New England Symphonic Ensemble; Preston Hawes, Artistic Director

Michael Glasgow, composer/conductor

Haley Sicking, soprano; Michael Kelley, baritone

Isaac Stern Auditorium, Carnegie Hall, New York, NY

June 6, 2026

The New England Symphonic Ensemble, under the auspices of MidAmerica Productions (MAP), continued their impressive concert schedule at Carnegie Hall this weekend in a program pairing them with choruses from far and wide, in music from the Baroque period to the present. From Vivaldi’s Gloria in D major (RV 589) and Schubert’s Mass No. 2 in G major (D. 167) to Elaine’s Hagenberg’s Illuminare and Michael J. Glasgow’s Gloria, MAP offered its usual surfeit of riches. I was assigned, though, to review just the Glasgow piece which closed the program, so will keep this review focused on that. To cite just a few highlights leading up to it, though, there was some captivating solo work from mezzo-soprano Jordan Seguin-Gascoigne (in the Vivaldi, the Dominus Deus agnus Dei in particular) and from baritone Robbie Raso (in the Schubert, Agnus Dei, in particular). Elaine Hagenberg, whose music I reviewed favorably in 2024 and 2025, did not disappoint.  The guest conductors, Yelitza Green, Jay Dunn, Jed Hyun Ragsdale, and Scott L. Martin, were commendable in corralling the forces.

By 10:40pm (with the concert having started at 8:30), the performers finally filed onstage for the Glasgow Gloria to finish well after 11pm.It did something of a disservice to Mr. Glasgow (and to his audience) to have so much preceding what would be a thirty-plus-minute work. With two intermissions for multiple choruses to file in and out through the course of the evening (and their respective fans in the audience doing much the same) such extravaganzas – as festive as they are – can easily devolve into a string of “selfie” opportunities. This reviewer was starting to think that nothing short of an explosion would reclaim the musical focus.  As luck would have it, the musical equivalent was imminent.

Michael J. Glasgow walked onstage to conduct his own piece, and at the very opening of the first movement (of three) he led the orchestra in such a massive buildup of brass and percussion – with a cymbal swell to a full impassioned choral tutti – that one wondered where it could possibly go from there. Sure enough, though, it was just the first of multiple peaks. Though the declamatory opening was followed by a drop in dynamics, there was no drop in energy. The momentum continued in pulsing rhythms (of 3,3,2) to build again – and again – throughout the work. The excellent orchestral players sustained it well, and the agile Mr. Glasgow, seeming almost ready for liftoff, led with exuberance. The singers combined with the orchestra in a massive sound, producing a potency worthy of the words Gloria in excelsis Deo. As the composer states in his notes, “I’ve taken care to ensure that this Gloria actually sounds like what it says: the first movement is one of jubilant praise and faith.”

For those unfamiliar with Mr. Glasgow there is much to read at his website (Michael J. Glasgow), but suffice it to say this was not his first Carnegie Hall appearance, nor even the first Carnegie performance of his Gloria, which had its world premiere there in 2022, after a pandemic forced its postponement.

Settings of the Gloria within masses are many, and the standalone settings number quite a few as well, but this was clearly a Gloria reflective of its time, a twenty-first-century expression distinct from its predecessors. If the opening of the Gloria unleashed the heroic might one associates with blockbuster film scores, a more contemplative section of the first movement had the harmonic familiarity of a simple pop ballad. Occasionally such juxtapositions gave the piece a feeling of having been “assembled” (as opposed to unified organically) but transitions were helped along by skillful orchestration – and, after all, such styles and contrasts reflect much about our time. Just as the more intimate mood and texture were established, the beautifully complementary voices of soprano Haley Sicking and baritone Michael Kelley sent the music skyward again to still more exultant heights. After multiple fanfares, climaxes, and an abundance of “bells and whistles” (or in this case bells and cymbals), one might be tempted to call such writing “over the top” but given the subject of the text, what should one expect? The audience was so taken with the first movement that it couldn’t refrain from applauding. Mr. Glasgow has many fans, and the choristers were surely among them, described on the program simply as “Friends of composer Michael J. Glasgow (from throughout the USA).”

The second movement, described by Mr. Glasgow as “a quiet prayer” with the text qui tollis peccata mundi  (“who takes away the sins of the world”), was actually the first part of the piece he composed. As he recounts it, “The last day of November 2018 was what I identified as a ‘despairing day,’ and as is often the case in difficult times, I composed music for comfort. The fruit of my labor that day was the introduction and coda of the second movement. I didn’t know what would happen with the rest of the work (I didn’t even know what would happen with the rest of the second movement!), but I knew that the music I had created – which completely redeemed my ‘despairing day’ – would one day bookend the middle movement of a three-part Gloria.” If only everyone’s despairing days were so fruitful!

