Rupert Egerton-Smith, piano

The Kosciuszko Foundation, New York, NY

April 30, 2024

This evening’s concert is part of an exciting season for pianist Rupert Egerton-Smith where, on his first East Coast tour, he has performed at The Church in Sag Harbor, The Lambs, and tonight at the Kosciuszko Foundation in New York City presented by the Alexander & Buono Foundation.

The program, which looked appealing to all kinds of audiences, was in six sections, each meant to represent an important part of the evolution of keyboard writing – from the harpsichord to the jazz idiom. One would probably need several concerts to truly dive deep on this kind of evolutionary journey, but Mr. Egerton-Smith managed to give us a nice sampling from most of the representative styles of keyboard writing.

Mr. Egerton-Smith began with two sonatas by Domenico Scarlatti (1685-1757). These two well-known sonatas are gems among the 555 keyboard sonatas the composer wrote. The Sonata in B minor, K. 27, was played boldly and displayed expert handling of the layered textures and the many hand-crossings. Within this, however, one did seem to want a more tender and supple approach that communicated the longer line. The B-section was much more colorful and handled with care. The second sonata, K. 96 in D major, is nicknamed “La Chasse” because of its allusion to the sounds of hunting horns. Mr. Egerton-Smith communicated this character with clarity and with a sense of joy and a buoyant pulse. The repeated notes and the hands-crossing sections were equally impressive. The B-section explored sonorities and probed at the meaning of these ever-changing harmonies while still exploiting the technical bravura of the work.

Next on the program was a set by Frédéric Chopin (1810-1849) – two etudes and one ballade. Mr. Egerton-Smith’s rendering of the two etudes, Op. 10, No. 5 in G-flat major, “Black Key,” and Op. 25, No. 11 in A minor, “Winter Wind,” were both performed with definition and tremendous clarity. It is obvious that Mr. Egerton-Smith has overcome the technical challenges of these demanding etudes, but I was more interested in the poetic side of these works. The “Black Key” was charming and joyful but lacked the pacing it needed to keep the piece afloat. The “Winter Wind” had great sweep and pulse, however, I felt that the performer was holding back, which left me wanting more freedom and abandon from this performance. The larger work was the Ballade No. 3 in A-flat major, Op. 47. The opening of this work is elusive, and Mr. Egerton-Smith was able to capture its mystery and lure the audience into Chopin’s world immediately. By the time we get to the second theme, we hear Mr. Egerton-Smith’s meticulous pedaling – a dryer version which communicated something different and more upbeat than we’re used to hearing. What was lacking again was a more natural sense of pacing and climax. The C-sharp minor section was very impressive but didn’t lead to the heroic transformation of the theme, however, the coda was very well played. It was exciting and ended the piece with great satisfaction.

We stayed in the Romantic Era with the Intermezzo in A major, Op. 118, No. 2, by Johannes Brahms (1833-1897), one of his late character pieces. This work is a favorite of pianists because of its tender melodies, rich harmonies, and beautiful sentiment. Mr. Egerton-Smith was able to capture all those characteristic qualities that make it uniquely Brahms in this performance.

The last work on the first half of the recital is the movement Ondine from Gaspard de la nuit, M. 55, by Maurice Ravel (1875-1937). Here Mr. Egerton-Smith created a hypnotic atmosphere from the very beginning and the melody that represents the sea nymph Ondine was played hauntingly. The buildup to the climax was exciting and displayed technical mastery. Mr. Egerton-Smith was able to beautifully sculpt the shape of this work and reveal to the audience the magical sonorities and color of the Impressionist style.

Though the first half of this program had wonderful repertoire and some exquisite playing, I was having trouble finding a real throughline from piece to piece. These works are representative of much of the important keyboard writing but I wondered how they connected to the performer and who he was as an artist? And, if the intention was to trace the history of keyboard works, why was the Classical Era omitted? I was left wondering what was in store for the second half. Luckily, it did not disappoint!

Mr. Egerton-Smith began with the Sonata No. 2 in B-flat minor, Op. 36, by Sergey Rachmaninoff (1873-1943). He chose to play the original version from 1913 which he said to find more effective than the reworked version from 1931. This powerful sonata is in three movements and exemplifies the characteristic writing of the late-Romantic era and of Rachmaninoff himself. The first movement, Allegro agitato, begins bombastically and Mr. Egerton-Smith captured the passion and intensity of the first theme magnificently. The nostalgic chorale of the second theme was sensitively played with great nuance, and the esoteric ending was thoughtfully handled. The second movement, Non allegro – Lento was gorgeously played. Mr. Egerton-Smith was even able to skillfully orchestrate and differentiate the many layers written for distinct registers of the piano. The third movement, L’istesso tempo – Allegro molto, however, was the highlight of this work for me tonight. Mr. Egerton-Smith not only was in complete technical command but conveyed the emotional excess of the work as if it were pouring out of him uncontrollably –a tremendous feat!

