Ola Gjeilo, DCINY composer-in-residence/piano

José Daniel Flores-Caraballo and Irene Messoloras, guest conductors

Anna Schubert, soprano

Distinguished Concerts Orchestra

Distinguished Concerts Singers International

Stern Auditorium at Carnegie Hall, New York, NY

April 22, 2024

Distinguished Concerts International New York (DCINY) has forged lasting relationships with world-renowned artists to great effect. Karl Jenkins and Eric Whitacre are two names that immediately come to mind. It’s time to add Ola Gjeilo to that list.  Tonight’s concert entitled A Soul Filled Journey: The Music of Ola Gjeilo was Mr. Gjeilo’s sixth appearance with DCINY (as pianist as well as composer). The Distinguished Concerts singers hailed from Ohio, Indiana, New York, Oklahoma, Missouri, Canada, Texas, Washington, California, Vermont, and “individual singers from around the globe.”

The program, notes about the works, and information about the featured artists can be read by clicking the follow link: A Soul Filled Journey.

Conductor José Daniel Flores-Caraballo and Mr. Gjeilo took the stage. Mr. Gjeilo took his seat at the piano and after a brief nod the first half began with Dark Night of the Soul. This work is one of this listener’s favorite of Mr. Gjeilo’s compositions with its driving ostinato, the “pull back” into a mediative episode that slowly builds to a burst of ethereal light, and the return to a driving ostinato. It was particularly exciting to hear such large forces (a chorus of 150+ and a full string orchestra instead of a string quartet). It did begin with a balance issue between the chorus and orchestra, but the alert Maestro Flores-Caraballo quickly remedied this.  One might expect some muddiness in a chorus of this size, but the diction was commendable, and the projection (after the tenuous start) was very good.  The Distinguished Concerts Orchestra delivered its characteristic “on-the mark” performance that I have grown accustomed to with these fine players.

Sacred Heart (Ubi Caritas III) followed. Mr. Gjeilo has a fondness for setting the Ubi Caritas (Where true charity is, God is there). He has done three settings (each setting to an individual verse). As the title clearly states, this is the third setting, but it is the second verse that is used here. Mr. Gjeilo is not lacking in the gift of writing beautiful music, and this is another example of that gift.  With luminous strings and piano, it was enchantingly beautiful.

Across the Vast, Eternal Sky is centered around the idea of the phoenix, and the idea of rebirth and spiritual renewal. It is a concept that did not always seem to “match” the music. There is what I would call a sentimental waltz-like motif in the solo piano that does not seem to fit, but that is one opinion and perhaps it was clear to Mr. Gjeilo (and others) what he was getting at here. Whatever reservations I had about it did not have any bearing on what was another top-notch performance.

Luminous Night of the Soul was a bookend to Dark Night of the Soul (or maybe more aptly closing the circle). It shares a theme with Dark Night of the Soul, but to different means; Dark Night is lyrical, while Luminous is relentless. Mr. Gjeilo has written that the two works could be performed as a single two-movement piece.  Luminous Night of the Soul was given the same dynamic performance as its companion was at the opening of this half.  

Maestro Flores-Caraballo led with vigor and unflagging involvement. As just a little aside, it was a treat for this lefty to see a left-handed conductor in action.  All that nonsense about ensembles being unable to follow left-handed conductors is just that – nonsense! Maestro Flores-Caraballo had everything and everyone under his complete control. The audience responded with a standing ovation for all.

After intermission, conductor Irene Messoloras took the podium, and Mr. Gjeilo returned to the piano. Soprano Anna Schubert took a seat at the front of the stage, waiting for her role in the Twilight Mass.  The first work of the second half was Ubi Caritas (Ubi Caritas I). This work takes Maurice Duruflé’s setting as its inspiration. With such a masterful role model, it is little wonder that this is a striking work. To be sure, Mr. Gjeilo does not use existing chant like Duruflé – just the idea of chant itself – but the form and dynamic range follow Duruflé’s. Mr. Gjeilo has also added a piano part, which he played on this occasion. I admit to having skepticism about gargantuan forces rendering this work sensitively, but this was a worry I need not have had. Radiant is the first work that comes to mind, and Mr. Gjeilo’s additions at the piano lent wings to what was already divine.

Twilight Mass was the final work of the evening. This reviewer was present at the  November 13, 2023,  DCINY world premiere of Twilight Mass, so instead of re-hashing information about the work and its conception, the interested reader can click on the following link to learn more:  DCINY Twilight Mass in Review 11/13/2023. The well-written program notes by Philip Hoch and Erin Wood characterize the individual movements excellently in a way easily understood by listeners without musical training.

The main question I had was how my second hearing would be. Would my earlier enthusiasm be tempered or even diminished? Short answer: A resounding no! If anything, my feelings were not only solidified, but intensified. I believe this to be one of Mr. Gjeilo’s finest works that shows all his abundant gifts to the maximum effect. I don’t want to repeat myself here from the earlier review, but my favorites remain the same, with the Kyrie still reverberating in my mind’s ear. Soprano Anna Schubert was transcendent. Her voice is one of the most crystalline pure I can recall hearing in some time. Her Laudamus Te was the highlight of her highlight-filled solos.  Maestra Messoloras led with great confidence and meticulous attention to detail. It was obvious how well prepared the chorus (and the orchestra for that matter) were in what was not only a great ending to the concert, but easily the highlight for this listener. I’ve said it before, and I will say it again: this work needs to be recorded and made available for all to hear.