Though composers have traditionally and understandably set the peccata mundi (“sins of the world”) to dark harmonies and dissonances, the comfort of this setting’s initial inspiration seems to have bathed the movement in a wash of relative tranquility. The mood seems less from the “despairing day” and more from redemption of it – fair enough – more tollis than peccata. Though the composer’s notes mention setting those central words peccata mundi in a minor key, the bulk of the movement is actually dominated by major harmonies. It was a surprise to hear, but thankfully, composers can shine their musical “light” where they choose, even in traditional texts. It still offered contrast between the buoyant outer movements.

The third and final movement (and this reviewer’s favorite) was set to the Quoniam tu solus sanctus (“For Thou alone art holy”). It took back up some of the material of the first movement and developed it expertly.  As the composer writes, “the final movement is an explosive celebration of mixed meter (with more than 70 time-signature changes), syncopation and cross-rhythms, culminating in ecstatic Amens that I envisioned as ‘an amazing party that you don’t want to leave.’” Indeed, and it was remarkable, after such a full evening, to see that he was able to rouse audience so thoroughly. What might have seemed like excess in the opening movement felt just right in the third, with crescendo upon crescendo and all the stops pulled out, towards an ecstatic finish. Michael J. Glasgow knows how to keep a chorus “on its toes” tossing material excitedly from voice to voice and building momentum, so one can expect this work to gain increasing popularity in the choral world. This chorus was “all in” and so was the audience, who gave it a standing ovation.

Michael Bragagnolo, Tenor; Jan Kriz, Tenor; Pavel Vitek, Baritenor; Marian Vojtko, Tenor

Special Guest Singers: Daniel Assetta, Heather Makalani, Rachel Zatcoff

​Instrumental Musicians: Frantisek Krticka, Piano; Craig Klonowski, Guitar;

Chrystelle Catalano, Violin; Viktor Jan Kuru, Violin; Vladan Malinjak, Viola; Simon Marek, Cello

Zankel Hall at Carnegie Hall, New York, NY

May 11, 2026

The sensational singing group known as 4 Musical Tenors (or 4 Tenoři to their base of the Czech Republic) made a highly successful return to New York this Monday, inspiring their audience at Carnegie (Zankel Hall) to several standing ovations. A crossover group in the style of their predecessors, the Three Tenors (Pavarotti, Domingo, and Carreras), they combine operatic selections and popular showtunes. Based on this concert, they tend to favor the latter, but they proved to have ample gifts in both areas. Having elicited comparison to other renowned groups such as Il Divo and Il Volo, they have had several Gold and Platinum albums in Europe and have accumulated more than 16 million views on YouTube. They even drew a good-sized crowd to Zankel Hall on a Monday evening, not always an ideal time. The audience, as well as including several dignitaries from the Consulates of the Czech Republic and Slovakia, included some youngsters, which was nice to see. A portion of the proceeds from the concert were to go to the organization Broadway Cares.

 The concert opened dramatically with an instrumental ensemble onstage (a piano, guitar, and string quartet) setting the mood for the first selection, “This is the Moment” from Jekyll & Hyde (Wildhorn). After a brief musical introduction, the four charismatic tenors  strode onstage – Michael Bragagnolo, Jan Kriz, Pavel Vitek, and Marian Vojtko. The feeling was, as their opening title suggests, momentous, and they moved seamlessly from exchanging solo lines to converging in powerful harmonizations. The sound was miked, with several speakers spanning the stage, but one had the sense that all would have been sufficiently powerful to fill the hall with no amplification.

Jan Kriz introduced the next selection, as he did through much of the evening, and the four followed with “Never Enough” from The Greatest Showman (Benj Pasek/Justin Paul), riding the tide of their energetic opening. The next two selections were from musicals by Andrew Lloyd Webber, starting with “Love Changes Everything” from Aspects of Love. It opened with a touching gentleness, setting up what would be a long build-up from all four. It was quite moving.

Shifting to a more comedic note, Jan Kriz took the spotlight for the next Webber selection, “King Herod’s Song” from Jesus Christ Superstar, a rock opera which he described as a favorite of his since childhood. He added that with such a small ensemble as theirs, there were few songs he could select from this rock opera. Though this listener can’t quite agree (thinking “I Don’t Know How to Love Him” – with its heavy debt to Chopin’s Op. 35 – could also work with a small ensemble), Mr. Kriz did a splendid job. As many know, there is a special appeal in playing the villain, and Mr. Kriz did so with exceptionally nasty relish. The pianist, Frantisek Krticka, unleashed his own wicked vaudevillian fire to match. Beyond this, the singers had great support all evening from guitarist Craig Klonowski, violinists Chrystelle Catalano and Viktor Jan Kuru, violist Vladan Malinjak, and cellist Simon Marek.

