state,” more fully drawing the listener into this new realm. The more violent sections felt somewhat casual and would have benefited from greater intention, urgency, and a more extreme sense of the sonority, however, the playing demonstrated clarity and command and even sparked a genuine interest in this reviewer to explore this work and others by Auerbach.

The standard repertoire pairing in the first half of the program was Kreisleriana, Op. 16, by Robert Schumann. This emblematic work reflects the unsettled and extreme nature of the Auerbach piece through a musical language uniquely realized in the hands of Robert Schumann. Ms. Rho is clearly comfortable in this style, playing with full control of the many complex lines and voices appearing and disappearing throughout the work – not an easy feat! In some moments, this reviewer wishes that Ms. Rho would have played with more abandon, even if sacrificing a note or two. At the same time, the slower sections could have been more flexible, living and breathing to create a natural unfolding of the phrases, highlighting the ambiguity Schumann creates in phrase length, harmony and pulse. This would have made the second movement, II. Sehr innig und nicht zu rasch, more successful. Similarly, III. Sehr aufgeregt was played with great elegance but could have opened with a more sinister character. The last movement, VIII. Schnell und spielend, was particularly moving, encompassing the emotional depth of the set as a whole.

The second half began with another unknown work to this reviewer. Clifton Callender (b. 1969) wrote à la manière de…. (in the style of) in 2018 as a musical homage to six composers, from Bach to Art Tatum. He writes about the work, “In each prelude some aspect of the composer’s style, technique, or even specific fragments form the basis for my own take. The preludes were not intended to be stylistic exercises or parodies, but rather opportunities to explore without inhibition elements (latently) present in my own voice.”

The first movement, Chopin, clearly takes inspiration from the fourth movement of the Sonata in B-flat minor, Op. 35. Though a recognizable sound world, Callender manages to veer off into a prelude that communicates a more extroverted, intense and intentional character that Ms. Rho performed brilliantly. The second movement, Bach, transforms almost seamlessly into a two-part invention. Though the sonic landscape was appropriate, this reviewer was missing more interaction between all the lines and figures, especially the canonical material. Langetiessen (a name mash-up of the composers David Lang, György Ligeti and Louis Andriessen) was fantastically complex in its rhythm and organization but could have had more rhythmic inflection from Ms. Rho. Tatum stood out a favorite for its swinging rhythm and natural improvisatory quality but with its own unique language, still integrated and related to the work as a whole. Liszt was also an interesting study in repeated notes, concluding with virtuosity displayed expertly by Ms. Rho.

The second pairing on the program featured Piano Sonata No. 2 in B-flat minor, Op. 36 (1931 version) by Sergei Rachmaninoff (1873–1943). In this work, Ms. Rho demonstrated complete mastery of her artistry and pianistic authority. Her performance of this work stood out as the most compelling of the evening, showcasing not only her astounding technique, but also deep interpretive insight. While this pairing might initially appear incongruous, careful listening reveals subtle threads of connection between the works, creating a cohesive narrative across the program.

Ms. Rho’s interpretation of the Rachmaninoff Sonata was filled with exciting climaxes and a clear sense of overall structure. She shaped phrases beautifully and with care allowing them to develop organically. This reviewer was particularly struck with how Ms. Rho worked out the layered sonorities so clearly and how each line was handled with supple nuance. The work concluded with an exhilarating final movement, communicating a bombastic conclusion to the thoughtful program. I look forward to hearing Ms. Rho again in the future!

