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Orchestra Moderne NYC: Women Warriors: The Voices of Change in Review

Amy Andersson, Founder and Music Director

Composers: Nathalie Bonin, Miriam Cutler, Anne-Kathrin Dern, Sharon Farber, Mandy Hoffman, Penka Kouneva, Starr Parodi, and Lolita Ritmanis

Guest performers: Sonita Alizadeh, Isolde Fair, Nathalie Bonin, Gillian Hassert, Riga Cathedral Girls’ Choir TIARA, The Visionary Singers

Honorary speaker: Masih Alinejad

Alice Tully Hall, Lincoln Center, New York, NY

September 20, 2019

Lincoln Center’s Alice Tully Hall was the venue for Orchestra Moderne NYC’s Women Warriors: The Voices of Change, a multimedia symphony concert celebrating women activists who are fighting for social justice. I’m certain the hall and the date had to be secured at least a year ago or more, but it seemed eerily apposite that this thrilling, innovative orchestral concert was given on the day that millions of people, many of them schoolchildren, called a “climate strike” in protest of the political inaction on an issue that threatens the very host we all rely on: Earth.

Any fears I had about the event being more “agenda” than “art” were quickly allayed by two things: the quality of the performances, and the sheer emotional power of the coordinating images. How many times do you get to witness an Afghan young girl, exiled to Iran, who has been sold into marriage twice (age 10 and 16), and is now a rapper?

I wish one event like this could move the hearts of those whose hearts need moving, but alas, humans never seem to learn. All the issues on this powerful affirmation of women’s strengths are still, sadly, pertinent and unsolved. Basic freedom, AIDS/HIV, LGBTQ rights, war/peace, religious clothing requirements, climate change, clean water, child brides, police overreach, gun violence, sexual assault, reproductive choice.

This made for an evening that would have been hard to take were it not for the superlative assembly of much-awarded women composers for film, television, and even video games. Add to that a well-curated visual screen behind the performers, with documentary stills and moving footage of historic women’s rights figures and current events.

This concert event should be required viewing at the U.N. general assembly that begins in New York on Monday; and it should be done in every high school and college domestically and worldwide.

The concert was divided into “chapters,” each dealing with a different social issue. I understand that Amy Andersson, the founder and music director of the Orchestra Moderne NYC, worked on realizing the concept for two years. Those are two well-spent years. The number of world premieres in one event was stunning.

For way too long, the female element has been marginalized: composers, conductors, performers (except perhaps in opera) have not been represented with the same privilege as their male counterparts, and it continues. But events like this go a long way toward redressing that. May there be many more.

by Frank Daykin for New York Concert Review; New York, NY

Distinguished Concerts International New York (DCINY) Artist Series presents Lela Kaplowitz in Review

Lela Kaplowitz, jazz vocalist

Joe Kaplowitz, piano; Lucia Kaplowitz, violin; Mat Muntz, double bass; Gary Fritz, percussion

Weill Recital Hall at Carnegie Hall, New York, NY

September 19, 2019

Croatian-born jazz singer/songwriter Lela Kaplowitz gave a largely entertaining, always sincere, concert on Thursday night. It was essentially a live performance of her latest CD, titled To One. She was backed by a four-piece ensemble that included her husband Joe Kaplowitz (an excellent jazz pianist), daughter Lucia Kaplowitz(violin, and vocal and beatbox contributions), and two other fine musicians, double bassist Mat Muntz, and percussionist Gary Fritz.

For my taste, in this idiom, the vocals could have used a microphone, for Ms. Kaplowitz threatened to be swallowed up by her small backup team. A CD can be engineered so that these issues go away, but a live performance has its own rules.

That being said, I wish I could convince my classical singers to have the physical freedom Ms. Kaplowitz exhibited, as well as her joyful charisma. This made her message, a sort of “new-age” jazz effusion, much more compelling.

The lyrics were somewhat cliché, although the universality of them could not be gainsaid. Ms. Kaplowitz wishes to create a musical experience that will be elevating for all listeners, with music as a positive, vibrating force. I agree with the thesis, but I did not find the comparisons with the “great singer-songwriter era of the 1970s” as stated in her manifesto. No matter, she absolutely portrayed her own personal vitality with her engaging stage presence.

Seven of the selections were arranged to coordinate with the seven chakras, or spiritual energy centers of the body, according to ancient Hindu texts. They contain healing energy and can be unblocked for greater vitality in life.

Clearly, Ms. Kaplowitz believes in this life force, and her personal radiance went a long way toward redeeming the sameness of some of the material. She also generously gave solos to each member of her ensemble, all of whom were wonderful.

I would like to hear Ms. Kaplowitz again in covers of more standard jazz perhaps from the American songbook, or Croatian songbook. Now that would be something unusual!

by Frank Daykin for New York Concert Review; New York, NY

Eun Chong Ju: Camille Saint-Saëns – Introduction and Rondo Capriccioso, Op. 28 in Review

Eun Chong Ju, violin

Min Kyung Kim, piano

Recorded at First Korean United Methodist Church, Main Chapel, Richardson, TX,

Oct 28, 2018

Korean born violinist Eun Chong Ju, with pianist Min Kyung Kim, recently released her recording of the Introduction and Rondo Capriccioso, Op. 28 by Camille Saint-Saëns. There are no physical copies available, but it is digitally available from iTunes, Spotify, and YouTube Music.

Composed in 1863 for Pablo de Sarasate (1844-1908), this work has been a mainstay of the violin repertoire ever since. It has become almost a mandatory showpiece for violinists to dazzle audiences with their virtuosity. Indeed, one can easily access performances of nearly every big-name (and not- so-big name) violinist. Millions of new listeners were introduced to this work after it was featured in an episode of the anime series Shigastu wa kimi no uso (Your Lie in April). It is thus reasonable for a listener to ask in what way another recording of such a warhorse can be differentiated from the others. In a way, a listener needs to put on “fresh ears” for each performance, and Ms. Ju’s recording is no exception.