At the end, the audience gave Maestra Messoloras, Ms. Schubert, and Mr. Gjeilo a well-deserved standing ovation. I’m already looking forward to Mr. Gjeilo’s seventh appearance with DCINY. Congratulations to all!

Westchester Children’s Choir: Amanda Gundling, Jennifer Gustino, conductors; Douglass Kostner, piano

Mater Dei High School Choir: Jodi Reed, director; Jonathan Knauer, guest conductor

David Geffen Hall, Lincoln Center, New York, NY

April 15, 2024

On April 15, 2024, Distinguished Concerts International New York (DCINY) presented a concert called Vocal Colors at David Geffen Hall in Lincoln Center. The two featured choirs were the Westchester Children’s Choir (from Westchester, New York), and the Mater Dei High School Choir from Santa Ana, California. It was a reminder of the joy of seeing young performers giving their all, and a tribute to the hard work and dedication that their directors give that makes it all possible.

The performance was livestreamed- click on the following link to view: Vocal Colors 4-15-24.

The Westchester Children’s Choir offered five works; the Mater Dei High School Choir offered ten. Each group had rotating personnel, and the singers’ movements between works were carefully choreographed and executed seamlessly, with some performers exiting the stage as new ones took their places, and repositioning of the singers.

The Westchester Children’s Choir (actually 31 of the 43 members) took the stage to open the concert. Amanda Gundling and Jennifer Gustino shared the conducting duties. The singers appeared to be as young as elementary school age up through high school. Obviously with this age range there is going to be an unequal distribution of abilities and vocal maturity. This type of group presents a challenge to the reviewer – it would be inappropriate and mean-spirited to hold them to the standards of older and more experienced ensembles. I will comment more as a clinician with the hope of encouraging these young developing talents, rather than being a curmudgeonly critic.

Let’s focus on some highlights. Francisco J. Núñez’s Crióme Mi Madre was an inspired choice. Mr. Núñez has an unmatched ability to write for young voices – keeping the technical level within their grasp while sounding “advanced.” These youngsters made the most of it in a delightful performance that was the favorite of their selections for this listener. Hope Lingers On by Lissa Schneckenburger was poignant, complete with some of the singers having their hands over their hearts. Both Ms. Gundling and Ms. Gustino conducted the last selection, Nine Hundred Miles (arr. Rollo Dilworth), and it had the full forces “rocking the house.”  It was a nice finish, and the audience reacted enthusiastically.

Now, a few recommendations: Projecting more is something to work on. I’m sure there were nerves involved, and it was a big hall, but there can and should be greater projection. Also, be aware of balance, and listen closely to each other to maintain good balance, even if that means some of the stronger voices need to dial it back a bit. There is a lot a promise here, and Ms. Gundling and Ms. Gustino are to be commended for their devotion to developing these young talents.

The Mater Dei High School Choir, led by Jodi Reed, took the stage. I’m not going to comment on all ten of their selections, but limit myself to highlights. I’m going to group all the excellent soloists together: Aliana White, Lucy, Laubach, Bella Reed, Grace Evans, Lehanu Atuatasi, and ASL interpreter Samantha Wurts. Well done, you all were stars tonight!

Guest conductor Jonathan Knauer (for this work only) led the ladies in Michael John Trotta’s Dies Irae, which curiously sounded a lot like Karl Jenkins’ Palladio. There is something about angelic voices singing about the day of wrath that is somewhat jarring. These ladies were full of energy and spirit, if not particularly fearsome (and that is not a criticism!). The gentlemen had their turn with Hato Paparoa’s E te atua, complete with a haka at the end that delighted all.

Ēriks Ešenvalds’s Salutation (text by Rabindranath Tagore) was simply beautiful. This was an opportunity to display both technique and artistry, and these singers made the most of that opportunity. It was easily not only the highlight of their selections, but the entire evening. A close second and third were the showstopping Soweto Choir arrangement of the Traditional South African Modimo and the heartbreakingly exquisite Hope Is the Things with Feathers (text by Emily Dickinson) by Christopher Tin. All took the stage for Shawn Kirchner’s Cornerstone, which ended their selections in fine style. Congratulations to the skilled Ms. Reed and her choir.

Both the Westchester Children’s Choir and the Mater Dei High School Choir can feel proud. What a thrill it must have been to perform on one of the premiere venues in the world. I’m sure it is a memory they will all cherish for a lifetime.

Pegasus: The Orchestra

Karén Hakobyan, conductor

Sergey Antonov, cello

Merkin Hall at Kaufman Center, New York, NY

April 13, 2024

Pegasus: The Orchestra presented its 2023-2024 Season final concert at Merkin Hall on April 13, 2024. The program included Stravinsky’s Pulcinella Suite, Tchaikovsky’s Variations on a Rococo Theme, Op. 33, with cello soloist Sergey Antonov (the gold medalist of the 2007 Tchaikovsky International Competition), Beethoven’s Seventh Symphony, and Khatchaturian’s Waltz from the Masquerade Suite. The large audience (sold-out hall) was treated to a concert that was superb from the first note to the last. Pegasus is a truly first-rate ensemble.

