The Fifth Tureck International Bach Competition for Young Pianists Presents Gala Winners Concert in Review

The Fifth Tureck International Bach Competition for Young Pianists Presents Gala Winners Concert in Review

Gala Winners Concert, The Fifth Tureck International Bach Competition for Young Pianists
Benzaquen Hall, Dimenna Center for Classical Music, New York, NY
October 8, 2017

 

It has been several times now that I have been assigned to review the Tureck International Bach Competition for Young Pianists, and, judging by what I heard this past weekend, the enterprise is thriving. Thanks to the efforts of Golda Vainberg-Tatz, who founded the competition to honor her mentor, the Bach interpreter Rosalyn Tureck (and with Ms. Tureck’s blessing before she passed away in 2003), the undertaking has become a biennial event, hosting a distinguished international jury, drawing outstanding international contestants, and attracting support by leaders in the piano world, including notably Evgeny Kissin and Olga Kern. Audition rounds and categories encompass virtually all of J.S. Bach’s keyboard repertoire, so it is really much more than simply a contest, amounting in effect to a four-day Bach festival. Moved this year from the Bruno Walter Auditorium (due to the Lincoln Center Film Festival) to a hall in the Dimenna Center, it seems destined for an ever-larger venue and wider audience.

 

Skimming through the booklet of biographies of the twenty-four semi-finalists who had performed in the days before (ranging from age eight to age twenty), this reviewer was already impressed, but little could match the humbling experience of hearing the seven young performing winners filling nearly two hours with music that was polished, spirited, and sometimes quite inspired. For a complete list of prizes for each winner, plus jurors and other contest information, the reader can visit the contest’s website at Tureck Bach Competition.

 

Starting the program was Andrew Gu, age eleven, playing the Two-part Invention in B minor, BWV 786 and Sinfonia (Three-part Invention) in B minor, BWV 801, by Bach. He played with a composure of a veteran performer, and it appears that his confidence has been well-earned. His playing was stylistically attentive, with admirably clear voicing and crisp articulations. As the competition pays homage as well to Rosalyn Tureck’s other specialty, contemporary music, we were treated to several modern pieces throughout the concert, and young Mr. Gu chose Five Bagatelles by Carl Vine. These miniatures reflected more overtly this youngster’s gifts, including remarkably fleet finger-work, ability to project contrasting styles, and a sensitivity to lyricism, particularly in the third Bagatelle. He made short work of the tenths in the left-hand part of the jazzy fourth Bagatelle – boding well for future encounters with the virtuoso Romantics!

Happy winners and relieved Judges at the Gala Concert.

Heroes of the day included the teachers of these impressive players (perhaps including master class teachers who will remain unsung heroes, due to sheer numbers) – but also parents and family, of course, for the many sacrifices they inevitably make to nurture such young talent. For Mr. Gu, teachers have included Helen Jung, Sasha Starcevich, and Corey McVicar.

 

Next up was Matthew Chang, age eight (and awarded in two repertoire categories), playing Bach’s Prelude and Fughetta in G major, BWV 902. What struck one about this young player was not just that he possessed command and polish in every regard (these being almost a “given” at such an event), but that he projected the life of each distinct phrase with a joyful and intense involvement. His rhythm was not merely solid, but also full of dance-like energy (with a bit of left hand conducting thrown in). While this sort of musicality is not something one thinks of as “taught” it was during his performance in particular that I flipped through the leaflet to learn the teacher’s name, Kuei-I Wu; after all, to take a child this far into polish and detail in a mere three years is an achievement, but enabling him to retain such seeming joy about it all while doing so is huge. Kudos to teacher and student alike!

Judges of the final round.

 

Julia Yin Zhou, age nine, brought another contemporary voice to the mix with selections from Eight Memories in Watercolor by Tan Dun, a set popularized most prominently by the pianist Lang Lang. Ms. Zhou played Missing Moon, Staccato Beans, Blue Nun, Red Wilderness, and Sunrain. Her Missing Moon was beautifully evocative for one so young, and Staccato Beans became the perfect vehicle for her tremendous digital control and articulations. Her Sunrain lacked for nothing in brilliance, bringing a bravura close to her set. Brava! Her fetching stage presence will only enhance the rewards that she garners through her talent and dedication, and she should be well on her way to a bright future. One would have liked to hear her in some Bach though. She has been a student of Ronald Kmiec since 2014.