The final set on the program was a selection of three pieces from Seven Virtuoso Études based on Gershwin Songs. These transcriptions were written by pianist Earl Wild (1915-2010) from the famous tunes of legendary American composer George Gershwin (1898-1937). Étude No. 4 (Embraceable You) had an improvisatory quality, and Mr. Egerton-Smith captured the natural flow and sweep – the main melodic material was well-defined among Wild’s pianistic filigree. A more upbeat number followed in Étude No. 6 (I Got Rhythm). Mr. Egerton-Smith performed this work with complete freedom and enjoyment. This was also true for Étude No. 7 (Fascinatin’ Rhythm), which had élan and a tongue-in-cheek charm, especially in the waltz-like section. After bows, Mr. Egerton-Smith treated us to an improvised encore of Summertime from Porgy & Bess.

Mr. Egerton-Smith is a pianist and musician of the highest caliber. The second half of the program, in particular, showcased his deep connection to the repertoire, resulting in a generous and memorable experience for the listeners. I eagerly anticipate future performances by Mr. Egerton-Smith, hoping for the same electrifying energy that illuminated tonight’s second half, perhaps through more daring and innovative programming choices.

by Walter Aparicio for New York Concert Review; New York, NY

Ian Hobson, piano

Tenri Cultural institute, New York, NY

May 3, 2024

This evening’s performance showcased pianist Ian Hobson performing a program featuring music exclusively by Robert Schumann (1810-1856). The program, titled Counterpoints, presented works that were composed between 1836 and 1853.

The first piece was Scherzo, Gigue, Romanza, und Fughette, Op. 32. Each movement was portrayed with a clear and distinct character by Mr. Hobson, and he maintained unity by emphasizing the continuous dotted rhythms throughout the work. Particularly notable was the third movement, Romanze, which embodied Schumann’s signature blend of heroism and passion. Mr. Hobson navigated its contrasting B-section with tender precision, seamlessly returning to the main thematic material. The final movement, Fughette, was surprisingly emotive and beautifully handled by Mr. Hobson.

Next was a set of four fugues, Vier Fugen, Op. 72, from 1845. It’s always interesting when a composer other than J.S. Bach sets out to write a fugue – one wonders about their fidelity to the form and the extent to which they retain their own style. At this time, Schumann was deeply engrossed in the study of Bach’s fugues, and it appears he remained faithful to the form. Mr. Hobson skillfully delineated each voice while also capturing the introspective and wandering quality inherent in these fugues, particularly in the first one. The second fugue had great energy and the ending was particularly exciting when the organ-like dominant pedal points emerged. The third fugue proved to be the most Schumannesque – it highlighted the characteristic ambiguity that is present in much of his music. Mr. Hobson worked beautifully with the harmonic tension of the highly chromatic lines to communicate the expression (ausdrucksvoll) the piece demanded. The fourth piece was charming and played with great care.

The second half of the program began with another lesser-known work, Sieben Stücke in Fughettenform (Seven Pieces in Fugue Form), Op. 126, from 1853. These compositions served as counterpoint exercises for Schumann himself, and perhaps he didn’t originally intend for them to be performed on the concert stage. However, they possess a striking beauty, and I’m grateful that Mr. Hobson chose to share these works with us tonight. Despite their brevity, each piece managed to convey a rich emotional world, and Mr. Hobson’s performance skillfully brought out their essence, with a lush sound and meticulous attention to each entrance. Number IV. Lebhaft was particularly interesting as it had a wonderful rhythmic drive. Number VI. Sehr Schnell almost seemed modern and Number VII. Langsam, ausdrucksvoll communicated an obscure austerity.

The final piece on the program was Kriesleriana, Op. 16 – a staple in the piano repertoire. To hear his work among the more underperformed repertoire was fascinating – one can make the connections to counterpoint and where Schumann’s interests were at the time. Tonight Mr. Hobson performed the original version which Clara Schumann herself edited and performed because “it is wilder.” And wild it was!

Each of the eight movements alternates between moments of furious drama and dream-like reverie—some reminiscent of Florestan, others of Eusebius. Mr. Hobson expertly created contrast while still sustaining the intrigue in the fantasy aspect of the piece. The first movement, Äußerst bewegt (Extremely animated), began boldly, plunging us into the heart of the drama. Mr. Hobson played with a spontaneity fitting for a movement of such intensity. The connections to counterpoint were unmistakably apparent in the contrasting middle section. The pensive second movement, Sehr innig und nicht zu rasch (Very inwardly and not too quickly) had a good flow which can be a challenge due to the length of this movement with its repeats. The return to the A-section was particularly special. The following movement, Sehr aufgeregt (Very agitated), had a heroic character from the outset which ended with an exciting flourish handled with bravura. The fourth movement, Sehr langsam (Very slowly), presents another challenge in terms of pacing. This movement could have been helped with perhaps a more fantasy-like approach. However, the B-section was beautifully sculpted and the return to the A-section was a revelation.