Artistic director: Yiming Wu; Music Director: Yu-ting Cheng; 3rd MusicON Competition Judges: Wang Lu and Felipe Lara; Tech Director Haibei Wang

Performers & composers from the MusicON International Composition Competition:
KaiChen Cheng (flute), Yu-Ting Cheng (clarinet), Clara Cho (cello), Yoon Sang Timothy Cho (conductor), Eva Ding (flute), Sunmi Han (piano), Daniel Lamas (viola), Yeji Pyun (violin), Makana Medeiros (percussion), Sara Salomon (violin), Tsung-Yu Tsai (cello), Tyler Vittoroia (double bass), Taige Wang (piano), Foo Jeng Wong (piano),Jin Yang (pipa)

Opera America National Opera Center, Marc A. Scorca Hall, New York, NY
October 26, 2025

Sunday’s performance marked the third evening of the MusicOn International Composition Competition showcase of Aspiring Young Composers. A varied program of ten unknown works was presented, all by participants and finalists in this unique competition – one that celebrates the craft of composition from an early age, an admirable endeavor to continue a tradition with centuries of history.

First on the program was Exhalation by composer Lucy Chen – this piece was a duo for piano and cello performed by Foo Jeng Wong (piano) and Clara Cho (cello). This piece, commissioned by the 2025 MusicOn Festival was inspired by Ted Chiang’s Exhalation, a story about a futuristic world where air powers life and thought. The work was performed with sensitivity by the duo and many of the extended techniques for cello were handled with care by Cho, communicating the character of these “exhales” with clarity. The work as a whole could have had a bit more direction, but its moodiness kept this reviewer attentive until the very captivating ending.

A contrasting work, Periphery for small ensemble and conductor by Emily Bai followed the program. The performers were Sara Salomon (violin), Tsung-Yu Tsai (cello), KaiChen Cheng (flute), Yu-Ting Cheng (clarinet) and led by Yoon Sang Timothy Cho. The fragmented opening was angular and Webern-like. The ensemble was tight a with the quiet and subdued moments – this was when it was most effective. Although the ensemble handled the work well, the promise of the opening figures didn’t completely materialize with no obvious or clear climax but it was still a great effort from Bai.

Reverie for piano and violin by Andy Yiheng Li was next, performed by Sumi Han (piano) and Sara Salomon (violin). This Debussyesque work (even in its title) was also a commission by the 2025 MusicOn Festival. Han conveyed the piano’s delicate textures with sensitivity and color, creating a supple harmonic fabric over which the violin could sing. The work unfolded with clear structural intention and sustained the audience’s attention throughout. While moments of greater intimacy from the violin might have enhanced the overall effect, the duo captured the work’s lyrical and dramatic essence with poise and expressivity.

In the next small ensemble piece, Echoes of Silver Rain by Xinyuan Deng, the marimba part played by Makana Medeiros was a standout. The other members of the ensemble were Yeji Pyun (violin), Tsung-Yu Tsai (cello), Eva Ding (flute), and conductor Yoon Sang Timothy Cho. This piece began with seductive figures between the instruments in the ensemble. This cohesive group was able to communicate a clear concept, and all the important musical gestures were beautifully crafted. Choosing this instrumentation was a great decision by Deng and his adept use of the strength of each one was skillfully done. The ending was particularly effective.

Zihan Wu’s Memoir of the Bamboo Sea, a finalist work in the 2025 MusicON Composition Competition, was performed by Eva Ding (flute) and Makana Madeiros (marimba). This evocative piece stood out as a highlight of the program to this reviewer. The opening flute solo was haunting, with bending tones that seemed to wail from a distance, immediately setting an introspective tone. Wu’s writing demonstrates a thoughtful understanding of both instruments, achieving a remarkable balance and clarity in their interaction.

Rather than depicting a physical landscape, Memoir of the Bamboo Sea captures the emotional resonance of remembering a place, in this case, the composer’s hometown. Ding delivered a commanding performance, conveying the work’s deep emotional layers with expressive nuance, while Madeiros brought sensitivity, precision, and a subtle allure to the marimba part. Their collaboration was deeply engaging, leaving this reviewer hopeful that the duo will continue performing together. Bravo to both performers and to the imaginative young composer!

