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.

Richard A. Nichols, Bobby G. Helms,  Joshua Chism, Victoria Gau, and Kathleen Allan, conductors

Chessa Metz, soprano; Kameron Keller, tenor; Sherryl Sewepagaham, vocals and drums

Listed collaborative pianists: Mary Nelson and David Brewster

Narrator: Nathaniel Sullivan

Stern Auditorium at Carnegie Hall, New York, NY

May 25, 2026

MidAmerica Productions continued their fine record of outstanding concerts with their 1pm concert this Memorial Day (with another one scheduled for the evening). They combined the excellent New England Symphonic Ensemble with choruses from throughout the US and Canada, uniting choirs from Idaho, Oklahoma, Maryland, Mississippi, New Jersey, New York, Texas, and Ontario. Their program included a varied selection of contemporary choral works including three world premieres and four Carnegie Hall premieres  – all alongside the masterful and well-loved Schicksalslied of Brahms. Among the premieres were works by Richard A. Nichols, Sherry Blevins with Raphael Fusco, Cris Derksen, Sherryl Sewepagaham (including one co-written with Andrea Neumann), and Patti Drennan. Among non-premieres- aside from the Brahms, of course – was the increasingly performed Te Deum by Dan Forrest. It was a long program, well over two hours including two intermissions, so to keep this review brief, those interested in reading the program notes can find them here: Program Notes

First off, a hat tip is in order for the overall selection of works on this concert. For a holiday that observes both loss and heroism, sorrow and triumph, this music encompassed it all. To start were three selections of movements from Requiem for Patriots by Richard A. Nichols set to speeches of three U.S Presidents – narrated here by Nathaniel Sullivan. The first, entitled Requiem, set a dramatic tone for the whole program with low string tremolos, a soulful trumpet entry, and bells, all leading to the stirring recitation of Abraham Lincoln’s Gettysburg Address, supported by the ensemble, coloring the speech emotionally. The second (Kyrie), was based upon the words of George W. Bush at National Cathedral after the attacks of 9/11/01. To this listener, who recalls vividly the horror of the attacks, the music had a sweetness that was hard to reconcile with the day’s reality (think “Music of the Night” for harmonic flavor at the opening), but then again, its gentleness allowed some more words about the murdered innocents to stand out. The bravery shown that day connected to the third and final movement (In Paradisum), drawing on words of comfort and courage from the speech of Ronald Reagan after the 1986 Challenger disaster. Together the movements conveyed feelings of courage and faith, with the texts enhanced by imaginative musical scoring. These were memorable and moving performances, and the introduction and conducting by the composer himself made them even more so.

Moving to more familiar day-to-day subject matter (though still grand in its own way and certainly set musically as such), we heard To Truly Love, by Sherry Blevins / Raphael Fusco, five movements set to texts about unconditional love and the nature of parent-child relationships. Bobby G. Helms conducted, leading the chorus in admirable balance with orchestral forces in the opening movement, entitled The Wonder of Your Life. The second movement, Your Masterpiece, introduced tenor Kameron Keller, who projected the text with a penetrating and pure sound befitting a child’s pleas for love. The orchestra set a somber mood in the minor harmonies of the third movement, When Darkness Came, but all grew brighter with the pristine sound and intonation of soprano Chessa Metz in Stay Here with Me, followed by To Truly Love – an expansive finale that drew a large ovation.

After the first intermission came the magnificent Schicksalslied, Op. 54 (Song of Destiny) of Brahms. Based on a free-verse passage of Friedrich Hölderlin’s novel Hyperion, the text can be described as invoking “a pantheistic vision of the world and … the return of the golden age through poetry and love” (as summarized in the helpful notes by Leonard Burkat). The creation of this work represented a three-year struggle for Brahms, to frame somehow the poem’s heavenly visions with earthly struggles. To hear the end result, though, is to hear Brahms in a warm musical embrace of the universe. It is always transporting, and this was no exception. It was conducted beautifully by Victoria Gau and made a perfect addition to the program.