Another highly contrapuntal movement is the fifth, Sehr lebhaft (Very lively), characterized by its moody shifts and long-note entrances. While Mr. Hobson captured the essence of the work, a more grounded pulse and suppler sense of the syncopated counterpoint would have enhanced the performance.

Movement six, Sehr langsam (Very slowly) was among my favorites of the evening. Mr. Hobson communicated with a generosity and honesty that was deeply moving. The final movement of this phenomenal work is entitled Schnell und spielend (Fast and playful). This final piece of this remarkable work was delivered with abandon, providing a satisfying conclusion to the evening.

Typically, programs featuring only one composer are not ones I tend to seek out. However, this evening had a specific idea that was very thoughtfully curated – counterpoints. As the program went on, the audience was invited to create relationships between the works, Schumann’s life at the time and his connection to counterpoint and his study of fugues- and not only that, but Mr. Hobson also treated us to a program full of passion, vigor, and commitment.

He will be performing another all-Schumann recital on Friday, May 10 also at the Tenri Cultural Institute. Do not miss this remarkable musician!

by Walter Aparicio for New York Concert Review; New York, NY

Long Island Concert Orchestra

Enrico Fagone, conductor; Frank Huang, violin; Tim Cobb, double bass

DiMenna Music Center, New York, NY

April 30, 2024

The Long Island Concert Orchestra (LICO) has filled a unique role in the New York City and Long Island areas for eight years, including some of the roughest (pandemic) years for the performing arts. It is thus a pleasure to report, based on a concert at the DiMenna Center this week, that they appear to be thriving. Established in 2016 by composer David Winkler, who continues as Executive Director and Composer-in-Residence, the orchestra fills a niche among local orchestras, including finding seldom-played but exciting repertoire – in this case, the Giovanni Bottesini Gran [or Grand] Duo Concertante for violin and double bass – and presenting mainstream favorites, such as Mendelssohn’s Symphony No. 4 (“Italian”), which we enjoyed as well. The orchestra also naturally performs Mr. Winkler’s own compositions, and fortunately for everyone, he is an outstanding composer. In this concert, we heard his Adriatica – Overture (2024), commissioned by this evening’s excellent conductor (and Artistic Director of LICO), Enrico Fagone. Incidentally, though there was no overtly stated Italian title to this program, there could have been, as each work bore a strong connection to Italy, starting with Mr. Winkler’s Adriatica, inspired of course by the Adriatic Sea.

Mr. Winkler spoke a few words to introduce the program, including mentioning that the Adriatica is part of a set of works he composed based on bodies of water – including also Atlantica and Pacifica. A listener not knowing the title would have probably guessed that Adriatica was connected to water based solely on the music. Shortly after the declamatory opening chords, shifting between major and minor, the lower strings roiled with restless repeated motives beneath high sustained lines, building from undercurrents to outright waves and at one point settling into a calmly undulating expanse. Mr. Winkler seems to compose with very clear conceptions. This work evokes the immensity of the sea. Maestro Fagone conducted it persuasively, and the players immersed themselves in it with intensity. Assuming that the companion works possess similar virtues, this listener eagerly awaits hearing Atlantica and Pacifica.

Mr. Winkler’s announcement of the Bottesini Gran Duo Concertante for violin and double bass included a speculation that probably no one in the audience had heard it before; not to be a stickler (though that comes with reviewing territory), but it may be best not to make such statements in New York City! (Possibly the words “live” or “unarranged” went unheard, in which case the supposition was fairer.) In any case, the piece is certainly not commonplace – and that is understandable, as it is devilishly hard to pull off and requires a compatible – and stellar – duo of violin and double bass. Fortunately, LICO was able to engage two superb New York Philharmonic musicians – Concertmaster Frank Huang and Principal Bassist Tim Cobb.

The story of Giovanni Bottesini (1821-1889), known as “the Paganini of the Double Bass,” is an amazing one, and one which relates closely to the creation of this unusual Gran Duo. Primarily a violinist himself until he learned that the local conservatory had scholarships left only for bassoon or bass, Bottesini managed to learn the double bass in just weeks. It is no wonder then that he approached the hulking instrument with an ideal of litheness hitherto unexplored, and that he would try to satisfy his era’s hunger for showpieces by pairing his native instrument and his adopted one in this tour de force.