Unfolding Memory by Angela Jin was performed by Foo Jeng Wong (piano), Sara Salomon (violin), Daniel Lamas (viola), Clara Cho (cello), KaiChen Cheng (flute) and led by Yoon Sang Timothy Cho. According to the composer this work “explores how memories resurface – sometimes vivid, sometimes blurred.” This sense of gradual revelation was apparent from the opening, suggesting a journey toward transformation or resolution. However, the work ultimately felt somewhat disjunct and lacking in direction. While moments of intriguing texture and color emerged, the piece struggled to maintain a coherent throughline, even within its intended dialogue between clarity and obscurity.

The next work, Fluctuations on a bed of blue by Emily Cheng was written for string quintet. The ensemble was comprised of Yeji Pyun and Sara Salomon (violins), Daniel Lamas (viola), Clara Cho (cello) and Tyler Vittoria (double bass). Cheng’s writing explored rhythm with a playful sensitivity, allowing the music to sway and breathe with each syncopation. The inclusion of the double bass lent the texture a satisfying depth, while the ensemble’s cohesive interplay brought out the work’s colorful sonorities. The result was a piece imbued with a mellow character that unfolded with charm and fluidity.

A duo for piano and clarinet by composer Tony Li titled The Mystical followed. This work was commissioned by the 2025 MusicON festival. It was performed by Foo Jeng Wong (piano) and Yu-Ting Cheng (clarinet). The work opened with colorful, impressionistic motifs from both instruments, evoking the harmonic language of early twentieth-century French composers. As the second section unfolded, however, the piano writing at times lacked the harmonic support needed to fully complement the clarinet line. Despite this, the piece maintained an appealing sense of mystery, and the performers conveyed its atmospheric qualities with sensitivity. With further refinement, The Mystical could more clearly articulate its expressive intent and structural cohesion.

The work with the most intriguing instrumentation was Variations on a Theme from Bizet’s Carmen by Taige Wang with the composer at the piano and Jin Yang on pipa, a Chinese traditional instrument. This instrument, not known for playing works in a Western harmonic language was beautifully colorful and expertly played by Yang. The piece opened with a bold flourish before introducing the familiar Habanera theme, famously sung by Bizet’s protagonist. Wang’s imaginative treatment of the melody created moments of lively dialogue between the two instruments, blending Eastern and Western idioms with flair. Although the balance occasionally favored the piano, at times overshadowing the pipa, the performance overall was engaging and full of spirited energy. The work stood out for its inventive approach and playful reimagining of a well-known classic.

Congratulations to all of those involved in creating this three-day festival of presenting new works to the public. The event was well organized and thoughtfully curated, showcasing an impressive range of creative performances. However, the noticeably sparse audience was disappointing. With greater outreach and engagement, the festival could draw a larger and more involved community presence, matching the high quality of the performances themselves.

Artistic director: Yiming Wu; Music Director: Yu-ting Cheng; 3rd MusicON Competition Judges: Wang Lu and Felipe Lara;  Tech Director Haibei Wang

Performers & composers from the MusicON International Composition Competition: KaiChen Cheng (flute), Yu-Ting Cheng (clarinet), Yoon Sang Timothy Cho  (conductor), Clara Cho (cello), Eva Ding (flute), Shirley Guo (harp), Joanne Kang (piano), Yeji Pyun (violin), Sara Salomon (violin), Tsung-Yu Tsai (cello)

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

October 24, 2025

This evening’s concert presented at the Opera America National Opera Center, Marc A. Scorca Hall, featured compositions by young and aspiring composers who are all participants and finalists in the 2025 MusicON International Composition Competition. The programming included a variety of chamber works as well as solo piano. Tonight’s concert highlighted the very youngest category of composers in this event – as young as 9-years-old.

Tiger Liu’s composition Kaua’i ‘Ō’Ō, a solo piano piece inspired by Olivier Messiaen, is a portrait of the extinct bird and the Hawaiian landscape. The opening chords arrested the listener’s attention with its rich palate of French sonorities – they were immediately contrasted by an opposing character and sound. The Messiaen-like rhythms were handled well by pianist Joanne Kang, but the chordal passages could have had a wider range of color throughout. Following this opening section, a convincing and captivating second section displayed the emblematic “water music” of the French impressionists – this was handled expertly by Kang. The piece ends with one final bird call, “a haunting echo of loss and hope.”