If a trip to the water (specifically the North Sea) was said to have helped inspire Brahms to compose his Schicksalslied, the reverence for water (in fact activist concern for it) continued to be present in several Cree-inspired pieces that followed, but first there was a musical greeting by Sherryl Sewepagaham. Ms. Sewepagaham was present not just to sing these but to play drums, under the dynamic conductorship of Kathleen Allan. We heard Tawâw (Welcome Song) – conceived, we are told, in a time combining earthly births and the passing of a loved one, and the music reflected that. Its triadic and pentatonic motifs were indeed accessible and welcoming, but the steady underlying drumbeat gave it a dark, almost ominous quality.

To add to the day’s sadness, we were informed through an insert in the program that the composer of the next Cree works, Chris Derksen, lost her life on May 15 in a tragic auto accident – one which also left her wife critically injured. To add to that pain, one learns that she had been en route from her father’s funeral. The insert paid heartfelt tribute to her, with Ms. Sewepagaham dedicating her Tawâw performance to her and the conductor Kathleen Allan dedicating her performance as well. There is little one can say of comfort after such a tragedy, but Ms. Derksen’s music did, in a sense, speak for her. Her mission to protect our planet’s water was not necessarily the kind of military fight one associates with Memorial Day, but it loomed as life-and-death to her. Selections from her Mass For Nîpîy: A Prayer for Water included A Prayer for Nîpîy’s Spirit and Prayer for the Rivers, both evoking a ritual solemnity through repeated minor motifs and both gradually building a powerful sense of urgency. We also heard later her Never Dry (from the same Mass for Nîpîy), with percussive suggestions of rain mounting in primal rhythms to a visceral energy, all skillfully handled by Ms. Allan.

In between these water-inspired pieces of Ms. Derksen’s we heard Papîyahtik (Peace Chant) composed by Sherryl Sewepagaham with Andrea Neumann. One quibble this reviewer had was that there were no pauses between the two Nîpîy pieces by Ms. Derksen and this. In a concert with all unfamiliar music, no breaks for applause, a dramatic midair cutoff, some circling back in composer order, and a few similar ceremonial qualities among pieces, all can start to blur together, which does a disservice to the composers. If it hadn’t been mentioned in the program notes that Papîyahtik starts with an alto flute solo, one would not have known which was which (and yes, there were QR code program notes – sadly right above the request to turn off mobile devices and with little time to access Wi-Fi). At any rate, Papîyahtik announced itself with a soulful alto flute solo, followed by indigenous chant enhanced by various extended techniques, swaying, and stomping that blended evocatively with the indigenous chant. The music seemed to bring joy to audience and performers alike.

In a surfeit of riches (translation for the presenters: please consider curbing the length in future programs), the program had a third and final segment after the second intermission, and there was a switch from the printed program, so that it started with Patti Drennan’s The Mighty Power Of God (World Premiere), rather than Dan Forrest’s Te Deum, which was saved for the concert’s finale. Ms. Drennan’s piece opened boldly, with a heraldic spirit. Unequivocally tonal, this music simply burst with passionate energy, bringing to mind some epic film scores. While it was not the easiest to understand every single word of the text from the large chorus, that became moot upon the entry of the Wyatt hymn, O God, Our Help in Ages Past, set beautifully here. Joshua Chism kept all well in hand and concluded the concert with the familiar Te Deum by Dan Forrest. A highlight was the hallowed middle movement entitled simply Prayers, but the final Praise to Christ was pure musical celebration.

Congratulations are in order to all the participants and musicians, and to MidAmerica, for whom this was their 1,528th concert worldwide, 1,186th concert in New York, and 732nd concert in Carnegie Hall – a huge achievement.