The Gran Duo runs the gamut from stratospheric harmonics in both instruments to speed-of-light thirds, sixths, octaves, scales, arpeggios, bouncing bows, and a large array of pyrotechnics. All must be traded back and forth and dovetailed delicately with singing melodies – while sounding “effortless” and spontaneous. Both Frank Huang and Tim Cobb were dazzling throughout. They were also quite sensitive in synchronizing with each other – and the orchestra – as if there were no challenges at all. Perhaps such ease has come to be expected in solo violin music – and to be sure, the range of double bass virtuosity has also expanded hugely since Bottesini and others – but what was remarkable here was seeing feats that would normally be focal points, tamed by the players into collaborative parts. Both players were amazing in this regard, but to witness a bassist’s left hand flying up and down the fingerboard at lightning speed, while remaining subsidiary to violin lines, was jaw-dropping – even comical! With a lesser musician, the challenge could have resembled dressing a T. Rex in a tutu, but In Tim Cobb’s hands, this wizardry was simply part of the music.

On the subject of wizardry in supporting roles, one couldn’t help noticing that Mr. Cobb joined the bass section for the Mendelssohn Symphony No. 4 after intermission, contributing generously to the lower string lines (especially the countermelodies in the second movement).  It is absolutely not expected for a soloist to do such a thing, but it is always wonderful to see. It’s a safe bet that Mr. Huang would have stayed as well if he could have, as both players radiated the spirit of camaraderie. Anyway, there may be no better way to “come down” from the heights of collaboration with an orchestra than to join a section for such a work as Mendelssohn’s Italian Symphony – because it is basically coming “down” to Cloud Nine. Composed at a point of great joy in Mendelssohn’s life, he wrote to his sister “It will be the most joyous piece I have ever done.” This joy has reached almost two centuries of beneficiaries.

The LICO forces gave the symphony an exciting ride, and it sounded as fresh as ever (remarkable considering how often the piece has been excerpted and its themes plundered for various uses).  Of course, every musician has favorite interpretations of such a work, and this listener’s favorite renditions of the first movement have held back ever so slightly on the tempo, enabling a feeling of what one might call traction, for lack of a better word. It is not that the tempi taken in the first and last movements were necessarily faster than the average, but that a suavity and forward fluidity sometimes swept over the rhythmic “grit” with its high gloss.  There were also times when Maestro Fagone countered this tendency with a more grounded feeling – and angular motions to bring that out – and it was a joy. He too seemed elated and smiled broadly for much of it.

In the third movement the only quibble was the occasional need for more clarity ensemble-wise, but the horns deserve special mention for their exceptional playing here, as well as in the fourth movement. The final Saltarello was an intense drive to the finish, and the large audience gave a rousing ovation in appreciation. It closed what was an excellent and quite memorable concert. Kudos to all!

Caitlin Broms-Jacobs, oboe

Adam Sherkin, piano

Tenri Cultural Institute, New York, NY

April 27, 2024

The Tenri Cultural Institute’s suitability for an ebullient Saturday night recital of living composers’ works included the benefit of bright lighting, the better for digesting fancied-up titles and a ten-page, cell-phone-only program. Canadian pianist Adam Sherkin, the curator of Piano Lunaire (a clever reference to Schoenberg and his mad mascot), named this tenth of eleven concerts for the premiere of his own composition Plastic Dawn, performed at the top of the program. Additional premieres by Mr. Sherkin and his Toronto colleagues were introduced by the composers themselves in attendance or on video projection, and a few oft-performed pieces better known to a niche crowd received their first New York hearings or revivals.

Trained at Toronto’s Royal Conservatory, London’s Royal College, and New York’s Mannes College, Mr. Sherkin shows classical restraint giving way to a philosophical propensity for eerie or even frightening images. He explains the symbolism of Plastic Dawn as a series of “manufactured beginnings” that fits nicely with the “Aubade” genre of his solo piano character pieces but leaves many tentative loose ends. Morning motifs abound in the five-movement oboe/piano work, which opens with a free solo oboe cadenza he describes as a sun salutation. The second movement adds choleric jabs and interjections from the piano, continuing its dialectical opposition until the fifth movement resolves all with glassy, transparent serenity in both oboe and piano. Mr. Sherkin’s piano work from 2022-24, New Aubades, flavors its morning coffee not with a primitive asana but with a joyful transformation of Ravel’s Scarbo, evolving from wild tremolos in two hands to short gestures and flashes, to a closing movement titled “Ineo” (literally, I go in [to something new]) in a more objective and comforting style.