Second Impression by Brendan Li, a 16-year-old composer from Vancouver, BC, Canada followed. This piece, in the composer’s words, “aims to capture the feeling of exploring the mysterious other side of things.” This piece was performed by Joanne Kang (piano) and Sara Salomon (violin), each in command of every aspect of this work. The piano intro was flowing but the character seemed undefined, and an obtuse melody emerged from the violin. Although the performers were able to execute the score organically, it was unclear what each instrument’s role really was. At points, the violin had some technical passages that didn’t contribute to the storytelling of the work. In general, this piece could have had a clearer point of view.

The piece Beaver by the Water by Edmond Zhuo began somewhat dissonantly. This piece for string quartet was performed by Sara Salomon and Yeji Pyun (violin), Daniel Lamas (viola), and Clara Cho (cello). This reviewer found this programmatic piece to have some charming ideas but wouldn’t have understood the story if it hadn’t been written in the program. A stronger sense of interaction between the instruments could have also cleared up some of the incongruous sounds – for example, violin 1 seemed disconnected from the rest of the group activity at times. It is a lovely piece but could use some refining in its part writing.

Cultivation of a Spirit is said to celebrate “growth & harmony.” This piece by Lucy Fang is for a small ensemble that included Joanne Kang (piano), Yeji Pyun (violin), Tsung-Yu Tsai (cello), KaiChen Cheng (flute) and conductor Yoon Sang Timothy Cho. This piece was quite successful from the opening flute motif, its violin answer/imitation and the entry of the piano. It sets the stage for the narrative of the work. Fang was able to produce an organic blend of the instruments including some extended techniques on the flute. As the piece continued, it was clear that it was being held together well by the ensemble and, particularly, the conductor which resulted in an exciting climax with all the instruments in the group. An interesting work by Lucy Fang!

Duet No. 1 by 11-year-old composer Charles Zhuo was performed by pianist Joanne Kang and violinist Sara Salomon. This serene and reflective work offered a pleasant listening experience, with piano writing that conveyed a gentle, meditative character. However, the violin part at times felt less idiomatic, and the dialogue between the two instruments could have been developed further to enhance the sense of interaction. The conclusion, too, might have benefited from a more vivid or decisive gesture. According to the program note, the piece is inspired by a lively and imaginative narrative, a quality that could be explored more boldly in the writing itself. Nevertheless, it is an impressive accomplishment for such a young composer, and Zhuo’s work shows great promise for future development.

Next on the program were Two Miniatures by 9-year-old Annie Wu. The first piece, The Joy of Summer, opened with a Lisztian passage, lush and shapely. This could communicate the image of the water to the listener. This piece, performed by Joanne Kang, had the listener captivated and the form was clear. It was colorful and scenic. The second piece, The Mysterious Sound of an Insect, began with colorful rolled chords and trills. The melodic material was beautiful, and it eventually transformed into a murky and rumbling piece – the ending was bombastic and strong. A vivid piece!

Twilight Reverie byJohn Liu concluded the program with a sense of tranquility and dreamlike lyricism. Scored for a small ensemble—Yeji Pyun (violin), Daniel Lamas (viola), Eva Ding (flute), Yu-Ting Cheng (clarinet), Tsung-Yu Tsai (cello), and Shirley Guo (harp). The work displayed a strong sense of unity and continuity throughout. Opening with a jaunty, cinematic theme, the piece immediately established a vivid sense of character and motion. Liu demonstrated an impressive command of instrumental color, blending the ensemble’s diverse timbres with sensitivity and skill. The group’s performance was well-balanced and communicative, with particularly noteworthy solo passages from the clarinet and viola. Shifts in mood were handled with clarity and effectiveness, maintaining the listener’s engagement throughout. Overall, Liu’s craftsmanship and refined sense of ensemble writing made Twilight Reverie a compelling and satisfying conclusion to the concert.