Pegasus was founded in 2017 by the noted pianist/composer Karén Hakobyan. Pegasus, as their program states, is a non-profit professional orchestra with a mission to empower rising musicians with artistic freedom and promote innovative repertoire in an environment of creative thought and expression. To learn more, click the following link: Pegasus: The Orchestra. To learn more about Karén Hakobyan, click the following link: Karén Hakobyan.

I have to mention the absence of program notes. There is a lot of interesting information about these works (such as Variations on a Rococo Theme dedicatee Wilhelm Fitzenhagen playing a bit “fast and loose” with Tchaikovsky’s original conception, and the enormous impact of Beethoven’s 7^th as examples).  Just a few words about each work would have been welcome. At least the printed program was not festooned with three pages of artists’ bios and such.

Enough about that, let’s get to the music. Karén Hakobyan took the stage and greeted the audience. He did speak briefly about the first work, Stravinsky’s Pulcinella Suite. He mentioned that the source material was music of Pergolesi and characterized the work as a “Concerto for Orchestra” (I respectfully disagree with that assessment). He had the soloists all stand prior to the playing so the audience could see who they were before hearing them – a very nice and respectful gesture to the players. I’m not going to detail each of the eight movements, but rather focus on highlights. The Tarantella was full of frenzied energy that verged on madness. The Toccata was elegantly played.  The Vivo, with the repartee between the double bass and trombone actually brought laughter to the audience. Maestro Hakobyan led with confidence, fashioning a well-conceived reading that maintained the elegance of the neo-classical elements without being overly mannered.

After the Stravinsky, cellist Sergey Antonov took the stage with Maestro Hakobyan as the soloist in Tchaikovsky’s Variations on a Rococo Theme, Op. 33.The Variations on a Rococo Theme employs a theme that is not actually Rococo, but is an original theme in the Rococo style. There is a certain insouciance required from a soloist to capture this work’s spirit, as too much “seriousness” ruins the playfulness and humor that abounds throughout.  It’s not enough however, to just swagger, as swaggering alone does not take the place of a highly developed technique – in other words, you can’t fake your way through it. Fortunately for us, Mr. Antonov is the real deal. He has technique to burn, but he never once looked like he was grandstanding. His tone is warm and rich, and he projects easily without any hint of stridency. He was every bit as attentive to Maestro Hakobyan and Pegasus as they were to him. It was the “complete” performance of this masterpiece that one always hopes for. It was one of the finest performances this listener can recall hearing in some time.  The audience gave Mr. Antonov a justly deserved standing ovation, loud and extended.

After intermission, Maestro Hakobyan took the podium to conduct Beethoven’s Symphony No. 7 in A major, Op. 92. I’d like to quote music writer Antony Hopkins here: “The Seventh Symphony perhaps more than any of the others gives us a feeling of true spontaneity; the notes seem to fly off the page as we are borne along on a floodtide of inspired invention. Beethoven himself spoke of it fondly as ‘one of my best works’. Who are we to dispute his judgment?” Maestro Hakobyan and Pegasus bore out these words as they unleashed a performance that held the audience completely spellbound for the entirety of the forty minutes. There was more energy, passion, and joyfulness in those forty minutes than I can say I have heard in sometime. That’s not to say that other ensembles lack these qualities, but it was just in superabundance here. If I had any reservations, it was at times the exuberant playing led to some fleeting ensemble imprecision. Another standing ovation, with many shouts of “Bravo!” filled the hall. This symphony was the highlight of the evening for this listener.

It was almost sacrilegious to have anything follow the Beethoven, but Khatchaturian’s Waltz from the Masquerade Suite served as a programmed encore, Maestro Hakobyan reminded the audience that this year is the 120th Anniversary of Aram Khatchaturian’s birth. He mentioned the hope of bringing more of the music of Khatchaturian to a larger stage (with larger forces) next season, like Carnegie Hall. Let’s look forward to this progressing from hope to reality. Maestro Hakobyan then launched Pegasus into a bombastic reading filled with quirky, unbridled fun. The already highly enthusiastic audience still had enough energy to give yet another standing ovation, complete with three callbacks for the conductor.

Pegasus is a “can’t miss” group. If you have the chance to hear them, don’t dawdle! Get your tickets right away before they sell out.

Otherworld

Jeffrey Chappell, piano; Jake Kohlhas, guitar; Chris Taylor, bass; Jake Marinari, percussion

Guest artists Megan Dunn, vocalist; Lillie Pearlman, violin

Released March 29, 2024

The jazz quartet Otherworld (Jake Marinari, percussion, Jake Kohlhas, guitar, Jeffrey Chappell, piano, and Chris Taylor, bass) released their third studio recording, Breathing Room, on March 29. 2024.  Breathing Room was recorded at the Peabody Institute recording studio in July 2023. Their prior recordings, Otherworld and The Realm, were winners of Global Music Awards , and are available on Amazon Music, Spotify, iTunes, YouTube, Bandcamp, and Soundcloud.

It is not always an easy thing to categorize an ensemble like Otherworld, but what seems to be most apt is “contemporary jazz.” It tends towards what some might call a mix of world music (i.e., non-western influences) and New Age (“love and healing” to quote the ensemble). This, of course, is only a guideline and listeners can (and should) form their own opinions.