With Tony Yun- Evgeny Kissin Grand Prize Winner of Fifth TIBC and Maestro Michael Cherry. ( from the Tureck Bach Research Institute.)

 

Moving on to larger Bach works, we heard selections from the French Suite in G major, BWV 816 played by Kiron Atom Tellian, age fourteen from Vienna, Austria (and also awarded in two repertoire categories). A student of Alma Sauer at the “highly gifted” program of the University for Music and Dramatic Art, he pairs piano with studies in composition, perhaps a source of the heightened thoughtfulness in his playing. He was one of the day’s most interesting musicians, with an individual style that brought to mind some of the earlier Bach performances of Ivo Pogorelich. His Allemande, Courante and Sarabande all had an expressiveness one most associates with Romanticism (as many felt about Rosalyn Tureck’s playing), and he played with a judicious use of agogics, some receding dynamics at climaxes, and some staggering of left and right hands at poignant harmonic points and trills. His Gigue was by contrast quite metrically straightforward, but a delight in its extremely fast and even execution, without losing the slightest detail. One looks forward to hearing this young man play again.

 

Also remarkable was Matthew Stephen Figel, age twenty and doing undergraduate studies at the Eastman School of Music with Nelita True. Mr. Figel had the daunting task of playing excerpts from Bach’s monumental Goldberg Variations, BWV 988, as he was winner in that category. It was such a tease not to hear his whole set (of course, the concert would have run late by another hour), but one looks forward to hearing him play the full set one day. His tone and approach were entrancing from the outset, and his ornamentation on repeats, fascinating and beautiful. Boldness and strength characterized his first variation, while the sixth which followed showed admirable control of the canon’s voicing. The seventh was the perfect balance between the cerebral and the playful, with wonderfully rhythmic flourishes. The pensiveness of the thirteenth reflected one’s general sadness of hearing this work end too soon, but I was glad there was no return to the theme to mimic some sort of completeness. Though we’ve had some very memorable Goldberg Variations in our day, I was happy to be reminded that we have room for more. I look forward to Mr. Figel’s.

 

Rolando Antonio Alejandro, age 18, followed with Bach’s French Suite in C minor, BWV 813. Hailing from Puerto Rico, where he lists Teresa Acevedo as his first teacher, he is now at The Juilliard School. His performance was excellent, with an easy warmth and feeling of leisure overall. He is a “stop to smell the roses” kind of a player, willing to lavish a phrase with extra time to mark a thematic entry, to highlight an interesting hidden line, or to feature an implicit syncopation (in bass-lines especially). In an event honoring Bach’s keyboard music, Mr. Alejandro reminded us that Bach was also a master of music for strings, winds, and voice, and that there are many ways to phrase. Those who seek the metronomic precision that is so common in Bach keyboard playing may want more tautness or motoric drive, but those can grow quite tiresome. Vive la différence!

 

The final performer of the day was Canadian Tony Siqi Yun, age 16 and a student at the Juilliard School Pre-College Division. Mr. Yun shared with Mr. Alejandro the prize awarded to outstanding Juilliard competitors, as well as winning the Evgeny Kissin Grand Prize and Steinway Recital Award, plus the Contemporary Music Award. He opened with the Ballade for solo piano (2005) by Finnish composer Kaija Saariaho (b. 1952). His performance showed, among other virtues, an impressive analytical rigor in conquering a highly challenging work that is not part of the familiar mainstream repertoire yet. The sheer memorization was impressive. Beyond that, he showed that he is capable of projecting the many colors and moods of its kaleidoscopic changes and contrasts. He is a pianist of precocious power and polish, no doubt destined for many future successes. He closed the entire program with the Bach-Busoni Chaconne in D minor, which he handled with grandeur and pianism to spare, while reining in the excess inherent in the transcription. It was a feat particularly impressive for one so young.

 

It is among the most difficult performing situations musicians face to be presented as part of an array of other pianists, having to prepare for one’s performance mentally while hearing others play, and also knowing that other works may exhaust the listeners’ ears before one even sets foot on stage. Perhaps the program could have been pared down slightly, but it is understandable to want to maximize an opportunity that comes only every two years, after herculean amounts of work from everyone involved. In any case, Sunday’s performers handled the demands with mastery. Congratulations to all!