It is impressive to hear the work of these young composers – I admire the work of this organization and look forward to the other nights of the festival this weekend.

Ivan Gusev, Piano

Tenri Cultural Institute, New York, NY

March 15, 2025

It was an intimate affair at the Tenri Cultural Institute this evening where a small group gathered to hear pianist Ivan Gusev perform a varied program for The Leschetizky Birthday Recital, a yearly event that celebrates the renowned pedagogue Theodor Leschetizky (1830-1915). With a direct line to Beethoven, Leschetizky taught a great number of pianists in the late 1800s, including Ignacy Jan Paderewski (1860-1941) and Artur Schnabel (1882-1951), just to name two. As the president of the association Zelma Bodzin pointed out, one would be hard-pressed to encounter a professional pianist active today that doesn’t inherit at least one of the lineages of piano pedagogy, Leschetizky’s being one of them.

Mr. Gusev’s program was inventive and adventurous – it began with his own transcription of a Fantasia for Keyboard in D (FVB 124) by Thomas Morley (1557-1602), an English composer of the late Renaissance whose compositions were primarily for the virginal, a keyboard instrument in the harpsichord family of that time. The transcription stayed true to the tone of the original work. The sound was crisp and vibrant, and Mr. Gusev’s improvisational approach was expressive yet tastefully restrained. This balance created a compelling and refreshing start to the evening.

A standard piano recital moves chronologically through the eras, and although this reviewer’s taste is to let go of these traditions that can feel restrictive, the arc of this program was thoughtful enough that the following classical sonata was  organic to the program –  the Sonata in E Minor, Hob. XVI:34 by Franz Josef Haydn (1732-1809). Mr. Gusev launched into the Presto with both vigor and elegance, demonstrating meticulous attention to detail. However, the sense of spontaneity was somewhat lost, as the abrupt rests with fermatas felt overly deliberate. A more natural and unexpected approach to these pauses could have enhanced their impact. The last three octaves could have also benefited from a similar approach. The second movement, Adagio, was performed with fantasy calling back the rhythmic freedom of the Morley work. The last movement, Vivace molto, began at a good clip and with a light and airy touch. A bit more differentiation within the variations of the melodies could have benefited this movement as well as a healthier, more grounded pulse in the E major section. Additionally, a more decisive conclusion would have better served the drama of the work—Mr. Gusev’s tendency to sustain the pedal after lifting his hands occasionally softened the impact of the final moments of the sonata.

Seven Christmas Miniatures (2025) by Siberian composer (and colleague of Mr. Gusev) Roman Khozeev was next. This was a world premiere as the work had just been finished in January of this year. These seven miniatures took us to a variety of sound worlds in which Mr. Gusev was fully immersed. We were taken from a nostalgic folk song to a world with sparseness and openness with the first two movements. The third, a more contemporary and easy-going movement was followed by a playful and innocent scene. The endings of each of these vignettes were sudden but always in character and Mr. Gusev never broke from it until the very last moment. The last movement in particular was full of motion of a delicious dissonances in which Mr. Gusev reveled. The arresting ending was a great finale to the set. One looks forward to hearing more from this interesting composer.

To contrast but also compliment the new work was a warhorse by Sergey Prokofiev (1891-1953), the Toccata, Op. 11. This early work of Prokofiev is known for fiendish difficulty in its motoric sections, especially with the repeated notes, and his use of the grotesque and sarcastic characters is present in full force. Mr. Gusev approached it with precision and control; however, the opening repeated Ds could have carried more momentum to fully establish the exhilarating journey ahead. To heighten the work’s intensity, a performance infused with greater propulsion, fluidity, and dynamic energy would have been more effective—while meticulously executed, this interpretation lacked the visceral impact that gives the piece its driving force.