This listener has always tried to judge live performances “in the moment” and to resist making too many comparisons to other performances; when the performances have been recorded, however, the listener ‘s expectation level is higher, given the opportunities for multiple takes and editing. Also, comparisons with other recordings are inevitable, though some of those comparisons are unhelpful or even misleading, such as the “Stopwatch” approach (Performance A lasted 1:43, Performance B lasted 1:39, often with the implication that “faster is better” when it may be the exact opposite!). Technique and tonal quality are fair game for comparison, but often the key differences are stylistic choices, in which the preference of the listener rules the day.

Now, with all that said, it is time to get to it. First, the positives: Ms. Ju is fearless in her approach; there is nothing tentative or lacking in commitment. There is a good amount of “swagger” where appropriate, and the pacing is effective. She does not try to gloss over difficult passages by increasing the tempo and sliding over the notes. The articulation is generally clean, and the ensemble is commendable.

Now, on to the negatives. In the effort to make every note heard, there is a certain heaviness that weighs down the rapid passages. One misses the light bounce bow work that one often hears in other performances. There are also some signs of straining, especially in the extreme upper register, along with some problems in the triple-stop section, with one particularly jarring moment. All this being said, these are issues that can certainly be addressed in future performances/recordings.

Ms. Ju is without a doubt a talented and promising musician. This recording shows that she is a work in progress, and I wish her the best in developing her talents and career.

by Jeffrey Williams for New York Concert Review; New York, NY

The Palisades School of Music Presents William Chen in Review

William Chen, piano

Merkin Hall, Kaufman Music Center, New York, NY

September 8, 2019

This past Sunday at Merkin Hall, sixteen-year-old pianist William Chen gave an impressive recital of extremely demanding works by Bach, Beethoven, Schubert, Chopin, Rachmaninoff, and Lowell Liebermann. Though I do not recall ever hearing about this pianist, he is clearly an outstanding young artist to watch.

The program was a large one which many professional pianists would be hard pressed to pull off after many more years of study, degrees, and concertizing than Mr. Chen has had. This is not to suggest that Mr. Chen has any shortage of credentials either, by the way, as his biography already lists numerous concerts throughout the world and a substantial list of awards (from the Bosendorfer and Yamaha USASU Competition, the New York Music Competition for Young Artists, the Kaufman International Piano Youth Competition, AADGT, Young Pianist Competition of NJ, New England Conservatory Preparatory Concerto Competition, and more – as well as being a Young Scholar of the Lang Lang International Music Foundation); one has to remind oneself, though, that he is still just in high school (at the Special Music School in NY), so to have conquered such a program reflects not only exceptional talent but a level of commitment that is extraordinary for one so young.

To open, Mr. Chen played Bach’s Prelude and Fugue in E-flat minor (WTC I) with solemn composure and attention to phrasing and tone. He allowed himself a prolonged wait before starting (as he did before almost each piece), and it was wise, not only to allow various ringtones and other noises to abate, but to draw listeners into the pianist’s musical realm. He let the somber opening sing and showed consummate tonal control and restraint in its pacing. The Fugue unfolded with clarity in each voice whether direct, inverted, or in one of the ten remarkable stretti. Some players exaggerate the subject’s fifths and fourths to the point of resembling foghorns, but Mr. Chen’s approach was both restrained and lyrical, creating the transparency of texture that is ideal for this piece.

Beethoven’s Sonata Op. 10, No. 3 in D Major followed in a performance that was hard to fault, honoring Beethoven with fidelity to the score and a persuasive projection of its drama and architecture. There was no shortage of pianistic prowess in the outer movements, but it was the slow movement, the tragic Largo e mesto, which impressed most. Here Mr. Chen showed that he can sustain the life of long lines even at a glacial tempo, leaving the audience with bated breath until the very last note.

For those craving fireworks, Mr. Chen gave Lowell Liebermann’s four Gargoyles an exciting ride before intermission. Explosive bursts enlivened the opening Presto, and the third (Allegro moderato) was positively shimmering. The powerhouse finale, Presto feroce, let out all the stops. If one wanted a bit more shape to the phrases in the second, Adagio semplice, ma con molto rubato, it may mean that this listener was getting a bit spoiled. All in all, the set made a fantastic finish to the first half, and one could hardly believe that Rachmaninoff’s expansive Variations on a Theme of Corelli, Op. 42, and Schubert’s notoriously difficult “Wanderer” Fantasy, Op. 15 were yet to come!

Before the two remaining large works, the second half opened with a sensitive rendering of Chopin’s Nocturne in D-flat Major (Op. 27, No. 2), which prospered from Mr. Chen’s keen ear for tonal beauty and mature phrasing, including the seamless blending of one tone into the next. It boded well for the Rachmaninoff Corelli Variations, with its many melodic outpourings.

The Rachmaninoff did not disappoint, and in fact one marveled again at this young player’s composure and mastery through some of its virtuosic passages. My handful of reservations included the need for still more softness where Rachmaninoff marked “pianissimo.” It becomes especially important where it marks a thematic return in Variations II and IV (the latter being admittedly difficult in the low register, but still worthy of care). Elsewhere, various infamous spots were handled with great skill (e.g., the left-hand double notes in Variation X), and even the oft-smudged Variation XX stayed reasonably on target. One may have wanted a bit more savoring of the incredible harmonization of Variation XIV, but again (pinching oneself), this pianist is not even out of high school. There will surely room for more spontaneous reverie in the years to come.

Perhaps adrenaline played a role in what seemed an emphasis on momentum, or perhaps at heart was some awareness that the “Wanderer” Fantasy still lay ahead – this program was, after all, very weighty for an average audience. Rachmaninoff himself was not oblivious to such matters of audience engagement, as he once wrote about his own performance of these same variations, “I was guided by the coughing of the audience. Whenever the coughing would increase, I would skip the next variation. Whenever there was no coughing, I would play them in proper order.” In the case of Mr. Chen’s program, if there had been any such concern, it might have been advisable to omit the Chopin Nocturne and let the two larger pieces breathe more fully (and the Chopin could even have been saved for an encore).