At least two other offerings after 2020 share the Covid-laden premonition of apocalypse. The Tender Scars of Memory, published this year by Harry Stafylakis, unfolds nostalgically from a kind of New Age “Greensleeves” in a clearly organic form, with the composer’s characteristic texture of repeated notes influenced by guitar figures and Greek folk music. The score’s tempo directions range from “Something darker is being dredged up” to “Right back where we started,” although the idiomatic writing for both instruments needs no dramatic cues to make its mark. In the Garden of Endless Sleep, a 2020 tapestry by Kevin Lau, employs improvisational polyrhythms, expansive intervals, and recitative rather than cool 9/8 pastoral meters to capture Lau’s own longing and fear of the unknown. Repeated notes here are used as stationary vibrato, the negation of tonality mollified only by the mournful sighs of the oboe. The work’s closing punchline materializes as an A-minor song over the drone of the lowest note on the piano keyboard, with the dreariness of Shostakovich and the soothing regularity of a Bach prelude.

By default, Alexina Louie’s 2012 Filigree became a traditional repertory piece, although its Tenri performance was listed as a first in the U.S. Apart from exotic instrumental timbres, pedaling, and minimalist reiterations of broken clusters, Asian influences were not as apparent here as in some of Ms. Louie’s other works. Particularly memorable were the surreal opening, a transformation of Debussy’s Des pas sur la neige, the interplay of synthetic scales and fantastic dance rhythms, and the tribute to Messiaen’s Vingt regards in the piano’s magical treble sonorities near the end. A silly encore, Alex Shapiro’s Brat, left us with a touch of humor after the evening’s probing excursions into metaphysics.

At face value as an oboe/piano recital of new music, this successful concert received a rightfully deserved, heartfelt response from Tenri fans, who listened acutely to the latest installment of Mr. Sherkin’s cryptic programming. The playing was elegant and effective, taking advantage of the gallery’s immediate acoustic presence and luminous space with varied articulations, melismatic flourishes (Ms. Broms-Jacobs), growling chromaticism and pointillistic chimes (Mr. Sherkin), and visceral harmonic progressions that always moved forward and never settled into cinematic cliché. Ms. Broms-Jacobs showed her true colors as a principal orchestral player from Manitoba and Winnipeg by delivering a rhythmically crafted, supremely reliable part that was easy to follow and lyrical against the backdrop of every pianistic trick. Overbalancing of piano (conquering oboe) was, actually, an issue, perhaps attributable to where the oboist was standing or to the hall itself, or to the long piano stick.

The concert might have been equally enjoyable with a shorter set of written notes. The advertised “Pre-show chat” from 7:30 to 8:00 unfortunately referred only to the murmur of attendees in the foyer. The external enigma of the evening was Tenri’s presumed need to fill our ears with background jazz recordings while wine and snacks were served.

Ed W. Clark High School Concert Band; Jeffrey Lacoff, Director; Julio Vargas-Guerra, Assistant Director; Alexander Reyes, Guest Conductor

Ed W. Clark High School Orchestra; Eric Maine, Director; Antonio Brockett, Assistant Director

William Paterson University Chamber Wind Ensemble; Teresa Purcell-Giles, Director

William Paterson University Symphony; Sandra Dackow, Director

Stern Auditorium at Carnegie Hall, New York, NY

April 28, 2024

Distinguished Concerts International New York (DCINY) presented another one of their signature shared concerts this weekend, and it was yet another inspiring experience for all present. The program offered performances from two schools, the Ed W. Clark High School (Las Vegas, Nevada) and the William Paterson University (Wayne, New Jersey), each presenting two ensembles. The majority of music involved wind groups – hence the name “Windsongs” – though there was one string orchestra performing as well. The first half of the program featured the two Ed W. Clark High School groups – the Ed W. Clark High School Concert Band and the Ed W. Clark High School Orchestra (strings only) – and the second half featured the William Paterson University ensembles, the WPU Chamber Wind Ensemble and the WPU University Symphony. The length of nearly two and a half hours from start to finish (including intermission and several breaks to set up) made the concert a bit of a marathon, but – with so much novelty and variety, and particularly with such tremendous involvement from these hard-working players – one will not complain. One was left with a renewed sense of hope that these young students will bring their discipline, collaborative skills, and spirit to a world that sorely needs all three.