The following link was provided for this reviewer: Breathing Room. The recording has eight tracks: 1. Breathing Room, 2. Calm Yourself, Boy, 3. Ends Undone, 4. Nightfall, 5. Circles, 6. Acceptance, 7. Ask Me Again Sometime, and8. Metamorphosis. Guest artists were vocalist Megan Dunn on Ends Undone, and violinist Lillie Pearlman on Ask Me Again Sometime and Metamorphosis. All music was composed and arranged by the members of Otherworld (although exactly who did what is not explicitly stated). There is an atmospheric feeling (Otherworld-ly?) throughout Breathing Room which for this listener makes it more suitable for meditation and relaxation/recharging than for a concert stage.

These are capable musicians. Pianist Jeffrey Chappell has a light touch and his improvisational style flows naturally without pretension. Guitarist Jake Kohlhas definitely has some serious chops and a flair for improvisation. Bassist Chris Taylor is rock solid, which is a quality too often taken for granted- a good bassist is “there” without any flashiness. Finally, let’s give percussionist Jake Marinari his proper respect. To borrow an expression I have heard, he “lays down the ice for the others to skate on.” Otherworld’s ensemble is excellent, one could liken it to listening to a musical conversation between friends.

A few words about the guest artists. Violinist Lillie Pearlman meshed flawlessly with the quartet in Ask Me Again Sometime and Metamorphosis. Megan Dunn has an ethereal voice that was simply enchanting. Ends Undone was this listener’s favorite track. Otherworld would be wise to work more with this talented vocalist. Some other favorites- Circles has driving energy and some Philip Glass-like touches that are very effective.  The title track, Breathing Room, and Nightfall are highly evocative in suggesting a “higher plane,” (i.e., the sky/heavens).

My main caveat was the similarity between some of the tracks.  Sometimes a group can become derivative of itself. Perhaps that is because of the short time in bringing this material together and the pressures of limited studio time. In any case, the sound quality is outstanding and the music is both relaxing and uplifting. Fans of contemporary jazz will find a lot to like in Otherworld and Breathing Room.

Earl and Darielle Linehan Concert Hall, University of Maryland, Baltimore County

Live Concert Recording 11/22/2022

Links to two outstanding videos of unusual repertoire came my way this week, and it is a joy to share them with our readers. The videos are of Teodora Adzharova performing both Shostakovich Piano Sonatas in live concert at the Earl and Darielle Linehan Concert Hall, University of Maryland Baltimore County (UMBC), November 2022, and they are available on YouTube (Piano Sonata No.1, Op.12 and Piano Sonata No. 2, Op. 61). Though this recital was over a year ago, the study of Shostakovich is a long-term pursuit for Dr. Adzharova. As her website (www.teodoraadzharova.com) reveals, she is releasing an all-Shostakovich CD this season (including the Op. 61 Sonata and the Preludes, Op. 34), and she just last month performed an all-Shostakovich program at the DiMenna Center in New York. Meanwhile, she is busy preparing papers on these works for publication and is slated to give lecture recitals on Shostakovich’s music in Europe. A graduate of the Peabody Institute with MM and DMA, Dr. Adzharova stands out from those DMA recipients who merely check the doctoral “box” as a credential; her activities reflect strong ongoing scholarly interest, and her superb playing brings that scholarship to life.

In preparing to watch these videos, this reviewer was struck by the paucity of widely available Shostakovich Sonata recordings. As Dr. Adzharova’s website states, she is “one of the few pianists who performs both of Shostakovich’s sonatas in a single program” – and this listener would agree, having never heard them performed together; the situation, however, is a bit more extreme than that, as it seems that she is one of very few pianists performing either one regularly. There have been notable performances, past and present, of course. Standout versions of Sonata No. 1 (1926) include the rather edge-of-seat Lilya Zilberstein version from 1989 (live and on compact disc). The Sonata No. 2 (1943) boasts proponents none other than Emil Gilels (1965) and Maria Yudina (LP, 1961), with more recent performances by Valentina Lisitsa 2011 (live, YouTube). Viktoria Postnikova, whose repertoire is encyclopedic, recorded both on a 1983 LP, and the ultra-clear, controlled recordings by Konstantin Scherbakov (2003, 2006) are part of a monumental set. Still, considering the proliferation of piano sonata performances by other 20th-century composers, the overall neglect of these Shostakovich works is shocking. His symphonies, the chamber music, and the Preludes and Fugues have been explored routinely from many angles, but the same cannot be said of these sonatas. The culprit could partly be the immense challenges (for the performer and sometimes for the listener), though musicians have certainly embraced plenty of prickly and difficult 20th-century works. It may be, in addition, that an assumption is being made due to the sonatas’ age (around 100 years and 80 years old) that they are “covered ground” and thus do not warrant the heroics involved. Those heroics require a performer of undaunted musical intellect, sympathetic musicality, comprehensive technique, and a commitment to bringing this repertoire to life for audiences (is that all?). Enter Teodora Adzharova.