For the next selection, “A Whole New World” from Aladdin (Alan Menken) the group introduced their first special guest, soprano Heather Malakani, joined by the four tenors. Ms. Malakani seemed in her element singing as Princess Jasmine, a role she has sung extensively. Her lovely soprano sound balanced beautifully with the four lower voices. She then took the solo spotlight with “Astonishing” from Little Women (Jason Howland). Here was a more intimate outpouring, and she plumbed its depths with drama and passion, receiving a loud cheering ovation.

4 Musical Tenors & Friends. Photo Credit: Rebecca J. Michelson

Emotions of longing continued to flow as the four tenors returned to the stage for a stirring rendition of “Bring Him Home” from Les Misérables (C. Schönberg). It was clear that all four felt a strong attachment to this musical, having all played roles in it, and their performance was heart-rending. It led well to the evening’s only true opera aria, Puccini’s “Nessun Dorma” from Turandot, sung by Michael Bragagnolo (described in introductory remarks as the most operatic of the four tenors, with a nod to his Italian roots). Mr. Bragagnolo’s powerful operatic resonance was commanding, right up to the infamous high B in the final word “vincerò” which typically leaves an audience gasping – this audience being no exception.

Shifting away from opera, the four singers then reconvened for “Can’t Help Falling in Love” (made famous by Elvis Presley and featured in the musical All Shook Up (Peretti / Creatore / Weiss). It was a beauty, as was the subsequent selection,  the nostalgic “Massachusetts” (B. Gibb/R. Gibb/M. Gibb). The latter was introduced with an invitation for the audience to join in – and one cringed slightly at the thought, as such a song can be rather unforgiving for “herd singing” – but mercifully the only singing was from the stage. Sometimes it’s best to leave such things to experts – and they came through beautifully.

Four Sondheim hits followed, including the first solo for Pavel Vitek, “Send in the Clowns” from A Little Night Music. Mr. Vitek captured its melancholy perfectly, with poignant pauses just where they would convey the song’s spirit the most. A Bernstein-Sondheim collaboration followed, with all four tenors savoring the perennial favorite “Maria” from West Side Story. More from West Side Story would be heard, with their second special guest Daniel Assetta joining the quartet, but first Mr. Assetta took the spotlight with Sondheim’s “Losing My Mind” from Follies. This listener has never been a huge fan of this song, but Mr. Assetta’s thoughtful and persuasive interpretation really “sold” it, showing what artistry can do. “Somewhere” from West Side Story (Bernstein/Sondheim) found all four tenors returning to form a quintet with Mr. Assetta to good effect.

After what was close to an hour of music (and what might have been time for intermission, had there been one) there were six songs left, the first four by Andrew Lloyd Webber. The first Webber selection was “Till I Hear You Sing” from Love Never Dies, performed by the four tenors with great tenderness. The following three were from The Phantom of the Opera, starting with”The Music of The Night” with Marian Vojtko as soloist. Mr. Vojtko, who has sung the title  role in productions of the musical, exhibited a huge range, from his breathy opening to his expansive development and peaks in an extreme treble register. One had noticed throughout the evening that Mr. Vojtko had shown a supportive versatility in the ensemble pieces – but here it was front and center.

The evening’s third and final guest, Rachel Zatcoff, was introduced next to continue the Webber-fest, and she took the stage for “Think of Me” (again from The Phantom of the Opera). Having sung the role of Christine in this musical, she was clearly in her comfort zone, and she gave the song a virtuosic ride, complete with dazzling high notes in a cadenza near its close. The audience seemed enthralled and gave her a standing ovation. Mr. Vojtko and then the rest of the quartet came on to join her in the title number, “The Phantom Of The Opera,”  cranking up the drama alongside still more stratospheric high notes from Ms. Zatcoff.

The group then announced that their final song would be next, “You Raise Me Up” by Rolf Løvland  – it was beautifully done, but this listener was sad, as the program had also listed a finale of “Seasons of Love,” from Rent (Jonathan Larson) – a seemingly perfect closer. As it turned out though, the Rent hit was performed afterwards, and it brought the house down. All seven singers came onstage to cap off what was truly a memorable evening – and for this, the audience did join in, unasked.

WA Sinfonietta

Charles Neidich, Music Director/Conductor

Carol Wincenc, flute

Good Shepherd-Faith Presbyterian Church, New York, NY

May 10, 2026

The WA Sinfonietta, under the baton of the world-renowned clarinetist Charles Neidich, gave its second 2026 performance on May 10^th at the Good Shepherd-Faith Presbyterian Church, with works by Charles Ives, Lukas Foss, and Elliott Carter. The previous three concerts of this ensemble (the inaugural concert on March 23, 2025, May 13, 2025, and March 15, 2026) have been covered in these pages. (Interested readers can click on the following links to read about those concerts: WA Sinfonietta in Review March 23, 2025 , WA Sinfonietta in Review May 15, 2025, and WA Sinfonietta in Review March 15, 2026 .) Programming seems to follow a plan of alternating between concerts of “historically mainstream” pieces and then concerts of “modern/contemporary/20^th century” works. Both formats feature the idea of a unifying theme and/or a lesser-played alternative version of an established work . Sunday’s concert was also livestreamed (Wa Sinfonietta – “American Icons” Livestream) for those persons who chose Mother’s Day over attending this excellent performance.