The Clark Concert Band opened with Jorge Machain’s Fanfare for Unity (World Premiere), a bright, declamatory piece whose rising fourths and dotted rhythms brought to mind heroic film scores. The students played it with great energy, and the composer was present in the audience to acknowledge the rousing ovation. Seven more works followed, including Shostakovich’s Chimes Prelude (Arr. James Keane), Katahj Copley’s AYO (Rhapsody for Band), Sousa’s Manhattan Beach March, Grainger’s Theme from “Green Bushes” (Arr. Larry Daehn), Julie Giroux’s The Bonsai Tree, William Owens’ Tudor Sketches, and Randall Standridge’s Choose Joy. As there are three more groups to cover, we’ll stick with highlights, but suffice it to say that this high school band was as comfortable in a romp of Grainger as they were in the pomp of Sousa. They embraced a wide variety of moods and tempi, and offerings ranging from those of the Elizabethan era (Owens) to those rooted in jazz and hip-hop (Copley). They exhibited technical ease in each case. Perhaps because of the sheer decibel levels that a band creates with around 65 players on winds, brass, and percussion, the work that may linger most in this listener’s memory was Julie Giroux’s The Bonsai Tree, standing out for its sweetness and delicacy. Also memorable were the infectious rhythms of Katahj Copley’s AYO and the final work, Randall Standridge’s Choose Joy, with its fragments of Beethoven’s Ode to Joy integrated into what the composer calls its “message of positivity.” It was positive, indeed. Conductors Jeffrey Lacoff, Julio Vargas-Guerra, and Alexander Reyes drew terrific musicianship from these young players, and they can be very proud.

The Ed W. Clark High School Orchestra came next, with the skillful team of Eric Maine and Antonio Brockett divvying up the conducting duties. Again numbering around 65 players, now just strings, they made a formidable impression onstage, and one could only think again that something great must be going on in this Nevada school. They opened with the Jig from Holst’s wonderful St. Paul’s Suite, Op. 29, and it was a joyous and fitting selection during this 150th anniversary of Holst’s birth year. Holst’s own decades of teaching music to the young helped give this St Paul’s Suite its winning accessibility, and these Clark musicians seemed to relish it. They moved on easily to the moodier evocations of Eric Whitacre’s October, a piece with the ethereal quality that this composer has taken to a new level (achieved here with tremolando strings and a magical caress of chimes). The students conveyed its mood with real sensitivity. In a lighter vein, the orchestra followed with the Saint-Saëns Caprice-Valse (or “Wedding Cake”), a frou-frou showpiece for piano and orchestra. The soloist was accomplished young pianist Lumina Yueshi Lu, whose elaborate white gown brought to mind the confection that the piece suggests. She played with sparkling precision through its tricky fingerwork. Returning to strictly strings, the program moved on with the Finale from Tchaikovsky’s Serenade for Strings, Op. 48 – a perennial favorite. The orchestra demonstrated excellent elasticity and energy here.  A few moments of iffy intonation in the upper strings were minor quibbles during what was an excellent performance. Moving to a more sobering note, Carlos Simon’s Elegy: A Cry From The Grave followed. It is described by the composer as “an artistic reflection dedicated to those who have been wrongfully murdered by an oppressive power; namely Trayvon Martin, Eric Garner, and Michael Brown,” and the mood was fittingly somber, with rays of hope emerging. The ensemble played it with strong commitment, then brought the temperature back up with Piazzolla’s Libertango (Arr. Thomas Kallb). Though this tango might have had even more fire if the basses and celli had been a bit stronger, it was a rousing finish to the school’s offerings and was greeted with hearty applause.

After intermission, we heard two ensembles from the William Paterson University, first the Chamber Wind Ensemble and then the University Symphony. The Chamber Wind Ensemble, under vibrant conductor Teresa Purcell-Giles, opened (like the first half) with a fanfare, but in this case it was a piece called Fanfarria, by Giovanni Santos. A celebration of migrant families, brimming with infectious rhythms from Cuba and the Dominican Republic, it drew the best from these young musicians. They dove into it with gusto. More Latin rhythms came in selections from the Little Mexican Suite by Nubia Jaime Donjuan – both named after trees dear to the composer, the Ayacahuite and the Sahuaro (a nice symmetrical tie-in to the first half’s Bonsai), and it was an uplifting experience for all before introducing the final ensemble of the afternoon – which did involve bringing some of these excellent players back.

The William Paterson University Symphony, around seventy players strong, played the three final pieces of the program, starting with Dvorak’s Slavonic Dance In G Minor, Op.46, No. 8, and following with equally audience-grabbing works of Saint-Saens and Josef Strauss. Despite knowing the impressive reputation of conductor Sandra Dackow, and despite witnessing her palpable command over the “troops” as she climbed to the podium, nothing prepared this listener for the firepower she unleashed. Dvorak’s Slavonic Dance In G Minor is a longtime favorite of this listener’s but it has never sounded quite so electric. After seemingly hurling the downbeat at the orchestra as Thor might have cast a thunderbolt, she initiated a turbocharged performance and never looked back – except to hurl a few more thunderbolts. The students were expected to react in a nanosecond, and they rose to the occasion. It was breathtaking. The two final works were Feuerfest! by Josef Strauss (son of Johann Strauss I and brother of the more famous Johann Strauss II) and Danse Bacchanale from Samson et Dalila by Saint-Saëns (a piece with eerie connections to our current situation in Gaza). Both works were riveting, but the Feuerfest! might have been a serious contender to close the concert, simply because of its irresistible spirit. Commissioned in 1869 by the Wertheim Safe company to celebrate its fireproof safes, it calls for the striking of anvils to suggest the safe’s manufacture, and for this role the orchestra enlisted four administrators of the university. It was impossible not to smile at the fun and the joyous demonstration of teamwork. Surely the administrators will enjoy the bragging rights of having played at Carnegie Hall, even if the answer to “What did you play?” is … the anvil.