What Dr. Adzharova proves in each note of both videos is how compelling and beautifully crafted these works are. The first link heard was the Sonata No.1, and it immediately drew this listener in. Just over 13 minutes in duration (one essentially unbroken fast-slow-fast structure, with small transitional sections), it was composed when Shostakovich was just 19, and he reportedly enjoyed performing it himself quite a bit. It is easy to imagine why, as a means of exploiting his own pianism – and one cannot grasp why more young pianistic firebrands do not seize the opportunity to do the same. As Dr. Adzharova played it, with precise rhythmic bite and electrifying energy, she sold the piece. Performing without the score, she conveyed her conception with crystal clarity. Her emotional and dynamic range seemed limitless as she unleashed ever greater aggressiveness in the first section, sailing through glissandi into a more sardonic mode (where one could hear Prokofiev’s influence), and winding down to ppp levels in the shadowy Adagio (marked tenebroso). In the subsequent Lento, she balanced three registers and tiers of composition in a hypnotic haze. There was a moment at the end of the Lento, around eight bars before the change to Allegro, where one did wonder about two rhythmic motives that sounded the same, though marked as different rhythms in the score; with a pianist this excellent, one tends to assume it was a conscious decision based on some research to which we are not privy (rather than a live performance glitch); that being said, there were very few glitches in this surefire performance. The only other minor discrepancies with the score appeared towards the end of the piece, but they also seemed intentional, and this is not the forum for such determinations. If these were “heat of the moment” adjustments, we should all be so fortunate!

The Sonata No. 2, composed seventeen years later in 1943, is much longer (around thirty minutes) and much more substantial. In the hands of Teodora Adzharova it emerges as a masterpiece. Here it is her phrasing that stands out, rendering many of the composer’s themes lyrical and more memorable for the listener, who thus can navigate the piece more easily. Despite the reports that Shostakovich himself played the piano as a percussion instrument, too many players do so to detrimental effect – and it should go without saying that Shostakovich’s work with strings and other more sustaining instruments naturally found its way into all his piano music. Dr. Adzharova plays this solo work like chamber music. Interestingly it is very close in opus number to the E minor Piano Trio, traces of which kept coming to mind for this reviewer.

In this larger work, Dr. Adzhanova’s artistry takes freer rein. Though some of her tempi take the markings with a judicious pinch of salt, one cannot find fault in her conception.  The Largo movement is profoundly moving, with the meno mosso section of such deathly dryness that the return of gentler lyricism is even more stirring.

The third movement, marked Moderato and opening with one of the longest purely right-hand solos in the piano literature, is phrased again with care in each detail. Dr. Adzhanova plays with the kind of vocal shaping that marks a true musician. She has the details, and she has the big picture. As the variations unfold, the pianist moves from solo to transparent duo, through an almost pointillistic staccato section, then to aquasi chorale, back to more motoric rhythms, and on to an almost French Overture-type declamation – all leading to a heavenly and somehow heartbreaking suggestion of B major before an understated closing section. Dr. Adzhanova brings it all to life without histrionics but with palpable drama. Bravissima!

Whenever Dr. Adzhanova’s CD comes out, it promises to be worth a listen. This project, as your reviewer sees it, has only two drawbacks. The first is that it will contain only one of the two sonatas, the Op. 61 (though the Op. 34 Preludes will be interesting). You’ll simply have to listen to her performance of the earlier Op. 12 Sonata on YouTube. The second drawback is that this CD will face stiff competition from this pianist’s own live videos. Those are hard to top.

New England Symphonic Ensemble, Peter Tiboris, Conductor

Karl Chang, Conductor
Stern Auditorium/Perelman Stage at Carnegie Hall, New York

Sunday, March 31, 2024, 2:00 PM

Mid-America Productions presented a surprisingly weighty program for an Easter Sunday this weekend, including Verdi’s Overture to La Forza Del Destino and Tchaikovsky’s Symphony No. 4 (1877), both performed by the New England Symphonic Ensemble under conductor Peter Tiboris (who is also Founder and General Music Director for MidAmerica). Both works were completed within a decade of each other (Verdi’s St Petersburg premiere in 1862 having led to a complete revision before an 1869 performance at La Scala), and both are works of struggle and torment, centering on themes of fate. (It seems these themes may feel timely to presenters, as the Metropolitan Opera just recently presented La Forza Del Destino for the first time in 17 years – complete with modern touches and thinly veiled political references). From a glance at the MidAmerica website, it appeared as if these works would be followed by children’s choruses singing such songs as Over the Rainbow and Circle of Life – and this reviewer had wondered how exactly that would play out (like little Easter baskets on a battlefield), but fortunately the order turned out to be the reverse, with the children opening.

Around 150 cherubic youngsters filed onstage to start, and the optimism and excitement were palpable, both from them and from relatives and friends one could see snapping photos from the audience. The combined choruses included the Crystal Children’s Choir (Cupertino, CA, Chiafen Lin, Director), Crystal Children’s Choir (Taiwan, Hua-Lin Chung, Director), and the National University of Tainan Affiliated Primary School (NUTNPS) Children’s Choir (Tainan City, Shu-Nu Sun, Director). They were led through most of the songs by the very adept Karl Chang, with excellent piano support from Claire Chiu.