Mr. Neidich spoke about the program, and happily he has taken the advice to use a microphone to be heard clearly by all in the audience. The prior complaints were never intended to offend –  Mr. Neidich simply has many interesting things to say, and it is a shame for his wealth of knowledge to be lost in inaudibility. As always, there were excellent program notes, with a QR code included for extra points of interest about the composers and their works.

Three Places in New England by Charles Ives opened the concert. For those unfamiliar with the piece or without access to the QR notes, the three movements are I. The “St. Gaudens” in Boston Common (Col. Shaw and his Colored Regiment), II. Putnam’s Camp, Redding, Connecticut, and III. The Housatonic at Stockbridge. Each piece is intended to evoke its respective place for the listener.  It is one of the most frequently performed of all of Ives’s works, probably because of the use of folk tunes and Americana giving the listener reference points within the highly chromatic writing. Mr. Neidich mentioned Civil War songs, however, the list of actual quotations could easily fill this page.

Mr. Neidich is a musician with a deep, probing intellectual bent, so one would think that Ives’s complexity would be right up his (Neidich’s) street, and would expect a highly polished and well-thought-out approach. It almost goes without saying that this was the case this evening. Mr. Neidich had everything under control (which is no easy task in Ives), and his strong sense of conception was brilliantly brought to life by the WA Sinfonietta. I have something of an uneasy relationship with Ives’s music, but this made me sit up and take notice. The following were highlights – The “St. Gaudens” in Boston Common (Col. Shaw and his Colored Regiment) had a truly atmospheric feel, as if apparitions of soldiers were slowly marching across the South in a haze of memories. It was incredibly effective in its eeriness. Putnam’s Camp, with the dual marching bands had the right amount of amateur clumsiness without exaggerating the parody. If this was one’s first exposure to Ives, then they were treated to a first-class performance.

Lukas Foss’s Renaissance Concerto for flute and orchestra was the final work on the first half, with flute soloist Carol Wincenc (who premiered the work, which was written for her). While many of the names of early music make “guest appearances” (viz. Byrd, Rameau, Monteverdi, and Gesualdo), modern devices abound, such as extended techniques from the soloist. The work is looking forward and backwards simultaneously – vintage Foss. The composer himself described this work as “ an homage to something I love, a handshake across the centuries.”

Ms. Wincenc spoke briefly about the work, mentioning that the acoustic of the venue was ideal (making special mention of the third movement Recitative) and telling the audience that Foss himself conducted the premiere forty years ago. Ms. Wincenc is not called the “Queen of the Flute” without reason – her tone is pristine in its beauty, and she has technique to burn, making the most intricate passages sound effortless. She was also spot-on about the acoustic – the smaller venue lent an immediacy that was missing for me in larger halls.

The Jouissance finale was the showstopper, with brilliant passagework, a courtly duet between the flute and percussion, some tapping on keys, and aggressive blowing, culminating in Ms. Wincenc’s slow exit from the stage while still tapping keys and making a “click” sound as she got farther from the stage. The audience reacted enthusiastically, calling Ms. Wincenc back to the stage three times.

After intermission, Symphony No.1 (1942, revised 1954) by Elliot Carter was to be the sole piece on the second half. Mr. Neidich spoke of Carter’s intent to write something optimistic and uplifting to buoy the nation’s mood in the midst of World War II.  One might say it was “Carter before Carter became Carter”- it bears no resemblance to his highly complex later works. The program notes hint that the seeds of his later “complex greatness” are to be found in this work, which is open to debate (I disagree). This work has hints of Aaron Copland, Roy Harris, David Diamond, Samuel Barber, and William Schuman (amongst others), which are all terrific influences. As a side note, this listener could not help thinking what an amazing time for the American Symphony the late thirties and forties were!

This three-movement, thirty-minute work deserves more attention, not just the occasional playing merely as a curiosity. The WA Sinfonietta played with a robust sense of optimism and steady resolve. There were a few instances where the balance between the upper winds and the strings were problematic, probably due to the hall acoustics, but also some overexuberance.

The audience responded with an extended standing ovation, long enough to allow Mr. Neidich to wend his way through the entire ensemble and shake hands with every musician.  It is something I never tire of seeing, a world-class musician who truly loves what he is doing, sharing his gratitude with not only the audience, but his very talented ensemble. It was another triumph for the WA Sinfonietta, and one looks forward to future performances.