Throughout the afternoon one couldn’t help thinking that, for all the calls to unity and reminders to love, a good orchestra is, in and of itself, the quintessential example of just that – unity. The effect is felt by those listening and watching the players of all sizes, shapes, and colors performing – and also in the excited conversations among audience members, many of them families of the players, formerly strangers, now becoming fast friends. One hopes to see much more of this as an antidote to the world’s many messages of divisiveness. Congratulations go to the Ed. W Clark High School, to William Paterson University, and to DCINY for this exceptional reminder of how important orchestras of all levels are – certainly for the young, but also for us all.

Modus Operandi Orchestra

Justin Bischof, conductor

Aydan Ferrao, piano

Modus Singers

St. Mary Church Long Island City, NY

April 27, 2024

On April 27, 2024, the Modus Operandi Orchestra (MOO) under the direction of Justin Bischof presented their annual spring Modus@Mary concert (Mary being the venue, the St. Mary Church in Long Island City). Pianist Aydan Ferrao was to make his MOO debut as soloist in Mozart’s Piano Concerto No. 12 in A major, K. 414, and the Modus Singers were to join MOO in a performance of Mozart’s Requiem, K. 626. The full hall (or more properly, church) was treated to an evening of masterpieces played by an outstanding ensemble.

Conductor Justin Bischof and fifteen-year-old Aydan Ferrao took the stage to open the concert with the first movement of Mozart’s Piano Concerto No, 12 in A major, K. 414. Usually a young artist is given this opportunity by virtue of a contest win, but this was not the case tonight. Maestro Bischof mentioned that he had heard Aydan practicing this work and was impressed enough to make a commitment to the young artist to have him play with MOO. That was not only a generous gesture, but an astute assessment of Mr. Ferrao’s talent.

Adyan Ferrao is a sophomore at Stuyvesant High School. He is a student of the excellent pianist Tatjana Rankovich. In addition to piano studies, he is active as a tenor soloist in the Oratorio choir, directs the A Cappella chorus, and is the chorus director for theatrical productions. As if that were not enough, he is an ice hockey player skilled enough to play on a traveling team.

One might expect a young man to want to “scale Mount Olympus” with a display of pyrotechnics, but Mr. Ferrao took a different path that showed musical maturity beyond his years. His shaping of phrases, his lightness of touch with fleet and even fingerwork, and his ensemble with the orchestra were all notable. This was real artistry! Not only this, but he evidently has iron nerves – the concert photographer actually passed by him and pointed a camera at him from the end of the open piano while he was playing! I could imagine any number of artists being undone by such a disruptive action, but this young man was completely unfazed. Maestro Bischof and MOO were ideal collaborators. The full hall gave Mr. Ferrao a standing ovation. The future should be bright for this young talent.

After a brief break, the stage was set for Mozart’s Requiem in D minor, K. 626. The Requiem has a storied history. Commissioned by Count Franz von Walsegg as a memorial to his late wife, it was unfinished by Mozart at the time of his death in 1791. His student Franz Xaver Süssmayr completed the work, using various sketches Mozart had left and his claim of being familiar with Mozart’s wishes about the composition. How much of the work is Mozart’s and how much is Süssmayr’s is still being debated to this day. Not surprisingly, the movie Amadeus came up in Maestro Bischof’s introductory talk. “How many of you saw that film?” he asked. He shook his head, sighed, and then said he spent ten years telling people “No, Salieri did not kill Mozart!” to the laughter of the audience.

This listener has heard many performances of the Requiem with all sorts of forces, from the gargantuan (several hundred singers and huge orchestra) to the skeletal (string quartet as “orchestra”). Tonight was, in my opinion, an ideal set of forces (twenty-seven orchestra players, twelve chorus members). Add to this, with the beautiful and acoustically live church venue, it was almost as if one had stepped back into the 19^th century. There was an immediacy that was more impactful than much larger forces in a concert hall, and it was enthralling, not only to this listener, but to the audience as well who were transfixed for the entirety of the Requiem.