First came John Rutter’s All Things Bright and Beautiful (based on a hymn of Cecil Francis Alexander, 1848), and it exuded such sweetness that it was hard to hold back tears. Any efforts to hold them back were foiled completely by the next piece, Elaine Hagenberg’s O Love, inspired by the words of Scottish minister George Matheson (1882), who had endured blindness and abandonment by his fiancée and was writing to summon hope on the eve of his sister’s wedding. Elaine Hagenberg is a new name to this reviewer, but here she showed she can choose and set a text in a way that pulls at one’s heartstrings. The young choristers were beautifully prepared, and the gentle sound of cellist Sofiia Yatsyshyna (Carnegie Scholars Program Musician) added color in an unobtrusive way.

A very young chorister stepped forward to introduce the next song, Gratitude, by Faye Wong (arr. Man Tou), and to offer thanks to all the parents and community for the unwavering support that made this event possible. One could only think that something very special and worth emulating has been done here, integrating music into these children’s lives, and the chorus’s committed performance bore that out. Promising young trumpeter Abner Marquez (Carnegie Scholars Program Musician) contributed his fine playing.

Next came Over the Rainbow (E. Y. Harburg, Harold Arlen), in the updated version of Andy Beck and enhanced by accomplished percussionist Zoey Cobb. Conductor Chiafen Lin introduced the song (without a microphone, unfortunately, so whatever she said went unheard), and the children sang it with great involvement. For the group’s finale, conductor Karl Chang returned to lead the choirs in Circle of Life (billed on the program as Tim Rice, Hans Zimmer, Elton John, Lebo M., arr. Audrey Snyder). As usual, this song was a hit, enhanced here by trumpet, drum, maracas, and also some waving and coordinated movements from the singers. The very young girl who sang the solo opening displayed great spirit and a remarkably strong and sure voice for one so young.

A brief intermission was used to set up for the New England Symphonic Ensemble (Preston Hawes, Artistic Director), for the upcoming heft of the program. Maestro Peter Tiboris stepped to the podium with confidence and led the orchestra with gusto in the Verdi Overture to La Forza Del Destino. From the first blasts of brass through the driving undercurrents in the strings, one felt cohesion in the work and unanimity among the musicians. Only occasionally did one want more crispness in the lower strings, but overall the musicians achieved polish and balance. There was particularly impressive playing by a solo oboist, though sadly one cannot credit the unnamed player.

It was a stroke of genius to precede Tchaikovsky’s Fourth Symphony with this Verdi Overture, as the latter projects the tragedy of destiny in rather succinct high drama, whereas the Tchaikovsky Symphony offers a much more extended (i.e., around forty-minute) expansion on such a fateful journey. In composing the Fourth Symphony, Tchaikovsky wrote that “One’s whole life is just a perpetual traffic between the grimness of reality and one’s fleeting dreams of happiness.” Transferred to music, this symphony grapples with this “traffic” so much that it can be a bit unwieldy to hold together; nonetheless, Maestro Tiboris was undaunted and led the orchestra admirably. The first movement is what is in greatest danger of feeling bloated thanks to its rather episodic departures from tighter, more traditional musical architecture, but a vigorous approach can help it cohere. Maestro Tiboris took a bracing tempo, which certainly helped (though this reviewer admits to preferring it even just a shade faster), and he maintained what seemed to be a clear overview and command of its intricacies – not an easy task.

The poignant second movement unfolded with seemingly effortless lyrical grace – and again the unnamed first oboist won our admiration. The Scherzo movement had a good lightness in its precise pizzicato flights, and the finale, much more driving, reached an impressive, frenzied peak. Whether this finale was intended by Tchaikovsky to represent triumph or simply a final statement on human valiance, the movement calls for a frenzy of brass and percussion, requiring immense unified energies to make a successful performance. Maestro Tiboris and the New England Symphonic Ensemble gave it a riveting ride, dazzling with their superb split-second timing. The audience was beyond exhilarated, roaring its approval.

Congratulations go to MidAmerica – and all involved – for an outstanding continuation of their 40th-year festivities. This was their 692nd concert in Carnegie Hall (among close to 1,500 concerts they’ve presented worldwide), and there is much more to come.

Dan Flanagan, violin

Weill Recital Hall at Carnegie Hall, New York, NY

March 25, 2024

Dan Flanagan is back in town. The violinist and art patron brought his one man show, The Bow and the Brush, back to New York, only this time in a larger and more storied venue, Weill Recital Hall at Carnegie Hall. The change in location offered some advantages (more seating capacity, better acoustics) and some disadvantages (primarily the inability to project images on a screen for the audience to see). The images in question are the paintings that inspired a variety of composers to create short works for solo violin, all commissioned by and performed by the violinist. Mr. Flanagan, ever the professional, compensated for the missing visuals by acting as docent on a mini-tour of his collection, though his homespun manner was more Garrison Keillor than Philippe de Montebello.

This year’s slightly expanded program offered nineteen works, six of which were new to me. Trevor Weston’s Notre Dame au milieu de l’eau et du ciel was remarkable for its quicksilver shifts in mood and technique, a compositional response to the artist Lebourg’s juxtaposition of the natural world (sky, water) and the spiritual (Notre Dame). This conceptual approach worked, made even more convincing by Mr. Flanagan’s playing, which is narrative in the best sense.