As part of today’s birthday celebration, Mr. Gusev presented three delightful works by Leschetizky following intermission. A prolific composer as well as a renowned pedagogue, Leschetizky exemplifies the expressive depth and elegance of the Old-World Romantic tradition. These Three Meditations, selected from his Six Meditations, Op. 19, serve as a testament to the lyrical and refined style in which he both composed and taught. Mr. Gusev delivered each piece with a commitment to its distinctive character, capturing their charm and lighthearted spirit. It was refreshing to hear works from this era that remain relatively unexplored in performance.

The popular Arabesque, Op. 18 by Robert Schumann (1810-1856) followed continuing the Romantic-era sound world. The playing was spontaneous with excellent and refined phrasing. This performance was imbued with moments of consolation which were heart-wrenchingly beautiful. The in-between sections, which can be a challenge to some performers were expertly handled, creating seamless and unified transitions.

To end the program, Mr. Gusev chose a large-scale work by Schumann, the Fantasie in C, Op. 17. It is in a work of this magnitude that one can really get to know a musician’s mind at work, and it was apparent in tonight’s performance. Mr. Gusev is an intelligent and unhurried performer. The first movement, which can very often be misinterpreted as one of virtuosic display was rendered with the necessary sweep but with intense care to communicate each nuance. Mr. Gusev was able to sculpt each passage where we were able to hear thematic connections while keeping the overarching construction in mind. The intimate ending of the first movement was particularly special.

The second movement, Mäßig. Durchaus energisch, began in a grand manner and the chords communicated an extravagant sound. The B-section was played with a beautifully intoned sound which highlighted the melodic lines against the dotted rhythms. The notoriously challenging leaps in this movement presented some difficulties for Mr. Gusev, resulting in occasional memory lapses and slight imprecisions, but these minor inaccuracies didn’t take away from the grandeur of the movement. The final movement, the heart of the work, resonated like a meditation, with its seamless texture of broken chords and a lyrical, singing melody –  was beautifully done by Mr. Gusev.

The appreciative audience clapped for Mr. Gusev to come back to the stage for an encore and, fittingly, he served us with Träumerei by Schumann. It was intimate and tender. Another round of applause begged for his return and Chopin’s Etude in F minor, Op. 25 No. 2, closed the concert with a buzzing virtuosity.

Carrie Koffman, saxophone

Charles Neidich, clarinet

Ayako Oshima, clarinet

Mohamed Shams, piano

Tenri Cultural Institute, New York, NY

March 9, 2025

There was an electric energy in the room before this afternoon’s concert at the Tenri Cultural Institute. I presume it was the anticipation of the return of the Wa Concert Series after a hiatus. As stated by Charles Neidich in his charming opening speech, they had a return last year, and today’s event is a taste of what is in store for this intrepid organization. At first glance, the programming seemed a bit scattered, but as the concert went on, more connections began to emerge, and this reviewer was fascinated by the thoughtful curation of the afternoon’s music.

The first piece on the program was Sarabande et thème varié for clarinet and piano (1903) by Reynaldo Hahn (1874-1947). Hahn, a Venezuelan-born composer, moved to Paris as a child and inherited the French tradition. This work, with nods to the Baroque era, couldn’t be more steeped in the French simplicity of the time, a reaction to the late romanticism of Wagner and the Impressionism of Ravel and Debussy. His most well-known works are songs, and this work is replete with beautiful melodies throughout. The clarinetist Ayako Oshima enchanted the audience with a seductive tone. The triumphant ending was full of joy and was met with a roaring applause from the audience. It was a beautiful start to the concert.

A contrasting work by Elinor Armer (b. 1939) followed called Double Sonnet for Two Clarinets (2003) performed by Mr. Neidich and Ms. Oshima. The duo delivered a confident and compelling interpretation of this dynamic piece, skillfully highlighting its intricate, sinuous lines with flair. Their decisive articulation enhanced textural clarity, resulting in a vibrant and immersive sonic experience. The button to end the work was particularly delightful. Line Drawings by Richard Wilson (b. 1941) is in four movements. Each of these brief movements encapsulated a distinct, self-contained world. The first communicated serenity; the second a pointillistic approach; the third an earthiness, and the fourth was spacious and lean. It was a great compliment to the Armer piece.