Nana Miyoshi, piano

Weill Recital Hall at Carnegie Hall, New York, NY

May 3, 2026

Eighteen-year-old pianist Nana Miyoshi gave her solo recital debut this May  at Weill Recital Hall at Carnegie Hall, under the auspices of the Alexander & Buono and Marcello & Graziano Roviaro Foundations, and though sadly we were not able to be present, there was an excellent recording to review. When I first read that eighteen-year-old Ms. Miyoshi had won First Prize in the Bradshaw and Buono International Piano Competition in 2019, I thought, “they must mean she was eighteen when she won so in her twenties now, because she wouldn’t have won at age eleven” – but upon visiting her website (Nana Miyoshi), it became clear that she had indeed won the top prize at age eleven – a remarkable achievement, as the competition has had some noteworthy winners. Since that year, she has continued her studies with Cosmo Buono.

Her debut program opened with the beloved Sheep May Safely Graze (J. S. Bach, in the Mary Howe transcription). The performance stood out at first for its very deliberate pace, slower than one has typically heard, but refreshingly so. One often is struck by excesses of speed in such young players – and the opening of this concert could have seen an adrenaline moment like few others – but here we felt the pacing of a very patient soul. The slower the tempo gets, the harder it is to sustain the chorale theme, but the melodic lines still kept a sense of flow overall. It was perhaps wise, in view of the chosen tempo, that Ms. Miyoshi omitted the opening recitative. At any rate, the piece set a thoughtful tone for the recital.

Chronologically and key-wise the segue was perfect to Mozart’s Piano Sonata in B-flat major, K. 333, which the pianist approached with playful energy and articulation. Some unusual manipulations of tempo could have been labeled “Romantic” by many, but Ms. Miyoshi carried them off with genuine feeling, rarely sacrificing momentum (as well as omitting repeats). Her dramatic projection was also exceptional, almost as if there had been explanatory captions. As an example, her approach in leading into the first movement’s recapitulation had such a pronounced ritardando that it seemed to tease the listener, saying “wait for it…” – and then “here we are again!” Such demonstrative instances of bending in the central Andante cantabile were occasionally exaggerated beyond what this listener enjoys, but it was still refreshing to sense strong, communicative impulses. In the final movement, Mozart’s own marking in the autograph manuscript actually specifies that the finale’s cadenza should be in tempo (a marking conveyed also in the Neue Mozart-Ausgabe and observed by pianists including Mitsuko Uchida and many others), but it was still a joy to hear Ms. Miyoshi highlight certain creative moments by stretching (as hinted at, for example, in the wonderful Maria João Pires performances). Though ideally one can achieve equivalent shaping through varying tone and touch rather than manipulating tempi, it is hard to argue when Mozart’s score ultimately comes to life, and it did. Ms. Miyoshi played it with jubilance and received an enthusiastic ovation.  

The program continued with Chopin’s Ballade No. 3 in A-flat major, Op. 47. Here one noticed something quite beautiful about Ms. Miyoshi’s playing, and that was her penchant for reacting in retrospect to her own music-making, as if reflecting on the living wonders of Chopin as she goes along. At times, that pondering may verge on excess, leaving one craving a bit more flow, but I’ll still take it any day over the unthinking or unfeeling that one sometimes hears. She tended lovingly to the inner voices in the gentle “rocking” section and built to a passionate peak and triumphant close.

After intermission, we heard Beethoven’s Piano Sonata No. 17, Op. 31, No. 2 in D minor (“The Tempest”), given a compelling performance overall with quibbles being mostly minor. and somewhat personal. Though many pianists start the interrupting allegro phrases rather slowly as if testing the water, these segments struck one here as starting a bit too slowly, sounding almost mannered; moreover, the half notes just before the development (and similar spots) were slow to the point of being unrecognizable as half notes, sacrificing for this listener a sense of rhythmic proportion. The Adagio was similarly expansive, but to good effect, and with a feeling of profundity. By the time the Allegretto movement started, the tendency to emphasize importance through slowness had started to undermine itself from overuse. Some rethinking and prioritizing could make this piece still more cohesive, but it was nonetheless a heartfelt journey.

Franz Liszt’s Réminiscences de Norma closed the program. In some ways, such a Romantic-era piece felt like it would be a good match for Ms. Miyoshi’s ruminative gifts, and it was a joy to be able to soak up some of its luscious harmonies at greater leisure than what one usually experiences. On the flip side of things, though, where the piece tends to gain momentum, it felt still a bit held back for this listener. It was a joy to hear each detail (a luxury one usually has only at “practice tempo”), but one hopes Ms. Miyoshi will truly let it “take flight” as she lives with the work. She undoubtedly has great potential, and one looks forward to watching her music truly soar in the years to come.