In Jessica Mays’ And miles to go…, Albert Malet’s painting evokes in turn a Robert Frost poem, and the two come to life beautifully in the composer’s treatment. The main theme, haunting and impassioned, is frequently interrupted by short pizzicato fragments, as if the traveler on this wintry path is torn between stasis and movement. It was interesting to note the equation between perspective in visual art and volume in music, a choice which several of the evening’s composers made convincingly. Catherine Neville’s Danses should really be choreographed, so successfully did she evoke the spirit of dance by mere suggestion. All the elements of Fantin-Latour’s painting were there– melody, articulation, rhythm – but in short bursts that sketched a body in motion.

Part of the immense appeal of Mr. Flanagan’s concerts is the opportunity to be introduced to contemporary artists as well as to brush up on your art history. Who knew that the Impressionist Camille Pissarro had several progeny that were fine artists in their own right? Michael Panther, in his second commission for this series, chose a canvas by Georges-Henri Pissarro, third son of Camille, as a departure point for a piece that uses French traditions – sensuous melodies, exotic harmonies, pastoral folk dance- to illuminate a lakeside scene at change of seasons. The work of Pissarro’s fourth son, Ludovic-Rodo, was also on display in Edmund Campion’s terrific Le Grand Écart. Alternating compositional styles and violin registers mirrored Pissarro’s chalk drawing of a dancer in full split. As in Mr. Campion’s case, the brevity of the commissions and their relationship to a specific work of art allowed the composers to narrow their focus and strike at the heart of inspiration.

As if his plate were not already quite full enough, Dan Flanagan the composer was also on display. An Animated Street in Autumn, alternating between frenzy and quietude, and LeGato au Chocolat, an homage to the feline in charge of Mr. Flanagan’s household, served as vehicles for the violinist’s profound talent. He is a composer’s dream, an imaginative and reliable conduit for the vast array of musicians whose contributions he solicits.

This iteration of The Bow and the Brush included performances of several solos from the 2023 tour, all of which are worthy of repeated hearings, in particular Shinji Eshima’s The Collection, for sheer beauty and fluidity, and Libby Larsen’s, The Only Way Through is Slow, for finding novel solutions to this unusual format. My only recommendation for the future of this series is to trim the program even further. Mr. Flanagan’s natural generosity is admirable, but more compositions means more repetition, especially in the area of extended technique. Still, I found this time around even more enjoyable than the first. May there be many more generations of this wonderful program to follow.

Julia Johnstone, soprano

Artyom Pak, Piano

William R. and Irene D. Miller Recital Hall at the Manhattan School of Music, New York, NY

May 9, 2023

On May 9, 2023, soprano Julia Johnstone was presented in recital at the William R. and Irene D. Miller Recital Hall at the Manhattan School of Music in partial fulfillment of her Master of Music degree. Ms. Johnstone is a student of Ashley Putnam and coaches with Artyom Pak, who was her excellent accompanist. This review is based on a video recording of that recital.

The concert opened with a rousing rendition of Mozart’s concert aria Alma grande e noble core. I was immediately struck by the beauty of Ms. Johnstone’s voice, which is strong in all registers. The chest voice and the head voice blend perfectly, with no sign of the “break” which plagues so many female singers. Her high voice is produced with ease and her chest voice is strong and rich. Her coloratura is confident and sure. I would have liked to have heard more dynamic contrast between stressed and unstressed syllables of her Italian. Occasionally an isolated short note seemed to be imperfectly supported, which resulted in a slight insecurity of intonation. This latter issue seems to me to be something which she could easily correct, considering her fine technique.

The Mozart selection was followed by four songs by Liszt on texts by Schiller, Goethe, and Heine. I had to look up the names of the poets, as they were not listed on the program (more about this later). These songs were mostly slow to moderate in tempo. I would have liked more variety in the expression of the language. For instance, the opening words of Freudvoll und leidvoll, (happy and sad) sounded the same. A difference in tone color, vibrato, or dynamics would have been appropriate. While Ms. Johnstone obviously has studied German, more attention to vowel sounds – more distinction between the closed “u” of “du” and the open “ü” of “blühn” (in Mignon’s Lied) for instance, would have provided a more expressive rendition of the language. Die Loreley provided a vehicle for Ms. Johnstone’s fine dramatic sense which, no doubt, serves her well in the operatic repertoire.

After intermission we heard three songs by Francis Poulenc on poems by Louise de Vilmorin. On the first song, Le garçon de Liège, Ms. Johnstone seemed to be somewhat overbalanced by the piano. This was the only time in the concert when this happened. The final song, Aux officiers de la garde blanche, was particularly effective, as the sorrow of unrequited love became increasingly more poignant with each verse.

The recital ended with four songs by Benjamin Britten on poems by W.H. Auden. These songs, composed in 1937, when Britten was twenty-four years old, provided welcome exuberance after the brooding melancholy of the French set. As the words were in English, there was no printed text. This was problematic, as I will explain in the next paragraph.

The care which Ms. Johnstone took in her musical preparation was not reflected in the printed program. This is perhaps more the job of the staff of the Manhattan School than that of Ms. Johnstone. For the songs in Italian, German, and French only English texts were provided. This is a problem for several reasons. Having both texts side by side makes it possible to know where in the English text the singer is at any given moment. No matter how good a singer’s diction is, it is difficult to understand the texts of songs as they are being sung, whether or not the listener knows the language. Vowels are always modified on very high notes and there are often several notes one syllable, just to cite two challenges. The names of the poets, with the exception of Louise de Vilmorin, were not given. Another issue is the fact that Köchel and opus numbers were not given.