In any case, Schubert’s “Wanderer” Fantasy was excellent, and it showed a strong grasp of its technical challenges, voicing demands, and sprawling structure. Once again, there seemed a need for greater softness where marked pianissimo, and perhaps at heart was a fear of not projecting, but the good news is that all projected quite well, so an exploration of the lower dynamic extremes in a few spots should indeed be possible. There certainly was no lack of stamina, and in what was almost an “embarrassment of riches” Mr. Chen responded to his final ovation with a sizzling account of Liszt’s La Campanella. What, no Islamey?

All kidding aside, such a concert represents an enormous achievement, after which it is hoped that this pianist can enjoy a short breather for some of his other professed interests of “reading, movies, board games, clouds, geography and maps, hiking, scuba diving, and private piloting.” While William Chen deserves huge accolades, congratulations are also in order to those who are raising him and to his teachers, Michael Thomopoulos and Wha Kyung Byun. Bravo! With both talent and such a superb foundation, there should be continued greatness ahead.

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

Rosa Antonelli Bridges: From Chopin to Piazzolla CD in Review

Music of Frédéric Chopin, Georges Mathias, Alberto Williams, Alberto Ginastera, and Astor Piazzolla

Rosa Antonelli, piano

Recorded by Max Ross, April 2019 at Systems Two, New York, NY;

Mixed and Mastered by Mike Marciano

Cover Photo: Chris Lee

Albany Records TROY1783 (2019)

Argentinian pianist Rosa Antonelli, whom I had the pleasure of reviewing favorably in 2016 at an Alberto Ginastera Centennial concert, has come out with a fascinating new themed program on a CD entitled “Bridges.” It includes five composers, starting with Chopin and continuing with four subsequent composers (linked directly or indirectly to Chopin) whose music over the course of five generations helped to build an Argentinian style of piano composition – Georges Mathias, Alberto Williams, Alberto Ginastera, and Astor Piazzolla.

Ms. Antonelli describes in her own words the origins of the project, involving its underlying Romanticism: “It all started at my last concert at Carnegie Hall when Susan Bush, president of Albany Records, who was in the audience, came backstage after the recital and said, ‘When you played Chopin as an encore, I heard Piazzolla’s music – it’s all romantic!’ I heard similar comments from others in the audience, and I’ve felt the same for many years.” The “Bridges” CD was thus born – referring not just to diachronic bridges but to bridges between nations and cultures. Ms. Antonelli extends this concept stating that, “when we create art, we all do it together, building bridges across borders.”

Though the bridge theme is appealing, the draw for this listener was the inclusion of two composers, Georges Mathias (1826-1910) and Alberto Williams (1862-1952), both largely unknown or forgotten throughout much of the world (though highly regarded in their lifetimes) and both heard here in five world premieres (bringing the CD premiere tally to seven, counting two Piazzolla works premiered in piano versions). I couldn’t wait to hear these rarities! In many cases, the rediscovery of long-lost music can yield disappointment (as some have said, many things are forgotten for a reason); in this case, though, while I can’t profess undying love of Georges Mathias (yet), the music of Alberto Williams here has definitely opened doors of discovery, and I am holding out hope for further appreciation – more on that later.

As far as Ginastera (1916-1983) and Piazzolla (1921-1992) go, Ms. Antonelli has for many years performed music of these celebrated composers, and she does so with flair and sensitivity. Highlights of the CD for this reviewer included Ms. Antonelli’s Danza del Trigo (“Dance of Wheat”) from Ginastera’s Estancias, played with such haunting beauty that it seems reason enough on its own to purchase the CD. Interestingly, as I looked over my review of Ms. Antonelli’s 2016 Ginastera concert (Rosa Antonelli in Review), I saw that her performance of the Danza del Trigo affected me similarly then then as well.

To return to the CD as a whole, it is beautifully planned to form over 75 minutes of lyrical and atmospheric piano selections that are simpatico despite geographically diverse histories. It opens with a thoughtfully conceived group of Chopin selections, from the opening C-sharp minor Nocturne (posthumous) to the same composer’s F-sharp Nocturne Op. 48, No. 2, and on to the Waltz in G-flat (Op. 70, No. 1) in the enharmonic major. The three make quite a compatible grouping mood-wise and key-wise, and one appreciates the artfully planned sequence as well as the overall emphasis on lyricism.

These Chopin works have a distinguished performance history, so inevitably there are some quibbles, including excessive liberties with the score. Those who are not professional musicians may want to skip the rest of this paragraph, but for a musician familiar with the opening Nocturne there was too much stretching and shortening of note values beyond what might be considered justifiable (yes, there is rubato in Chopin, but the German Augmented sixths in the second and fourth measures of the opening Nocturne are nearly double in value here). In general, Ms. Antonelli is quite a persuasive interpreter, but such discrepancies with Chopin’s manuscript and respected editions are distracting, including the substitution of F-sharps in the left hand at measure 8 where the manuscript has D-sharps, some added and omitted notes, and significant changes of melody and harmony at measure 26 (though the latter change does appear in an Alfred Cortot edition). Added bass octaves in measure 59 and in the very last measure seem to “gild the lily” as well.

All quibbles aside, Ms. Antonelli establishes with flair the Chopin premise for the disc, and if the Waltz in G-flat has a measured feel that keeps it from taking its usual flight, it still serves as a good aural backdrop for the pieces of Georges Mathias that follow.

The music of Mathias (who studied with Chopin and later taught at the Paris Conservatoire) is represented here by his Romance sans Paroles, Op. 18, No. 4 and his Caprice-Valse, Op. 38, No. 1. The Romance (from the 1850’s) is full of the sentimental sighing motives and plaintive chromaticism that characterize much salon music of the time. Ms. Antonelli proves herself to be an ardent advocate for it, and one is grateful for her work in unearthing it, even if its chief interest may ultimately lie in its being the work of one of Chopin’s pupils. The rather coquettish Caprice-Valse (from c. 1865) is another kind of Victorian bonbon one rarely hears today. After a teasing introduction featuring more of the descending minor seconds that pervade the Romance (interesting segue!), the main allegretto begins with some of the feathery pianism that must have tickled salon-goers in the day. Some of it sounds a bit staid to modern ears, and this reviewer did wonder whether a lighter fleeter approach might not enliven it – but then again critiques must be balanced with gratitude for the unearthing. One’s curiosity was certainly piqued to explore this composer further.