Robert Radliff, violin; Sharon Niessen, piano

St. Monica’s Church, New York, NY

April 19, 2026

Brightening a dreary afternoon this Sunday, the Saint Monica Concert Series presented a program of three French masterpieces played by the excellent duo of violinist Robert Radliff and pianist Sharon Niessen. The concert, entitled Les Trois Sonates, included sonatas for violin and piano by Franck, Debussy, and Ravel.

There were no printed programs, which also meant no printed biographies of the artists, but one could glean from a brief web search that Mr. Radliff received his B.M. degree from Peabody Conservatory and his M.A. degree from Montclair State University. His years of experience as a soloist, chamber musician, and orchestral violinist were made apparent through his ease at the instrument. Ms. Niessen, whose website was more easily accessed, is credited with various prizes and performances, as well as studies with Ton Demmers, Jan Wijn, and Joop Celis at the Conservatory of Amsterdam and Fontys Academy of Music and Performing Arts in Tilburg. Her biography can be found here: Sharon Niessen. The duo’s dedication to these works is clear from other concerts featuring the same program.

The duo opened their concert with one of this musician’s favorites, Maurice Ravel’s wonderful Violin Sonata No. 2 (composed 1923-27, often referred to as simply “Ravel’s Violin Sonata” without any number, as it overshadows the posthumously published Sonata No. 1). From the opening movement’s first statement in the piano and on through the conversational alternation of themes and shifting colors, the duo captured Ravel’s curious mixture of brooding and magical mischief. Both performers played with intense commitment, projecting large gestures and lush sonorities even through the church’s acoustics, which (as with so many churches) tended to obscure some details. Some contrasts of articulation were awash with what verged on a sonic fog, but the beauty of the music still shone through.

The jazz-infused second movement, Blues, was a joy, though it seemed that the pizzicato chords at the start could have been more pronounced (despite being marked pianissimo) to give the louder bursts something from which to rebound; all in all, however, the spirit felt just right. Even when something in the sanctuary area started to cause some sort of steam-like hissing sound towards the end of the second movement –  yet another distraction – the music prevailed. The third movement’s Perpetuum mobile made for a brilliant finale, with especially impressive pyrotechnics from Mr. Radliff, who had described it to the audience as “a barn-burner.” Both performers made it live up to that description. The audience offered their hearty applause.

On the subject of the audience, it was inspiring to note that very few rows were completely empty in the large space of St. Monica’s church. For such a young series (founded in 2019, and with the pandemic interrupting things subsequently), the series seems to have been more than welcomed by the Yorkville area of Manhattan. It was also encouraging to note that, even without printed programs for guidance, one could hear the proverbial pin drop between movements. There were no interruptions of applause or shuffling noises throughout the entire concert.

After the Ravel, we heard César Franck’s Sonata in A major for Violin and Piano, (composed in 1886 as a wedding gift to the violinist Eugène Ysaÿe). This work has long been considered one of the crown jewels of the violin-piano repertoire, and though it has been plundered by arrangers for numerous other instruments, it truly seems most “at home” on the violin. It was played with sincere dedication by Mr. Radliff and Ms. Niessen duo. Memorable aspects included the expansive phrasing in the opening Allegretto, the pianistic ease in the tricky second movement, and the violin’s lovely sound in the dolce F minor section of the same. The mutuality of feeling through much of the third movement was truly special, with Mr. Radliff’s expressivity standing out in the Recitativo-Fantasia. The sublime finale saw what may have been some flagging, with the occasional slip or glitch of intonation, but these became nearly negligible as they savored each canonic entry, building the work to a rousing finish.

A brief break was announced, completely in order given that there was no real intermission (though all that remained was the Debussy Sonata which lasts only around thirteen minutes). It was a welcome breather during which to admire the magnificent church with its stunning stained glass windows and architectural beauty.

With the ebullient spirit of the Franck’s finale still floating in the air, the Debussy Violin Sonata in G minor that followed felt frankly a bit anticlimactic, despite its well-deserved stature as a masterpiece. Composed in 1917, it reflects a period that was for Debussy quite dark, both from wartime depression and the struggle with a cancer that would end his life the following year. Its melancholy and mercurial shifts can make it difficult for a lay audience to grasp, and so your reviewer, a fan of happy endings, would have placed Debussy and Ravel as the first “half” and Franck as the second –  but “Chacun à son goût,” as they say. Most importantly the duo played it well, capturing the sensuous and searching qualities throughout, as well as its puckish moments in the second movement. The last movement was a tour de force, showcasing the violin’s huge range (from the lowest open G up to what on the piano would be the highest C-sharp), and here the duo’s split-second timing was particularly impressive. They were rewarded with an appreciative ovation. Several could be heard on the way out saying, “wow” and “that was incredible!” One looks forward to hearing more from this engaging duo.

For music lovers who are interested in attending the final concerts of the Saint Monica Concert Series season, there are two left, May 17 at 3 pm and June 5 at 7 pm. For more information, visit:  Saint Monica Concert Series .