Singing at Ms. Johnstone’s high level is extremely difficult. Learning Italian, French and German, which all conservatory students in voice must do, is no easy task. Stage presence, acting, and movement are daunting. Making a printed program is easy. It makes me sad to be so critical of an event featuring such a fine singer. Ms. Johnstone has a big talent which she has worked diligently to cultivate. It seems that, in respect to the creation of the printed program she deserves to be better served by her school.

The encore was Pure Imagination from Willy Wonka & the Chocolate Factory by Anthony Newley and Leslie Bricusse.

Deke Sharon, Conductor and Creative Director
Special Guests: Major Attaway and T.3

Kaila Mullady, Vocal Percussion
Distinguished Concerts Singers International

Stern Auditorium at Carnegie Hall, New York, NY

March 24. 2024

On March 24, Distinguished Concerts International New York (DCINY) presented the 2024 edition of Total Vocal, led by the incomparable Deke Sharon. Special guests were Major Attaway and the trio T.3. Kalia Mullady was the vocal percussionist (or beat-boxer if you prefer, even though Deke Sharon tells us they are not exactly the same thing!). The participating groups were St. Mary’s Academy SAIMARAC, Pop Voices, The Head of School Singers, Pop Chorus, Atlantic Harmonies Youth Choirs, Woodson High School Unaccompanied Minors, CDNIS Community Choir, Forte A Cappella, Squad Harmonix, Sheppard Academy of Vocal Arts, and Antigo High School Canto Voce. Seven decades (!) of vocalists were represented in those groups.

Deke Sharon, arguably the leader of the world of a cappella, is a force of nature. He was the host, the conductor, and ringmaster – and even performer, as he sang Dave Matthew’s Crash Into Me, dedicating it to his wife. He did it all with enough energy for ten people. He was also the arranger of nearly all the selections and the writer of the program notes (and if he ever tires of a cappella, he has a ready-made new career in humor writing).  As if that were not enough, he offered his email (deke@dekesharon.com) for anyone to contact him who wants to sing in a group, with the promise he would find a place for them. In essence, Deke Sharon is Total Vocal.

Mr. Sharon bounded onto the stage and called out to the chorus, “Are You Ready?,” which was answered with a resounding “YES!” Without any further hesitation, the huge chorus launched into a spirited performance of the Journey classic Anyway You Want It, with a level of energy and spirit that set the tone for the entire show. U2’s Beautiful Day followed, with seventeen soloists and two vocal percussionists. Normally I would not list so many names, but this is not an ordinary occasion, so here they are: The vocalists were Alaina Manzo, Ava Jolie, Mayu Yamashita, Elana Vennard, Sam Coleman, Elise Derman, Tracy Booth, Yula Andrews, Helen Kay Tierney, Jaimie Volkaerts, Gemma Henbest, Katie Volkaerts, Ruby Cooney, Scarlett Carville, Ava Gad, Calliope Condo, and Sydney Korpusik. The vocal percussionists were Asten Oh and Easton Verano. The massed chorus also offered a thoughtful Nobody Like U (Billie Eilish/Finneas O’Connell) from Turning Red.

The first of two featured ensembles, The Head of School Singers (affectionately referred to by its members as HOSS), hailing from Nashville, Tennessee, took center stage. Looking sharp in matching blazers, these young men gave a polished performance of John Legend’s All of Me. Complete with choreographed moments and excellent ensemble, including some amazingly rendered close harmonies, it was exceptional, and more so when one considers these are high schools students. Well done, gentlemen! The second featured ensemble, Forte A Cappella, from Centerville, Ohio, showed the winning form that has garnered them awards galore. Their rendition of Human Nature (Steve/Porcaro/John Betti) made famous by Michael Jackson, had a slick sophistication that was truly exceptional. Once again, these are high school students!

There were numbers that focused on “higher voices” and “lower voices.” The former was The Chain, one of the many “break-up” songs from the Fleetwood Mac hit album Rumors, and it was given an energetic performance.  The latter was Rocky Mountain High, the John Denver classic, done with heartfelt sincerity.  Vocal Percussionist Kaila Mullady whipped the audience into a fever pitch with a stunning exhibition of her skill during her solo segment.

On to the special guest artists. Major Attaway, probably best known for his role as the Genie in the Broadway production of Aladdin, gave a powerful performance of Steve Miller’s Fly Like an Eagle that was strongly reminiscent of Seal’s cover. The New York-based T.3 (the “T” meaning tenor), whose members are Liam Franklin, Jim Hogan, and Brendan Jacob Smith, offered three selections, Bring Him Home (from Les Misérables), when the party’s over (Billie Eilish/Finneas O’Connell), and Into the Unknown from Frozen 2. These talents “turned up the dial” as they progressed through their set, bringing the audience to a frenzied state. The audience exploded into an ovation when they tore into the last notes of Into the Unknown.

All the artists joined together for a showstopping performance of the final song on the program, Stevie Wonder’s Sir Duke. One could see audience members singing and swaying along to the music. The “mandatory” encore, The Lion Sleeps Tonight ended the show on a joyous note. If you want an afternoon of unbridled fun and the pleasure of seeing people of all ages having the time of their lives, then Total Vocal is the ticket for you. Be there in 2025!