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by Rorianne Schrade  for New York Concert Review; New York, NY
The Art of Listening in Review

The Art of Listening in Review

The Art of Listening- Chopin: Scherzo No. 2 in B-flat minor, Op. 31
Javor Bračić, piano
National Opera Center, New York, NY
October 8, 2017

 

Mr. Bračić, has created a series and a format that aim to “change the way you think about classical music.” Based on my experience this past Sunday, I’d say he’s well on his way as a persuasive music educator, and he is a very capable pianist. The series has been reviewed favorably elsewhere in this journal.

 

When I saw the repertoire choice, Chopin’s Scherzo No. 2 in B-flat minor, Op. 31, my immediate reaction was “Oh no, not that warhorse,” but my worries were unfounded. He is one of only two pianists I’ve ever heard who played the opening theme in the proper “questioning” way that Chopin was always asking for—and with no rhythmic distortion. The other pianist was the estimable Krystian Zimerman. Because of his fleet fingerwork, many passages also seemed more “playful” (scherzando) than usual. As Schumann said: “It remains an utterly compelling piece; one could compare it to a poem by Lord Byron: so tender, coquettish, and affectionate—yet so full of scorn.”

 

He began by dividing the work into its major sections and giving a sort of gentle exegesis of Chopin’s process and possible meanings, but his engaging, soft-spoken manner, and his ability to involve the audience created an ease that drew everyone right in, regardless of their prior music education or experience. Everyone’s input was valued, there was never any condescension or feeling of “this way is right and that way is wrong.”

 

After a full exploration, he then concluded with a complete performance, very well-rendered, especially after having talked for nearly an hour. Not everyone has this double ability to speak well about music while remaining a super executant, but Mr. Bračić, definitely has it. I see that a future event will focus on Samuel Barber’s Sonata for cello and piano. This is to be commended, as the more “modern” repertoire needs even more advocacy.

 

I should mention the format was gracious too (despite the limiting piano quality of the National Opera Center, which Mr. Bračić, took in stride with no apparent difficulty): the audience mingles and chats, with wine and cheese served both before and after.

 

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by Frank Daykin  for New York Concert Review; New York, NY
Creative Classical Concerts presents Hyun Ji You in Review

Creative Classical Concerts presents Hyun Ji You in Review

Hyun Ji You, piano
Weill Hall at Carnegie Hall, New York, NY
October 4, 2017

 

Creative Classical Concerts presented pianist Hyun Ji You in a concert of Bach, Chopin, Scriabin, Debussy, and Villa-Lobos on October 4, 2017 at Weill Hall. Ms. You is a winner of multiple piano competitions both in her native Korea and the United States. She lists Hee Sung Joo, Karen Shaw and Jean-Louis Haguenauer, and Jae Hee Hyun as her teachers. Ms. You has earned her Master’s degree and Artist Diploma at Indiana University, and is working on her Doctorate at Sejong University in South Korea. She also teaches piano in three South Korean Universities.

Before anything else, I must express my dismay about one of my pet peeves. When you are performing at one of the most famous venues in not only the United States, but the world, it should be a given that all materials, such as program notes are done with care. I’m sorry to say that this was not the case (and not for the first time). The very spare program notes were almost an afterthought. Proofreading would have caught the non-idiomatic English and the fact that the 3rd and 4th Preludes of Debussy were listed with the same title. If English is not your first language, it is a must to have a trusted native speaker proofread. Add to this that some of the notes were copied verbatim from Wikipedia without attribution, and I was left thinking that it would have been better to forego the notes altogether. Note to presenters and performers alike: this is not acceptable. With all the time and money invested, there is no excuse (and lest anyone think otherwise, this reviewer has been a presenter as well).

Now that I have dealt with my annoyance, it is time to get to the many positive things about this concert. Ms. You has a fine technique, as one would expect from a multiple contest winner, but she also possesses a true poetic side, which sets her apart from many other contest winners.

Ms. You opened with J.S. Bach, the Adagio, BWV 974 (after Marcello), and Schafe können sicher weiden (Sheep May Safely Graze) from the Cantata Was mir behagt, ist nur die muntre Jagd (The lively hunt is all my heart’s desire), BWV 208. While my sheep prefer a slightly less hectic sound, and one with a bit more clarity, these are preferences more than anything else, and the end result was still lovely!