In that spirit of exploration, a score for the Caprice-Valse was found online (Heugel edition), and one did notice that Ms. Antonelli has omitted quite a lot of notated ornaments in it, including the first page’s chain of grace notes, which would have probably lent the music a more playful character. One assumes that there was some compelling reason for such edits, as, despite stated themes relating to bridges and borders, there are some individual boundaries to a composer’s own creative realm, established largely through such notation! Mr. Mathias was certainly no stranger to matters of notation, as he was also a professor who taught piano to the next featured composer of the CD, Alberto Williams.

Buenos Aires-born Alberto Williams is described in the liner notes (credited to J. Michael Allsen) as “a leading figure in Argentina for over 50 years,” and he had become a pupil of Georges Mathias at age 20 (1882) on scholarship at the Paris Conservatoire before returning to his native Argentina in 1889. To those who read great importance into pedagogic lineage, Alberto Williams could be considered a “grand-pupil” of Chopin, or as Mr. Allsen puts it, “the keystone of this arch” from Chopin to later music of Argentina. Representing Alberto Williams here are three works, starting with the somber Valse, Op. 29, No. 3, chosen from a set of pieces for young players (1891). The Valse reflects perhaps the academic strictures of Williams’ composition teacher, César Franck, more than any pianistic gifts from Chopin’s legacy (aside from one lyrically rhapsodic episode), but considerably more substantial is Williams’ Novelette, Op. 8 (from 1886), not specified for students and more ambitious pianistically. It may owe its inspiration (and name) to Schumann, but it remains a youthful effort.

The greatest individuality by far emerges from Williams in his Huella, Op. 46, No. 1, dating from 1904, around fifteen years after the composer’s return to Argentina. Here, at last, is a distinct voice. There are, as the liner notes describe, “two alternating sections of music, one pounding out the characteristic 6/8 rhythm of the folk huella and a second featuring a more gentle alternation of duple and triple meter.” Here are the beginnings of an Argentinian piano style that surely helped to usher in Ginastera and Piazzola. It is fresh, colorful and original, and it whetted one’s appetite for more. Perhaps there will be a “Bridges II” CD with more of this composer’s later music. Beyond this, perhaps Ms. Antonelli will help to produce an international edition, as it is currently difficult, if not impossible, to obtain much of Alberto Williams’ music in the US.

Though Alberto Ginastera needs little introduction, it was particularly eye-opening to rehear some of his music after some music of Alberto Williams, his teacher during conservatory years in Buenos Aires (before Copland in the US). There is definitely a bridge here which Ms. Antonelli helped to make audible and which warrants deeper study. In addition to the stunning Danza del Trigo there is magic in the twilight romance of Idilio crepuscular and the driving dance Pequeña Danza with the spirit of the gaucho, here a bit more restrained than one is accustomed to hearing.

Six of Ginastera’s Twelve American Preludes follow, including Sadness, Vidala, Homenaje a Robert Garcia Morillo (composer and critic), Pastorale, Homenaje a Juan José Castro (conductor and composer), and Creole Dance. Highlights included the hypnotic Pastorale and the “tempo di tango” of the subsequent Castro tribute. The final rustic dance finds Ms. Antonelli unleashing more energy than in her other selections, before the Ginastera group closes with the despairing Milonga, an effective transition to the more popular genres of Astor Piazzolla, who is the next and final of the five composers.

There seems little left to explore in the increasingly popular work of Piazzolla, but his Balada para un Loco (“Ballad for a Fool” – slow tango) is captivating in Ms. Antonelli’s hands, as is the very famous Oblivion which follows. Premieres of two “new” (for piano) pieces close the CD, including La Partida (“The Parting” – a zamba) and a piece in candombe form entitled Yo soy el Negro (“I am the Black Man”). These latter two are atmospheric pieces, but with a great degree of repeating rhythms and motives which become taxing to one accustomed to truly focused listening. Perhaps the latter is hard to sustain without lyrics, but for those who seek simply some gently ambient Argentine music, it should fit the bill.

All in all, there is much to enjoy here. The CD is available at Amazon.com, AlbanyRecords.com, ArkivMusic.com, and iTunes.

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

Distinguished Concerts International New York (DCINY) presents¡Buena Onda! Music from South America in Review

María Guinand, guest Conductor; Martín Palmeri, composer/conductor; Saul Zaks, guest conductor; Alberto Grau, DCINY Composer-in-Residence

Carla Filipcic Holm, soprano; Kirsten Allegri Williams, mezzo-soprano; Shawn Mlynek, tenor; André Chiang, baritone

Daniel Binelli, Bandoneón

Distinguished Concerts Orchestra and Distinguished Concerts Singers International

Carnegie Hall, Stern Auditorium, New York, NY

June 23, 2019

There certainly was plenty of buena onda (good vibes) in DCINY’s final offering of the season, another typically well-sung, perhaps overly generous, program of massed choirs. The vibes were provided by two distinguished Venezuelans: Alberto Grau (born in Spain) and María Guinand; and two eminent Argentinians: Martín Palmeri and Saul Zaks. The international contingent was particularly varied, with Netherlands, Brazil, Argentina, Switzerland, Austria, Germany, Hong Kong, France, United Kingdom, and Russia represented. In fact, the only flaw I could find in this afternoon of music was in myself, a certain cultural distance that caused me to give myself a few sermons (silently) during it.

Whatever shortcomings Venezuela may have as a nation-state at the moment, they have certainly mastered bringing a healthy, fun relationship to music into the lives of children, mainly through the seemingly miraculous educational method called El Sistema, which has produced, notably, Gustavo Dudamel, and many others. Both Mr. Grau and Ms. Guinand are veteran musician-teachers within the system.