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.

Zhaoxuan Song, Percussion

Bowen Zheng, vocalist; Natalie North, percussion; Vio C, Electronics & Audio Support; T. C. Kincer, piano

New York University, John H. Paulson Center, New York, NY

May 8, 2025

On May 8, 2025, Zhaoxuan Song gave a recital towards the completion of a DMA degree in percussion at New York University. Mr. Song is the second DMA candidate in the newly created doctoral program for percussionists to be reviewed in these pages. Mr. Song is completing his studies under the guidance of the internationally renowned timpanist and percussionist Jonathan Haas.

The program notes state that Mr. Song’s performance and research focus on innovative collaborations between percussion and voice, with particular emphasis on the expressive and theatrical dimensions of contemporary music. The program reflected this focus, as all three works on this program were by contemporary composers (two living) and had highly theatrical content. Mr. Song was joined by vocalist Bowen Zheng, percussionist Natalie North, pianist T.C. Kincer, and had electronic and audio support from Vio C.

For full disclosure, this reviewer was not present at the actual recital but was provided an (unedited) video for review. It is inevitable, given such circumstances, that the impact of the performance was somewhat diminished, as there is no real substitute for the live experience.

Before talking about the music, I would like to mention logistical matters. Set-up is an art in itself – placing the battery of percussion instruments to allow quick access without disaster (and within the confines of the space, which in this case was rather limited) requires careful planning. It was notable how gracefully and unhurriedly Mr. Song navigated this maze throughout the recital.

Silk Road (1989) by Tan Dun (1957), with vocalist Bowen Zheng joining Mr. Song (text by Arthur Sze), opened the recital. About this work Tan Dun writes, ”the rhythms of English verse are combined with the tonal qualities of Peking Opera, in a linear structure like the connected brush-strokes of calligraphy.” Tan Dun is an expert at mixing Eastern and Western elements, and this work is no exception. With evocative vocals by Ms. Zheng, and the seamless mixing of Chinese and Western percussion instruments by Mr. Song, it was not only a demonstration of Mr. Song’s expertise with the percussion battery, but also his highly developed dramatic sense that was apparent throughout the recital.

Animus II (1967/1968) by Jacob Druckman (1928-1996) followed the Tan Dun. Scored for mezzo-soprano (Bowen Zheng), two percussionists (Mr. Song and Natalie North), and electronic tape, the work transforms the concert experience into what the composer called “an orgiastic ritual.” The ritual aspect was clear (a solemn processional to open and an equally solemn recessional to close), but I will leave it to others to decide to what degree Mr. Druckman’s assessment is accurate. The recorded sounds added a layer of mysticism. There was a definite theatrical build-up, as each performer’s role became more urgent and frenzied. At one point, all three performers were striking a gong with different materials (metallic stick, mallet, and tubular bell hammer) as tension reached its peak. Kudos to Mr. Song, Ms. Zheng, and Ms. North for both their dramatic and musical excellence.

The Percussion Concerto (1998) by Chen Yi (1953) closed the recital. Commissioned by Evelyn Glennie and the Singapore Symphony Orchestra, this work blends Western orchestral forces with the spirit of Beijing Opera in three movements (I. The Night Deepens II. Prelude to Water Tune III. Speedy Wind). This arrangement for piano and percussionist was made by Mr. Song. T.C. Kincer was the pianist. For more detailed information about this work, one can read Chen Yi’s own notes by clicking on the following link: Chen Yi Percussion Concerto. This work is a tour-de-force for the soloist, and like the previous two works, it has a strong theatrical element. Mr. Song displayed his considerable talents with gusto throughout. The opening movement, The Night Deepens, had a nervous energy that reminded me of Prokofiev with an Eastern flavor. The middle movement, Prelude to Water, requires the soloist to recite poetry while making his way around the battery, which is probably a lot more difficult that then average listener could imagine. Mr. Song did make it look very easy! The finale, Speedy Wind, has a knockout cadenza that Mr. Song dispatched brilliantly. Credit is also due to pianist T.C. Kincer for his role. The audience gave Mr. Song a very enthusiastic ovation that was well-deserved.

I wish Mr. Song good luck and continued success as he works towards his degree.

Elsewhere Ensemble: Colin Pip Dixon, violin; Alwyn Wright, violin; Arnaud Ghillebaert, viola; Kathryn Brunhaver, cello

Camille Ortiz, soprano; MacIntyre Dixon, narrator

All Angels Church, New York, NY

March 24, 2026

On March 24^th, the Elsewhere Ensemble presented a program entitled Icarus Quartet, “music, stories, and poetry brought to life,” featuring two works by Elsewhere Ensemble co-director and violinist Colin Pip Dixon, Hear My Prayer (from a larger work,  Invocation) for soprano and string trio, and the Icarus Quartet, for string quartet and narrator. Between these works was On Poetry and the Earth, two short pieces for actor and string trio inspired by John Keats, composed by Samuel Lord Kalcheim. A sizable crowd of enthusiastic supporters filled the All Angels Church to enjoy what proved to be a thought-provoking program.