Chopin Ballade No.4 in F minor, Op.52 followed the Bach. Often considered the most demanding, both musically and technically, of the four ballades, this work was said by Robert Schumann to have been inspired by Adam Mickiewicz’s poem The Three Budrys; although this connection has been disputed, the epic sweep is undeniable. Ms. You showed both artistry and virtuosity, especially in the fiercely difficult coda. Rather than forcing a cohesive shape on the sprawling work, she surrendered to Chopin’s dream-like writing in what was truly a wondrous performance. It deserved a much better reaction from the audience, but it was the highlight of the evening for this listener.

Alexander Scriabin’s Sonata No. 5, Op. 53 ended the first half. This eleven minute, single-movement work was written in 1907 and marks Scriabin’s transition away from traditional harmony, including the so-called “mystic” chord and movement away from a clear tonal center. In an earlier review I wrote for this journal, I quoted pianist Joong Han Jung, who described the piece as “hyper-romantic,” a simple description that I find rather apt. Ms. You seems to agree, as her approach was what some might call “over the top,” but I found it to be just right. If one does not embrace the ecstatic quality that Scriabin demands, the result seems a mishmash of random impulses. It is the extravagant spirit that holds the work together, and Ms. You captured it to a tee. It was an excellent end to a dynamic first half.

After intermission, Ms. You offered six selections from Book I of Claude Debussy’s Préludes. They were numbers three through eight: Le vent dans la plaine (The Wind in the Plain), “Les sons et les parfums tournent dans l’air du soir” (“The sounds and fragrances swirl through the evening air”), Les collines d’Anacapri (The Hills of Anacapri), Des pas sur la neige
(Footsteps in the Snow), Ce qu’a vu le vent d’ouest (What the West Wind Has Seen), and La fille aux cheveux de lin (The Girl with the Flaxen Hair). Ms. You was judicious in her selections. Her “winds” were ferocious and the “perfume” was exquisite. The “footsteps” were delicate, and her flaxen-haired maiden was delightfully innocent. I would like to hear Ms. You play the entire book, and have a go at the second book as well.

Ms. You closed her program with Heitor Villa-Lobos’s Ciclo Brasileiro, W. 374. She offered three of the four works in the cycle: No.2, Impressões seresteiras (The Impressions of a serenade musician), No. 3, Festa no sertao (The Fete in the Desert), and No. 4, Danca do Indio Branco (Dance of the White Indian). Written in 1936, this work brings to mind Stravinsky’s Firebird, but is not derivative – it is pure Villa-Lobos, overflowing with ideas, brimming with energy, and often alternating between poignancy and brutality (especially in The Impressions of a serenade musician). It is a fiendishly difficult work that is a much a showstopper for the eyes as for the ears. Ms. You wowed the audience, and they reacted with a standing ovation.

Ms. You offered two encores, the Paganini-Liszt La Campanella, in what was another display of technical prowess, and Debussy’s Clair de Lune, which she played with ethereal beauty.

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by Jeffrey Williams  for New York Concert Review; New York, NY
Non Profit Music Foundation presents Eduardo Frias in Review

Non Profit Music Foundation presents Eduardo Frias in Review

Eduardo Frias, piano
Weill Recital Hall at Carnegie Hall, New York, NY
October 3, 2017

 

A disappointingly small audience turned out for what proved to be a well-played evening of contemporary Spanish piano music, about which, however, I had some reservations.

Eduardo Frias has made himself a champion of the piano music of Jorge Grundman, whose complete works for piano (up to 2016) were played on this occasion. He has worked side-by-side with the composer on developing this music, and he has also recently recorded them on Sony Classical.

Mr. Frias has an uncannily beautiful sound, especially at the softer dynamics, piano all the way down to ppppp. He never loses expressivity, and understands the nature of rubato. At the few louder moments in the program however, his sound grew strident. He used scores for the concert, yet did not deliver a “note-perfect” rendition of all the works, especially in those rare instances when the music got a bit rambunctious, breaking out of its gauzy moderato softness.

The music of Mr. Grundman was previously unknown to me, and since this is a rare and precious event in the life of a busy reviewer, I was looking forward to hearing it. He calls himself a “music writer” rather than a composer, whatever that means; and he has written chamber music and operas, besides this piano output.