Mr. Grau’s music incorporates bodily movements (often called eurhythmics) to go along with the rather simple folk and childlike tunes he employs. The Cinco Canciones Infantiles is a reworking of music about El San Pedro (Saint Peter), whose festival parranda takes place on 29 June. A few centuries ago, in joyful thanks from a slave mother whose daughter was cured of a severe fever through prayer, she promised to honor the saint with song and dance. The choir was called upon to whoosh, clap, and otherwise move rhythmically, which they did with unflagging enthusiasm. Solo groups taken from the larger choir sang with assurance. Their leader, Ms. Guinand, led the proceedings with a very holistic atmosphere; how lucky these young musicians are to be exposed to such a master. She elicited myriad colors and real, subtle diminuendos from the choir.

The same forces stayed in position to render Mr. Grau’s Opereta Ecológico, in which four natural things: wind, river, sea, and tree, all extol their own value in poetic lines. His style is consistent- more eurhythmics and good humor. At a time when the earth’s very future habitability is being called into question, these little sermons are more relevant than ever.

A pause was needed to change out the children’s choir for adults and prepare for Martín Palmeri’s first offering, the celebrated Misatango. As I mentioned in my review of his Tango Credo (April 30, 2017), the tango, a sublimated erotic ritual dance involving great contrasts of attraction and repulsion, seems a “wrong fit” for the Catholic Mass. That’s where one of those “self-sermons” came in for me: I realized that the Baroque excesses of Bach and the high-Classical operatic styles of Haydn and Mozart were also once considered “inappropriate” music for worship, as compared with the sobriety of Palestrina’s counterpoint. So, time moves on, and it’s best to be flexible about such matters!

Carla Filipcic Holm, a large-voiced soprano (but one with control and shadings) has long been associated with this composer and work, and she delivered beautifully, as did bandoneón player Daniel Binelli. The feeling and sabor were perfect.

After intermission, Mr. Palmeri presented (from the keyboard as he had done in the Misatango) the other four newly-composed movements of his Gran Misa, again in full tango style—the conductor was the excellent Saul Zaks. (Credo and Gloria have been performed before.) Oboe and trumpet (instruments not shunned by Bach, but not customarily found in tango bands) were given pride of place. Mr. Palmeri’s orchestration is ingenious and interesting, and the choral work was very good. If performed in its entirety, all six movements would form a nearly two-hour work. Two hours of tangos is a lot for me- I do apologize for my limitation, I certainly need an Argentine immersion experience! All the soloists (Ms.Holm, Kirsten Allegri Williams, Shawn Mlynek, and André Chiang) were excellent, and the large supportive audience went wild with their admiration, and why wouldn’t they?

by Frank Daykin for New York Concert Review; New York, NY

Distinguished Concerts International New York (DCINY) presents Calling All Dawns in Review

Swiss Gospel Singers & Friends

Christer Løvold, Director, Piano

Jonathan Griffith, DCINY Artistic Director and Principal Conductor

Christopher Tin, Composer/Conductor

Distinguished Concerts Orchestra

Distinguished Concerts Singers International

Carnegie Hall, Stern Auditorium, New York, NY

June 9, 2019

Distinguished Concerts International New York (DCINY) curated another typically (over-)generous program of choral music, and most of it was very well done. If I were to re-title the afternoon, it would have to be something like “The Victory of Globalism.” The massed choirs were even more international than usual, with Germany, Hungary, Switzerland, France, and Trinidad & Tobago, as well as the domestic participants. All told, somewhere north of 500 singers participated.

Swiss Gospel Singers are three words one doesn’t anticipate seeing in succession, and never did I think I would be hearing and reviewing such a group. Nevertheless, the choir of about 100, composed of four separate choirs all directed by Christer Løvold, was well-trained and their ensemble was good. Four of the ten selections seemed to exemplify the best of what I expect when the word “gospel” is used, that is, a certain ecstatic worship fervor and a genuine sense of swing. Those four were: The Sweetest Song I Know, To My Father’s House, Kyrie, and Will The Circle Be Unbroken? However, the choir was often nearly drowned out (something that rarely happens at a DCINY event) by the amplified small jazzy instrumental ensemble that accompanied them. Well-done solos, both instrumental and vocal, were conveyed by some of these same players. The other selections made a somewhat anodyne impression.

After a reset to orchestra and massed chorus, Robert Ray’s Gospel Mass delivered on its promise of combining the Catholic Ordinary of the regular mass with the aforementioned ecstatic enthusiasms of true gospel. Hard to believe, but when this work was composed, just over 40 years ago, it was intended as an experiment, for one performance only! Its longevity is a testament to its quality. Jonathan Griffith helmed the group with his trademark excellence, bringing out every thrilling detail—no balance issues here. Vanessa Thomas was the super soloist.

After intermission, it was Christopher Tin’s turn to lead his massive, truly global song cycle Calling All Dawns, which gave its name to the entire concert. Mr. Tin is a two-time Grammy winner whose music has been performed in Carnegie Hall, Lincoln Center, and the Hollywood Bowl, among others. His song Baba Yetu, originally written for the video game Civilization IV, holds the distinction of being the first piece of music written for a video game ever to win a Grammy Award. Mr. Tin’s Calling All Dawns won him his second Grammy in 2011 for Best Classical Crossover. He also composed the opening song from the recent hit movie Crazy Rich Asians.