The final piece on the first half was the Clarinet Sonata by Aaron Copland (1900-1990). This clarinet and piano work immediately captivated the audience, drawing them in from the very first chords. Mr. Shams delivered these chords with a nuanced understanding of the style’s tonal demands. The opening evoked a unique blend of solitude and happiness—an emotional duality that perhaps only Copland could achieve. The complex rhythms of the first movement were handled expertly by both duo members of which the climax was particularly exciting. This made the heart-wrenching end to the first movement particularly beautiful. Another duality emerged in the second movement—the contrast between warm and cold sonorities. This poignant movement had an understated intimacy and clarity, and when themes from the first movement reappeared, they were cast in an entirely new light. The last movement provided a much-needed relief from heavy feelings. The crisp articulations from Mr. Neidich were not only impressive to hear but also full of joy and elation. The unexpected rhythms seemed to jump off the page communicating the mixed meters and an additive approach as well as a sound inspired by American folk. This energetic movement was a great choice to unify the works of the first half of the program.

After a brief, intermission, the audience was hungry for more – and they were in for a treat. A set of works for chamber and solo saxophone commenced. hush for solo Alto Saxophone (2018) by Gilda Lyons (b. 1975) was the most adventurous piece on today’s recital. In the words of the composer: “ [hush] is fueled by the need to explore, unpack, and reexamine the ways a women’s voice can be informed by received gendered language over the course of a lifetime. Reflecting on my own experience, I honed-in on specific phrases that evolved in meaning for me and set them as spoken words within the context of contrasting musical lines…while exploring percussive, often breath-driven sounds that point to, among other things, pulse and heartbeat, and that contrast the recurring, sustained shush gesture that evolves over the course of the piece.” And what an effective performance this was. From the very first “shhhh” the saxophonist Carrie Koffman arrested the audience’s attention. As the piece developed, the intention of the composer was clear without being too obvious or patronizing and the seemingly humorous spoken words became more meaningful, leaving the listener in thought.

The next work by Ellen Taaffe Zwilich (b. 1939) was Remembrance (Lullaby and Lament) (2024) for alto saxophone and piano. Ms. Koffman spoke about how the composer, a fellow adoptee, wrote this piece to spark awareness of the many hurdles adopted individuals have attaining their original birth certificates. The work had a jazzy undertone and even quoted the famous Brahms’ Lullaby, and, if this reviewer is not mistaken, also the Schubert Ständchen towards the end.

Gabriela Ortiz (b. 1964), the celebrated Mexican composer, was next on the program with a work she wrote for the musicians in today’s program. Carrie Koffman and Ayako Oshima performed Las Dolly Sisters for Clarinet and Alto Saxophone (2021) about two vaudeville twins. This entertaining work was had a very sexy dance feel; however this reviewer feels the performers could have exploited the supple and syncopated Latin pulse more. It felt as though the work wasn’t completely integrated yet; nonetheless it was an admirable introduction to this interesting work!

The closing work was the Clarinet Sonata, Op. 167 (1921), by Camille Saint-Saëns (1835-1921). This sonata, composed during the last year of his life, is a romantic work at heart. The first movement felt like a love poem to the instrument, exploiting all its facets and capabilities. The lightness of the second movement was executed expertly by Mr. Neidich and Mr. Shams,  whose collaboration throughout the program was top notch to say the least! The funereal third movement was full of pathos and featured the instruments deep and guttural tones only to contrast it with moments on the other extreme of the instrument, angelic and high. With an attacca fourth movement, the work comes full circle as was typical in many romantic pieces with a nostalgic stating of the theme from the first movement.

The entire group came back for a short encore by the French composer Germaine Tailleferre (1892-1983) – Allegretto for Three Clarinets (but this time with on part on saxophone). It was the perfect sorbet after a concert of demanding and interesting repertoire.