Two lovely encores followed, the Earl Wild arrangement of Gershwin’s Embraceable You, the concert’s single – and very welcome  – foray into the twentieth century, and then Fanny Mendelssohn’s Nocturne in G minor. They both were fittingly gentle and lyrical. Ms. Miyoshi can feel quite proud of her achievement – as can her teacher.

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.

David Witten, pianist;

Grace Renée Pfleger, mezzo-soprano;

Italian Academy, Columbia University, New York, NY

April 16, 2026

Among the exciting celebrations of America’s musical heritage this year so far (the Semiquincentennial of the USA, as some call it), was an April recital entitled “From Sea to Shining Sea: Music to Celebrate America’s 250th Birthday,” given by respected pianist and professor David Witten. Listed under the aegis of Carnegie Hall as part of their festival “United in Sound: America at 250,” the concert took place at the Italian Academy for Advanced Studies in America at Columbia University (also listed as presenter). For the record, this listener was not at the live concert itself, but an excellent video of the complete event (by Asaf Blasberg) was provided for review.

It has been fascinating to see how many kaleidoscopic programs have already been built this year on American music – many with completely different repertoire, reflecting the nation’s great musical diversity. Several works on Mr. Witten’s program were in fact unfamiliar to this reviewer. Rather than simply featuring traditional favorites, his selections included some by composers whose births preceded the nation’s founding and on through the twentieth century. The program moved from works of Francis Hopkinson (1737-1791), Alexander Reinagle (1756-1809), and Louis Moreau Gottschalk (1829-1869) up to Charles Ives (1874-1954), Mario Castelnuovo-Tedesco (1895-1968), and Judith Lang Zaimont (b. 1945). The result was historically illuminating, as well as moving and entertaining.

The entertainment aspect appears to be a special gift of this pianist, who excels as a curator and raconteur, radiating warmth and humor as he invites us into the musical equivalent of a curiosity shop. Not to understate his credentials as a pianist, which are substantial (see his website- David Witten), his gifts beyond the piano are what made the occasion especially memorable.

The concert opened with the Sonata No. 2 in E major (1790) (from The Philadelphia Sonatas) by Alexander Reinagle. Mr. Witten introduced the work with some background about Reinagle’s life in Philadelphia (where George Washington and his family lived), and set the scene for the piece, speculating that Washington may have attended one of the many concerts at which such pieces were presented.

While Reinagle certainly is interesting from a historical perspective, filling in some blanks for those early American years when most masterpieces were coming from Europe, the Sonata No. 2 is hard to embrace. Bearing signs of the influence of C. P. E. Bach, it blends the latter’s mercurial, improvisatory keyboard style with more rigid formulaic elements, so that moments of high drama move to facile resolutions in puzzling ways – as if heated disagreements are being followed by the words “have a nice day” and the like. The first movement in particular is not easy to pull off convincingly and seems in some ways to be in search of itself, just as America was in its formative years. Some have handled the structure of it by facing its capriciousness head-on, with strong dynamic differentiation and very decisive and deliberate transitions between otherwise strict tempi. This was not so much the case here, but overall Mr. Witten handled it well, leaving out repeats to good effect and omitting some ornaments that would have weighed things down. In particular, he handled the second movement Adagio well, with strong conviction. The lively final Allegro benefited from his brisk tempo, crisp articulation, and what one guesses was his own tasteful extemporizing where needed.

Mr. Witten then introduced several works by Mario Castelnuovo-Tedesco, a composer known for having written scores for some 200 films among his many works. It seems only fitting to have included the work of an Italian-American composer, given the Italian venue and presenting organization, but Castelnuovo-Tedesco was an especially welcome choice, as his work is still relatively underplayed compared to that of some of his contemporaries. It is highly evocative, as we might expect from a prolific film composer, and it deserves to be heard. We were fortunate here to hear his Autunno (Autumn) from Le Stagioni (The Seasons), Op. 33 composed in 1924, Two Film Studies, Op. 67 composed in 1931, and a selection entitled Deanna Durbin from a set entitled Stars: Four Sketches for Piano, Op. 104 composed in 1940.