Calling All Dawns is so vast in scope and conception, it is hard to convey in words. Multiple languages are sung, and vocal soloists range from traditional “western” oratorio singers to Portuguese fadistas, Indian classical vocalists, and Maori chanters! The cycle is divided into three sections: Day, Night, and Dawn, each with prayers for the three stages of life: birth, death, and rebirth. Joy, mystery, and hardship, as Mr. Tin states in his excellent, brief note, all mirror the complicated nature of human beings. The work ends in triumph, however, after all the darker challenges, new life wins. “Life is always right/And I do not fear mine/Whatever comes, let it come” and “I do not fear life/Nor its counterpoint/Whatever comes, let it come” were very inspiring moments, as well as the line “Gather, gather and go forward!” A beautiful affirmation for a June day, indeed.

by Frank Daykin for New York Concert Review; New York, NY

La MaMa Experimental Theatre Club Presents Bach and Bleach in Review

Esther Apituley, Artistic Director/violist; Erwin Maas, Director (NYC Version); Text by Ko van den Bosch; Tamara Keasberry, Creative Producer; Bob Zimmerman, arranger;

Featuring Jenny Sterlin, actress; Emily Uematsu and Carolin Pook, violins;

Chanel Karimkhani, cellist; James Robbins, double bassist;

Carlos Horns, pianist; Grégoire Maret, mouth-harmonica;

Ethan Cohen, percussion;

Members of the NY Choral Society, Michael Ciavaglia, conductor

La MaMa Experimental Theatre Club, New York, NY

June 8, 2019

An extraordinarily beautiful production billed as a “Theatre Concert” took place at La MaMa Experimental Theatre Club last week (June 5-9), and it turned out to be much more than the promised “play with music”; It was more accurately a play about music and its restorative and unifying power – and in a broader sense a play about life in general.

From the very first scene, in which a character called Cleaning Lady finds herself vacuuming the stage, we are brought into a reality far removed from any glitz or glamor, the reality of bleach, mops, vacuum cleaners and anonymity. As this character herself remarks, “there has never been a review that says ‘very good cleaning lady’” – though her faceless state is corrected by the end, at which point (avoiding a spoiler) one might say that her face is celebrated everywhere.

Cleaning Lady is heartbreakingly lovable as played by actress Jenny Sterlin, and as we hear a bit of her story as a Bosnian refugee and learn her name, Maria, we gather that she has turned her years of suffering and loss into wisdom but has never quite experienced the music coming from the very stages she cleans. That all changes through the course of this play, and thankfully there is humor enough to render the pain endurable. As a small ensemble of single-minded musicians arrive for their concert, led by their violist, the dynamic Esther Apituley, an initial clash occurs, followed by a journey across barriers of all sorts as the characters realize the connections among themselves and their ability to “meet in music.” This whole scenario requires some “suspension of disbelief” as a drama, but the truth behind the drama requires none; in fact, it should resonate for anyone working in the arts or, from the other side of things, striving to experience them.

Bach and Bleach

The “concert” itself – an assortment of over a dozen wide-ranging classical and jazz performances interspersed with dialogue – included music of Purcell, Handel, Bach, and others, featuring most prominently Bach’s Chaconne from the Violin Partita in D Minor, here played movingly and with profound involvement on viola by Ms. Apituley. If there is any thought that a performer involved in such experimental theater might be less capable as a solo musician than the typical concert artist, let that prejudice be banished. Ms. Apituley was musically top-notch, but beyond that she did what more musicians ought to do, which is to commit to every single moment with intensity. To do that – plus all the other classical and jazz ensemble work and drama – was a tour de force.

Also heard were the Caprice No. 24 of Paganini (though listed as his Etude No. 4) played commandingly by Emily Uematsu, the Intermezzo (fourth movement) of Shostakovich’s Piano Quintet in G minor, the Waltz for String Quartet of Benjamin Britten (from Three Divertimenti), and Fauré’s tender Berceuse, Op. 16. More info may be found at the production’s website: http://lamama.org/bach_and_bleach/, but kudos must go to all of the other commendable musicians, violinist Carolin Pook, cellist Chanel Karimkhani, double bassist James Robbins, pianist Carlos Horns, percussionist Ethan Cohen, and Grégoire Maret, who improvised impressively on mouth-harmonica.

Additional music included Cleaning Lady by Arnold Marinissen and some wonderfully played jazz arrangements of Bob Zimmerman, ingeniously incorporating motifs from the Bach Chaconne and the Paganini 24^th Caprice. In addition, the song Bohémienne (from Notre Dame de Paris, by Cocciante and Plamondon) was sung by the evening’s cellist, Chanel Karimkhani, conveying soulfully again the very human state of wandering and uncertainty.

Bach and Bleach

After the Shostakovich movement was played, Ms. Apituley briefly opened the discussion to the audience. To the question, “Did you see anything as you listened?” the responses ran the gamut – from colors to landscapes to family. From Maria, though, unaccustomed to concert music and paralyzed by the question, there was great fear of having “the wrong answer” – and this moment was exactly why this play could be so valuable to those inexperienced with concert music. The reassuring of Maria and what followed was a dispelling of preconceptions – and exactly what is needed by the world of live music today.

Such symbolic or didactic missions can tend to lend a two-dimensional quality to a theater piece – and indeed there were initial moments of stick-figure stiltedness in the first clashes of characters – but, as it soon was clear, that stiltedness provided a dramatic contrast with the naturalness developed later in response to the music and to each other. Thanks to the irresistible humor and humanity of Jenny Sterlin and some compelling musical advocacy by the musicians, particularly Ms. Apituley, the drama and music were powerfully alive and real.

There were layers of metaphor suggested in this play, including the convergence of notes in music relating to the convergence of individuals through shared experience – even a running theme about particles and waves, introduced through Maria’s recollections of long-ago dreams to become a physicist – and yet, all unfolded with naturalness and ease.

If one had one reservation about the evening, it was in regard to the program notes. When drawing the untutored listeners into classical music, it can be helpful to give complete program details, so that audience members can follow up on works they like. Many such traditions of classical concerts actually serve a purpose. As it was, we were told that there were no printed programs, but in an effort to “go green” the program info would be digitized, i.e. accessible on cellphones. Upon entering the hall then we were then told to turn off all cellphones.

The concept of Bach and Bleach sprang from text by Dutch author Ko van den Bosch. Direction for the NYC production was by Erwin Maas with Tamara Keasberry as Creative Producer. Esther Apituley is listed as Artistic Director, but clearly she is even more than that, on a mission to bring what she loves to the world.