The Wa Concert Series plans to continue their programming this year and we look forward to another concert full of surprising and decadent music! Ms. Oshima reminded the audience of her love of cooking and graciously provided a reception for the audience to greet the performers. Perhaps there’s a concert pairing repertoire with specific dishes in the future of the group?

Ian Hobson, piano

Lucia Lin, violin

Ko Iwasaki, cello

Tenri Cultural Institute, New York, NY

December 13, 2024

Tonight’s concert featured pianist Ian Hobson and friends in the next installment of Mr. Hobson’s exploration into the complete piano works of Robert Schumann (1810-1856). Because chamber music was a large part of Schumann’s output, he chose to focus on the piano trio this evening – a genre deeply cherished by  many composers. Mr. Hobson shared the stage tonight with violinist Lucia Lin and cellist Ko Iwasaki.

The program began with Schumann’s Piano Trio No. 2 in F major, Op. 80 – a work that was apparently well-regarded by his wife Clara. She writes, “It belongs among those pieces of Robert’s that, from beginning to end, move and charm me in my deepest soul.”

The first movement, Sehr lebhaft, began strong but wasn’t as rhythmically taut as it could have been. As the movement went on, there was more of a sense of unity within the trio, and we were able to enjoy a development section that was full of vivacity and energy.

The second movement, Mit innigem Ausdruk, felt anxious and rushed, missing the serenity and calm inherent in its character. Additionally, the piano’s weighty tone at times overpowered the ensemble. However, the middle section stood out for its profound inner expression, beautifully rendered by Mr. Iwasaki and Ms. Lin. The third movement, In mäss Bewegung, communicated a healthy pulse at first but left the listening wanting more poetic interplay between the instruments.

The last movement, Nicht zu rasch, was full of joy and verve. This expansive movement is a very Schumannesque final movement- a driving pulse with intricate and imitative thematic material between all the parts. The ensemble was successful in delineating all these voices with great clarity. The movement ended with a big flourish.

The next trio on the program, the Piano Trio No. 3 in G minor, Op. 110, composed in 1851, provided a striking contrast to the previous work. The alluring opening was performed with gusto – however, sometimes the piano could have left room for the strings to sing out. The second section lacked an air of mystery, and the more fugal passages could have been executed with greater rhythmic and sonic precision. Despite these challenges, violinist Ms. Lin anchored the ensemble effectively, leading to an exciting climax in the first movement.

The second movement, Ziemlich langsam, struggled to convey a true sense of collaboration; while the ensemble played together, they didn’t always seem fully on the same page. However, the second section delivered a dramatic intensity that culminated in a tender and touching conclusion. The final movement marked a turning point, as the ensemble began to gel, presenting a well-crafted and thoughtfully paced finale.

The second half of the program featured the Piano Trio No. 1 in D minor, Op. 63. The opening of the first movement, Mit Energie und Leidenschaft, was fiery and confident, setting the tone for the work. The transitions between sections were worked out well and there was a suppleness in the lines, particularly from the violin.

The second movement, Lebhaft, doch nicht zu rasch, had the violinist in command. It was rhythmic but not always communicating excitement – it was a rather cold reading, but the trio managed to hold the movement together well and the ending was brilliant. Next was the third movement, which had a bit of a reserved quality. It would have been lovely to hear more color changes throughout and a more careful approach, though it was still well-crafted. The final movement, Mit Feuer, had a lighthearted quality which the trio was able to communicate well. The changes of character were well-planned and the interaction of the members of the trio was successful.

These three Schumann Piano Trios, though sometimes sprawling, are a generous contribution to the genre. What a treat it was to hear them all in one concert this evening! It is clear that Mr. Hobson’s commitment to this composer allows him to delve deep into the intricacies of his compositional style for the piano, and, in tonight’s case, chamber music. The Schumann cycle continues March 21, 2025, where Mr. Hobson will present Colorful Album Leaves.