Colin Pip Dixon welcomed the audience and spoke at length, some about his personal experiences in music in Poland, and some about the current state of the world (with the implication that all knew to what he was referring) and the anxiety that accompanies it. This eventually segued into the introduction of the first work on the program, Hear My Prayer. The text for Hear My Prayer was inspired by a quote from Albert Einstein (from the Russell-Einstein Manifesto), “We implore, as human beings to human beings, remember your humanity and forget the rest.” Mr. Dixon stated the “prayer” is not one of a religious nature.

This six-minute work is strongly reminiscent of Henryk Górecki’s 3^rd Symphony (“Symphony of Sorrowful Songs”). Perhaps Mr. Dixon’s time in Poland influenced his writing. It opens with an extended viola/cello duet that builds in intensity as the violin joins. The soprano enters with a plaintive “Hear my prayer”-  there are no vocal gymnastics, just simple passages which were delivered with bell-like clarity. Soprano Camille Ortiz was compelling as she brought the text to life with her radiant voice – the emotional impact was undeniable. The trio of Mr. Dixon,  violist Arnaud Ghillebaert, and cellist Kathryn Brunhaver was excellent, never overshadowing Ms. Ortiz, but rather heightening the impact with their ensemble.

Poetry by, and inspired by, John Keats formed the texts of On Poetry and the Earth, by Samuel Lord Kalcheim. The two poems were Keats’s On the Grasshopper and the Cricket, and To John Keats, at Springtime, by the Harlem Renaissance poet Countee Cullen. Mr. Dixon told the audience that Mr. Kalcheim is a great admirer of Keats’s poetry, and that the concept of adding music to these texts resembled a “dialogue across time and space” – an idea I found fascinating. MacIntyre Dixon (who is Colin Pip Dixon’s father) brought the poems to life with the practiced skill one would expect from an experienced actor. Mr. Kalcheim was most successful in his music to Keats’s poem, which had the underpinnings of the Romantics (Schumann came to mind). One might have hoped for a slightly “jazzier” Cullen, but it was still quite effective. Mr. Kalcheim was in attendance, and stood to acknowledge the warm applause of the audience.

After a short break, the final work of the program, the Icarus Quartet, was played. This nearly fifty-minute work (in ten sections) tells the story of well-known story of Icarus, recited by narrator, accompanied by string quartet. Violinist Alwyn Wright joined Colin Pip Dixon, Arnaud Ghillebaert, and Kathryn Brunhaver. The story presented here was not the familiar cautionary tale of the consequences of hubris, but a call not to impede the dreams and passion of the young. One can draw one’s own conclusions about this revisionist take. MacIntyre Dixon was the narrator, and while one might quibble with the story, there could be no doubt that he was a powerhouse. It’s no easy feat to keep a large audience spellbound for nearly an hour, but he did just that.

How much the text depended upon the music would be debatable – to this listener, it seemed to be the opposite, that the music depended upon the text. To clarify, there were many examples of the music being a “description” of the words, which accentuated the text’s effect (in film music a quality called “Mickey Mousing”), yet without the text, the music would have not evoked any thought of the myth. This last point is moot, however,  as one could hardly expect a performance without the text. All credit to the quartet members, as it would have been quite easy to have been overshadowed by such a dynamic force as MacIntyre Dixon, but  they were quite heroic in an understated way. The audience responded with a well-earned standing ovation. As an encore, the quartet and Camille Ortiz (with the addition of pianist Miriam Leskis), offered Song to the Moon, from Antonin Dvořák’s opera Rusalka, which was the highlight of the evening for this listener. The already happy audience responded with another standing ovation. Congratulations to all!

Thomas Nickell, piano

Tenri Cultural Institute, New York, NY

March 20, 2026

On March 20^th at the Tenri Cultural Institute, pianist Thomas Nickell presented a thoughtfully curated program spanning late Romanticism to Impressionism, alongside several of his own works.

The evening opened with selections from On an Overgrown Path by Moravian composer Leoš Janáček. Mr. Nickell performed four pieces—Our Evenings, A Blown-Away Leaf, Come With Us!, and The Madonna of Frydek. Written later in Janáček’s life, these works demand more than technical command. Their folk-inflected lyricism exists alongside the harmonic and structural complexity that emerged at the turn of the 20th century. The central challenge lies in preserving expressive warmth without allowing density and technical demands to obscure the music’s poetic character. Mr. Nickell demonstrated excellent control, clean voicing, and strong technique; however, the set would have benefited from deeper lyricism and greater interpretive maturity. The performance felt somewhat restrained and emotionally on the surface.