Though I was surprised at first to see one young tween-ish boy entering the theater (with some fairly “adult” flyers within eyeshot), I wished by the end that every child in the world could see this play as part of their introduction to concert music. Bach and Bleach has been played over 50 times in Europe and is supported as part of the Dutch Culture USA program by the Consulate General of the Netherlands in New York (plus other donors), so perhaps there are still more benefactors out there to ensure that it gains ever greater audiences and numbers of performances.

Oh, and one more thing: very good cleaning lady.

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

American Protégé Summer Gala Concert in Review

Winners of the American Protégé Summer Gala Concert Competition

Steven Ionov, Master of Ceremonies

Isaac Stern Auditorium at Carnegie Hall, New York, NY

June 8, 2019

The American Protégé Music Competitions are in their twelfth year presenting aspiring musicians in prominent venues in New York, and, based on their recent Summer Gala Concerts, they appear to be attracting many talented young performers. This Saturday they actually presented two Carnegie concerts, one at noon and one in the evening, the earlier one covered by this reviewer. To say that such ventures have become a big business is an understatement, and though artistic merit is always debatable, it is certainly an achievement simply to undertake two such events in one day at one of the most prestigious venues in the world. For many of those presented, it was undoubtedly a great milestone, complete with bragging rights galore.

Rather than opting for, say, the smaller Weill Recital Hall at Carnegie Hall (which might have accommodated their crowd), American Protégé opted for the larger hall, Isaac Stern Auditorium, and had no fewer than forty young performers taking turns onstage. A similar number appeared at the evening concert. The performers came from throughout the US, along with Canada, Thailand, Singapore, and other countries. They ranged from very young elementary schoolers through high schoolers, with styles ranging from classical to pop. There were predominantly classical performances from the first eighteen (mostly pianists, playing music from Bach and Beethoven to the twentieth century, and a few on violin, flute, and voice), while the latter twenty-two winners were singers performing a mix of mostly Broadway (including Stephen Schwartz, Andrew Lloyd Webber, Claude-Michel Schönberg) and “popular” styles (including Adele, Ariana Grande, Taylor Swift, Alicia Keys, David Guetta, and Billie Eilish). It was an eclectic concert to say the least.

“Instant stardom” is a popular notion these days, advanced by such television shows as America’s Got Talent, American Idol, and various similar programs, and the “instant” aspect was in evidence through much of the popular segments, with selfie-ready teen and tween singers in high gloss, “channeling” the delivery of famous singers, helped by amplification and Karaoke-style pre-recorded tracks. All that was missing was Auto-Tune.

We heard a shockingly precocious performance of Kelly Clarkson’s Dark Side from a fresh-faced ten-year old, and a similarly gritty rendition of Adele’s Rolling in the Deep from another cherubic youngster. One must concede that emotional depth can span all age groups, and mature experiences are thrust on the youngest children quite early these days, but one did wonder – what is the huge hurry? Not to be misunderstood, as there were some compelling performances (in and amongst some cringe-worthy straining and iffy intonation), but wouldn’t it be better for these youngsters to find their own styles and identities in music over time rather than rushing into quasi-impersonation? One also worries in many cases for these fragile young vocal chords, straining to do what has hurt the voices of even their established idols. One singer, Isabelle Wong from Canada, stood out for a moving song that she composed as well as sang, All I Can Do, which showed the beginnings of an individual style. Also, outstanding for naturalness of expression and musicality were Christiana Schiller, Kayla Silverman, Yana Ebbing, and Nijjaree Dusitsoonthornkul. Others were quite promising and with time may know artistic and/or commercial success.

Classical instrumentalists – and pianists in particular – are on the opposite end of the spectrum from pop singers, development-wise, and they are generally not subject to (or even capable of) quite such accelerated ripening, though the technical requirements for a serious career in classical music do tend to require the diligent practice of an instrument while young. The emphasis with classical pianists is also not quite as much on looks and presentation (as there is only so much one can do to glamorize a seated profile). Though the parade of adorable young pianists on Saturday was a visual bouquet, one asks oneself which ones seem best suited to reach the highest pianistic and artistic standards. Beyond the basic physical training of muscles and reflexes, there are elements of melodic phrasing, harmony, rhythm, style, awareness of historical context, and human experience that all contribute to the interpretive art. These aspects require many years of playing and living.

Many “stage parents” understandably want to see their investment of time, energy and funds bear fruit immediately – hence the plethora of prodigies pushed towards the public today – but enormous patience and discipline are involved in the mastery of music, if it is to be an art rather than a mere stunt (or worse, a cause for years of therapy later on). While all of the young pianists in the American Protégé noon concert were indeed admirably prepared, they would in most cases be hard to place above those heard quite often in any number of local competitions (New York City’s special meaning of “local” notwithstanding); nevertheless, in the spirit of Domenico Scarlatti’s writing, “to be more human than critical,” a few performances shall be mentioned here.

Among the youngest players – perhaps the youngest- was Koutaro Ohnishi. Born in 2011 in Palo Alto, CA, he is still, at the current moment (at the time of writing – since the chronology matters in the prodigy world) just age seven. One is told by the program notes’ biography that he is the first-prize winner of the “Grand Prize Virtuoso” in Salzburg, Austria in 2018, and that contest’s website confirms his inclusion that year (among a large array of winners ranging from ages 4 to 51: 2018 “Salzburg” Grand Prize Virtuoso selected winners). Since young Mr. Ohnishi was age six in 2018, it is additionally remarkable that (as we are told) he had only just started piano at age six as well, when a friend of his father’s gave his family an upright piano… so he certainly has made remarkably rapid progress to have advanced from starting the basics to performing in a contest before a year was up! Many would say that all of this happened too fast for true, meaningful growth, but then again, he did play with all the right notes and a certain stately calm, so time will tell.