Maestro Bischof led with mastery. It was clear that he knew what he wanted, and his ensemble responded to his strong direction. The orchestra is chock full of superior musicians, and they demonstrated that in spades. The Modus Singers excelled as a chorus and as individual soloists. I’m going to name all twelve here. The sopranos were Halley Gilbert, Nola Richardson, and Amaranta Viera, and the altos were Alison Cheeseman, Heather Jones, and Guadalupe Peraza. The tenors were Marc Day, Alex Guerrero, and Lukas Papenfusscline, and the basses were Oliver Holt, Steve Hrycelak, and Thomas McCargar.

Highlights abound, but I wish to mention two in particular. Matt Melore, the trombone soloist in the Tuba mirum was outstanding, and the Confutatis had the snarling malevolence that I always hope for.

As the last notes of the Lux aeterna faded away, our souls were hanging in the balance waiting for final judgment, but the verdict of the audience was clear and decisive as they erupted into an immediate standing ovation. Congratulations to Maestro Bischof and MOO!

Mark Cannon, piano

Westchester Conservatory of Music

White Plains, New York 

April 17th, 2024

Mark Cannon offered a demanding program at his piano recital April 17, 2024, at the Westchester Conservatory of Music in White Plains, New York. The works played were Haydn’s Sonata No 62 in E-flat major (Hob. XVI/52), Scriabin’s Sonata No. 10, Op. 70, and Chopin’s Sonata No. 3 in B minor, Op. 58. 

Who might play such a program? One could imagine a young, energetic virtuoso with plenty of time to practice these musically and pianistically challenging works. Well, Mark Cannon is, indeed, an energetic musician but he is also, in fact, a 73-year-old psychiatrist with a very busy medical practice! That he can produce such a quality program is truly remarkable!

He is clearly comfortable on stage and at the piano, and he offered some original ideas about the music in his comments. Interestingly, he decided not to take an intermission, which showed his endurance. 

His playing has enthusiasm and intelligence. He has thought about, and analyzed this music carefully, and his memory is excellent. In particular, he mentioned that the Scriabin Sonata is thought of as difficult to memorize, but he doesn’t agree, as he finds it logically organized. He never plays “carefully” but always goes for the spirit of the music at tempi that are effective. Is the passagework in fast movements always crystalline? No, it was variable, though sometimes it was quite good, such as in the main theme of the scherzo of the Chopin Sonata. But the music always comes across.

The first movement of the Haydn Sonata was stormy and powerful, though this listener would have liked a bit more soft playing some of the time. The second movement seemed slightly fast but was also sensuous and dramatic, and it had a beautiful ending, The last movement was uninhibited and full of spirit. The pianist clearly enjoyed emphasizing the irregular accents.

The first movement of the Chopin Sonata was played at a nice clip, yet with sensitivity. Dr. Cannon made the interesting comment that the beautiful second theme would be better known if it weren’t part of a much larger work. The scherzo (main section) of the second movement, as previously mentioned, was well played, as was the trio (the middle section). 

The theme of the slow movement was expressively presented. The pianist seemed to enjoy exploring the intensity of the E major middle section, and made the transition back to the first theme sound like an improvisation, which worked very well. When it returned, the first theme was now more mellow, and the movement ended beautifully. If the finger work in the last movement wasn’t perfect there was great, and continuous forward motion, and a fine buildup to the last statement of the main theme.

Perhaps most impressive was Mark Cannon’s playing of the Scriabin Tenth Sonata. This thirteen-minute work was written in 1913. The composer wrote “My Tenth Sonata is a sonata of insects. Insects are born from the sun […] they are the kisses of the sun.” The pianist, however, said “I hear birds more.” This listener will not take a position either way (!), but found the music, and the performance gripping. The Sonata begins with several motives and splashes of sound, followed by radiant trills. The disparate elements of this work include moments of intensity and release, as well as a sequence of trills and clashing chords. In the end, the original motives return, but sounding calmer. 

This was a very worthwhile and intriguing program!

Ola Gjeilo, DCINY composer-in-residence/piano

José Daniel Flores-Caraballo and Irene Messoloras, guest conductors

Anna Schubert, soprano

Distinguished Concerts Orchestra

Distinguished Concerts Singers International

Stern Auditorium at Carnegie Hall, New York, NY

April 22, 2024

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

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

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

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

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

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

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

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

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

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

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

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

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

David Geffen Hall, Lincoln Center, New York, NY

April 15, 2024

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

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

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

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

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

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

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

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

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

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

Pegasus: The Orchestra

Karén Hakobyan, conductor

Sergey Antonov, cello

Merkin Hall at Kaufman Center, New York, NY

April 13, 2024

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

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

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

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

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

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

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

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