Mr. Nickell’s own Two Pieces—January (Intermezzo) and February —felt notably freer and more personal. January unfolded meditatively, shaped by resonant harmonies and a reflective atmosphere. February featured a more active texture that suggested an Impressionistic influence, reminiscent of Debussy’s Mouvement, also heard later in the program. In these works, Mr. Nickell’s compositional voice and artistic personality emerged with greater individuality.

Images, Book I, by Claude Debussy followed. Mr. Nickell produced a refined touch in Reflets dans l’eau, navigating the rapid figurations with clarity and fluid control. The movement’s shifting textures evoke water in constant transformation, and the musical flow remained cohesive throughout. While the voicing was precise and the execution polished, the interpretation would have benefited if Mr. Nickell had indulged more in certain moments. Debussy’s harmonies invite elasticity and tonal bloom; at times, the sound felt somewhat contained rather than fully resonant in the hall.

Hommage à Rameau was the highlight of the evening. Mr. Nickell shaped the principal theme with elegant lyricism and expressive restraint, demonstrating attentive listening and musical sensitivity. The atmosphere in the hall reflected the audience’s focused engagement. The concluding Mouvement showcased Mr. Nickell’s technical facility, which was delivered with energy and precision.

The second half began with Mr. Nickell’s December (Winterlude), which stood out as his strongest composition on the program. The work displayed confident character, structural clarity, and a distinct expressive voice. In Jean Sibelius’s Piano Sonatina No. 2, Mr. Nickell produced a warm, grounded tone and demonstrated a clear understanding of harmonic direction. His pacing was patient and poised, with careful attention to inner details—especially in the Andantino.

The program concluded with Prélude, Aria and Finale, Op. 23, by César Franck. Despite the work’s dense textures and late Romantic complexity, Mr. Nickell maintained lyrical continuity and structural clarity. Even in technically demanding passages where harmonic weight can easily blur, his phrasing remained articulate, rhythmically assured, and expressively shaped.

Erika Dohi

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!

Naren Palomino Pardo, piano

Merkin Hall at Kaufman Music Center, New York, NY

February 27, 2026

Pianist Naren Palomino Pardo presented a program of music by South American composers at Merkin Hall, under the auspices of Kantuta Concerts Opus 3 and the Foundation for Bolivian Artists. Mr. Pardo, a native Bolivian, enjoys a healthy career as a concert artist, collaborative musician, and educator.

Bolivian composers were featured prominently, though not exclusively, in an evening that also included works by two giants of South American music, Heitor Villa-Lobos and Alberto Ginastera. Throughout the recital, Mr. Pardo played with buoyancy, lyricism, and most of all, an instinctual and improvisatory sense of rhythm.

Baroque works are often the first choice of pianists to initiate a concert, and in this case, Villa-Lobos’ Bachianas Brasileiras No. 4 filled that slot in a way that was both referential and inventive. Mr. Pardo projects a big sound, and the Steinway that evening had a brightness that could easily overpower the space. Within minutes, however, he found the warmth in the instrument. He played the Prelúdio with simplicity and beautiful tone. His technique is relaxed, playing deep into the keys like a jazz pianist. This worked especially well for the Coral movement, with its melismas and the Ária with its massive chords. Mr. Pardo’s voicing in the Ária movement had complete clarity and nuance. It was in the Danza movement, however, that he revealed what he does best- to play music influenced by movement in a way that is both virtuosic and natural.

Jaime Mendoza-Nova, a Bolivian-American composer and conductor with an extensive filmography, was represented by his Tres Danzas Bolivianas, a reimagining of three classic Bolivian folk dances- a fast and furious Taquirari with a bit of hand crossing, a Sikuri with a pagan ritualistic quality, and the Cueca, the most infectious and joyous of the three dances. The Cueca appeared a second time later in the evening, in a version by the Bolivian composer Simeon Roncal that provoked spontaneous rhythmic clapping in the audience. Of the other Bolivian composers in the “Bolivian Watercolor” grouping of the second half, I was most drawn to the Prelúdio by Eduardo Caba, a Debussyian waltz with displaced accents, which was played with sensitivity and color by Mr. Pardo. While I applaud his very generous inclusion of composers of his homeland, some judicious editing of this part of the program would have made it much more effective.

Two very different but compelling Argentinian composers, Osvaldo Golijov and Alberto Ginastera, made significant contributions to the evening. Golijov’s Levante, drawn from his Saint Mark Passion, is a powerhouse piece that was played brilliantly by Mr. Pardo. Ginastera’s Sonata No.1, Op. 22, the most complex and musically substantial offering, showed the full range of Mr. Pardo’s strengths as a performer.

I enjoyed this recital very much, for its exposure to the audience of some neglected composers who deserve more attention, and for the enthusiasm and expertise that Mr. Pardo brings to all his playing. He is a big talent, and I would look forward to hearing him as a collaborative artist and as a purveyor of other corners of the standard repertoire.