Mr. Ohnishi performed the Aria from Bach’s monumental Goldberg Variations. It was an unusual choice, with all the Kleine Praeludien, dances from Suites and Partitas, and Inventions available (and age-appropriate), and to extract a portion of such an iconic work might be called cheeky, but perhaps this choice was an intentional reference to the bigger possibilities to come. After all, if a youngster can play the Aria from the Goldberg Variations at Carnegie Hall at age seven, what might he do in ten years? As it stands now, he shows remarkable poise for one so young and, aside from some metric glitches caused by some ornaments that were cumbersome to him (especially in the left hand), he fared admirably. This reviewer loves freedom in ornamentation, but not when verging on extra beats.

Young Mr. Ohnishi studies with Matt Wang at the Keys school in San Jose, California – and incidentally Mr. Wang was listed as teacher of several other performers, including Akira Ohyabu and Rachel Tat, both excellent. Ms. Ohyabu played Chopin’s posthumous Waltz in E minor with extraordinary ease for one so young – excellent repeated notes and good spirit – and Rachel Tat enjoyed a remarkably facile ride through Chopin’s Étude Op. 25, No. 2 in F minor.

Other notable performances included an instinctively spirited account of the last movement of Beethoven’s Sonata Op. 13 (the “Pathétique”) by Nico Brett. It was excellent and will be even better if he can avoid harshness in the louder passages. We also heard a superb account of Poulenc’s sophisticated Toccata from Trois Pièces from Jaden Tan and a colorful realization of Wencheng Lu’s Autumn Moon on a Calm Lake from Claire Wang. An unusually mature grasp of demanding contemporary technique was shown in Shchedrin’s Basso Ostinato by Albert Su, already playing it at a professional level.

Many other performers that we heard will surely be up and coming – that is, assuming they are allowed to assimilate the complexities of musical art within an unforced timeframe – but hopefully all enjoyed the special chance to perform in this legendary hall. Congratulations are due to all winners, and also to the day’s collaborative pianists, Yoni Levyatov, Cherie Roe, Kyoung Im Kim, Martina Oslejskova, and Simona Snitskovskaya. Recorded tracks will never replace “the real thing” with quite the same spirit.

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

Distinguished Concerts International New York (DCINY) presents Immortal Invisible: The Music of Pepper Choplin and Mary McDonald in Review

Jonathan Griffith, DCINY Artistic Director and Principal Conductor

Miran Vaupotić, guest conductor; Dimitry Ishkanov, piano

Mary McDonald, DCINY Composer-in-Residence and piano

Pepper Choplin, composer/conductor

Distinguished Concerts Orchestra; Distinguished Concerts Singers International

Carnegie Hall, Stern Auditorium, New York, NY

May 26, 2019

The Distinguished Concerts International New York (DCINY) Memorial Day weekend extravaganza continued on May 26, 2019, with a generous helping of inspirational patriotic and sacred choral music, preceded by a Beethoven piano concerto. After all, if you can’t be shamelessly inspirational on Memorial weekend, when can you? The concert raised an interesting question for me: What is the difference between patriotic fervor and religious fervor? Are they really almost the same?

The program began with Beethoven’s Piano Concerto “No. 2.” in B-Flat major (it was actually composed before “No 1.”), played by the Russian born fourteen-year-old Dmitry Ishkhanov. He took the stage looking a lot younger and smaller than fourteen, but his musical wisdom was tender and lyrical, very satisfyingly mature indeed. Conductor Miran Vaupotić drew scrupulously phrased playing from the reliably excellent DCINY Orchestra, attentive to every dissonance and resolution, as was the soloist. Mr. Ishkhanov played with beautiful line, enthusiasm, and some imaginative ideas tending toward the introspective, which I greatly appreciated. His tempi were brisk, as I imagine a young Beethoven would have dispatched them, yet never garbled. His physical involvement during the orchestral tutti, when he wasn’t playing, was a joy to watch.. And what a polyphonic player he revealed himself to be, particularly in the clearly voiced cadenza to the first movement. Soloist and orchestra gave the sense that they were really “talking” to each other. He highlighted the rhythmic high jinks in the third movement (trochaic vs. iambic) in the way that all the best players do. I look forward to hearing how all his immense talents develop. He favored the wildly enthusiastic audience with a solo encore: Gershwin’s Prelude No. 3, which though showy, lacked a bit of the jazzy “swing” so crucial to the style.

After a pause, about half of the twenty-four church choirs from across the country (and one from Canada) took the stage, with the orchestra, and Mary McDonald, the composer of the set, serving as pianist, while the co-founder of DCINY, Jonathan Griffith, conducted. Her selections were on the patriotic side, with a great deal of climactic fanfares and a tendency to be “grand,” with snare drum and cymbals providing military evocations. Even if there was a sameness to everything, Maestro Griffith managed to draw thrilling fortes from his choir, both in Ms. McDonald’s original works and her arrangements of traditional material. Some of the works were played attacca, which created the feeling of a mini-suite. For me, the standouts were America (O beautiful for spacious skies) and Let There Be Peace on Earth, which I learned was written in 1955 (I always thought it was earlier). What a fitting tribute to the men and women who are placed in harm’s way every day to protect our freedoms.

After intermission, Pepper Choplin conducted a large sampling of his accessible, extremely effective sacred music with the other half of the choirs, perhaps given extra fervor by the fact that they are, in fact, church choirs. If there was more variety in Mr. Choplin’s group, I attribute it to the huge and varied nature of worship topics. Seven soloists, drawn from the choir, all contributed their bits with confidence: Corinne Rhodes, Lorna K. Jones, Gail Beckman, Melissa Owens, Sara Clarkson, Vanessa Crinell, and Bruce Ewing. They won’t soon forget the feeling of singing solo in Carnegie Hall! Mr. Choplin also drew wonderful shadings from his choir, and the DCINY orchestra again proved their mettle. However, I found the two a cappella selections: Sweet Are the Prayers of a Friend, and Let All the People Say “Amen” to be the most exciting, for one could really hear the superb work of the choir.

by Frank Daykin for New York Concert Review; New York, NY