The Autunno selection was a discovery for this reviewer, and Mr. Witten’s performance of it was enchanting, with gentleness in the right hand’s fluid streams and remarkable sensitivity to its harmonic colors. The Two Film Studies brought a welcome note of lightness. The first one, Charlie, was named after Charlie Chaplin, and its dissonant repeating patterns evoked the title character’s famous walk, along with his trademark mixture of the serious with the comedic. The second of the Film Studies, entitled Mickey Mouse (Topolino), needs little explanation – Mr. Witten captured the antics with a mischievous elasticity of tempo and delivered (with a perfect poker face) the composer’s playful references to the Toreador Song from Bizet’s Carmen and bits of Vissi d’arte of Puccini. The sketch Deanna Durbin from Op. 104 capped off the set with easy ebullience (though it certainly would not be called “easy” as a piece) and a flair worthy of its Hollywood honoree. One could hear audience members’ delight in response.

Moving the program back in time to 1788, Mr. Witten introduced mezzo-soprano Grace Renée Pfleger, with whom he would collaborate on selections from Songs for Harpsichord or Fortepiano by Francis Hopkinson. Additionally, he offered some of the history of Hopkinson, whom he described as not only a composer but an artist (who designed one of the first flags of the US), poet, and lawyer. Most remarkably, he was one of the founding fathers who signed the Declaration of Independence. Frankly, simply knowing the very history of this composer made hearing these pieces an engaging experience, though purely musically they all seemed to owe a heavy debt to Handel and other earlier masters. We heard the first, Come, Fair Rosina,  the second, My Love is Gone to Sea, and the sixth, Over the Hills. It was a refreshing choice to throw some vocal music into the mix.

Ms. Pfleger – described in her promotional materials as “an opera singer, music therapist, and community advocate” – brought a charming stage presence and sincere expressiveness to these songs. Particularly winsome was the innocence and sorrow she conveyed in My Love is Gone to Sea. She is currently pursuing her Artist Diploma on full scholarship at the Cali School of Music at Montclair State University. Mr. Witten accompanied her ably, as one would expect, reclaiming his solo role afterwards for the program’s final offerings, selections from A Calendar Set (1972-78) by Judith Lang Zaimont, Variations on ‘America’ (1891) for Organ by Charles Ives, and The Banjo (1853) by Louis Moreau Gottschalk.

There were just two selections chosen from Ms. Zaimont’s twelve-month set – November and July in that order. As Mr. Witten explained, he included July – “of course” – as, even with all its dissonance, there are three patriotic songs in it. As for the rationale behind November, Mr. Witten shared that, when pianists play only selections from the set Ms. Zaimont requests that they include the month of their birth, and Mr. Witten was born in November. At any rate, both were fine additions to the program, November for its austere beauty (prefaced by the quotation “November’s sky is chill and drear” of Sir Walter Scott) and July (“The Glorious Fourth!”) for its references to The Stars and Stripes Forever along with snippets of Columbia, the Gem of the Ocean and Yankee Doodle. Well done!

The penultimate work of the program was Variations on ‘America’ for Organ (1891), composed by Charles Ives at age seventeen and arranged for piano by Mr. Witten. Based on the anthem that is also called My Country ‘Tis of Thee, it was a good choice to project a mixture of national spirit and Ives’s own brand of individualism and trademark cacophony. Mr. Witten played it with panache.

The program closed with a spirited rendition of The Banjo (1853), Gottschalk’s once ubiquitous showstopper. It was great to hear again after years of not encountering it on recitals, and Mr. Witten conveyed well its carefree innocence and joyous spirit. Kudos go to him for including it, and for the whole memorable recital. I’ll just conclude by saying, “Encore!”

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!