Unfortunately, the piano music all sounded extremely similar: poignant, lyrical, and mournful, but too often with predictable formulae and cliché gestures. There were a few melodic moments that were compelling, but the main interest is in the harmonic changes. Mr. Grundman sounds like a neo-romantic composer combined with a minimalist (perhaps with more heart, but less craft).

In his mission statement, taken from his own website, he states: “I am sorry because there is nothing new in the music I write and, moreover, it was not even my intention. This might be the reason why I prefer to say that I consider myself a writer of music more than a composer. I just try to tell stories through the music narrative. I do this in the simplest, almost naive way possible. However, if there is something that leads me when I start writing a piece, it is to avoid communicating something tiring and boring. I want people to find my music sentimental and moving and also, as far as possible, to fancy listening to it again. I am talking about being accessible to the listener and the performers. In other words, I do not write for composers.”

I agree that he accomplishes nearly everything he said. The music is indeed sentimental, and sometimes quite moving. I just don’t feel there is enough strength on the compositional side to make it enduring. His justifications are numerous, all in this direction, and he claims humility as his start- and endpoint, but that seems like a defense. (Critics have been wrong many times before!) His titles verge on maudlin, though they must come from a very sincere place (Who Remembers Beauty When Sadness Knocks at Your Door? and We Are the Forthcoming Past).

Despite the attenuated Alberti-bass figure in Mozartiana, there was very little of either homage or even pastiche in it. The same was also the case for Haydiniana. Only in Chopiniana was the overt shadow of Chopin’s Etude Op. 10, No. 12 (“Revolutionary”) evoked, a bit heavy-handedly. These three pieces comprise the “Genius Suite for Sara.”

Of the four Piano Fantasies, I found Will Not Remove My Hope to be the most successful. The Lullaby for the Son of a Pianist had an appealing wistfulness, making ample use of Mr. Frias’s gorgeous whisper-soft playing.

For me, and I’m certainly willing to admit that I was not on the wavelength of this composer, Mr. Frias should lavish his talent on music that is of higher quality. From the first notes he played, I was immediately reminded of some of the sonorities of Giya Kancheli or Arvo Pärt. I wish him success in his performing career.

 

 

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by Frank Daykin  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents The Music of Dinos Constantinides in Concert in Review

Distinguished Concerts International New York (DCINY) presents The Music of Dinos Constantinides in Concert in Review

Distinguished Concerts International New York (DCINY) presents The Music of Dinos Constantinides in Concert
Dinos Constantinides, composer
Maria Asteriadou, Michael Gurt, piano; Kurt Nikkanen, violin; Yung-Chiao Wei, double bass
Hamiruge, The LSU Percussion Group: Brett Dietz, Eric Scherer, Manuel Treviño, Kyle Cherwinski
Weill Hall at Carnegie Hall, New York, NY
October 1, 2017

 

Distinguished Concerts International New York (DCINY) opened its 2017-2018 season on October 1, 2017 with a concert entitled The Music of Dinos Constantinides. This is the tenth time that DCINY has presented the music of Mr. Constantinides. On hand were eight talented colleagues of Mr. Constantinides from Louisiana State University to present a survey of works from his long career. The performers were pianists Maria Asteriadou and Michael Gurt; violinist Kurt Nikkanen, double-bassist Yung-Chiao Wei, and percussionist members of Hamiruge (LSU’s percussion ensemble), Brett Dietz, Eric Scherer, Manuel Treviño, and Kyle Cherwinski.

Greek-born Dinos Constantinides is the head of Composition and Music Director of the Louisiana Sinfonietta at Louisiana State University. He is presently Boyd Professor, the highest academic rank at LSU. Mr. Constantinides has composed over 300 works, including six symphonies, two operas, and music for a wide variety of instruments and voices, and has a long list of prizes won and excellent reviews worldwide. His writing style is all-encompassing, from the simplest of forms to the ultra-complex, and from the strictly tonal to the acerbically atonal and serial. He is especially adept in his use of Greek influences, such as Greek poetry from both ancient and modern sources, and Greek modal harmony.

This is my third occasion to review Mr. Constantinides’s music, and anyone who read my two previous reviews may recall that I expressed my reservations about the excessive length of the concerts. I will confess that I was fully expecting to do so for a third time, but I have the great pleasure of saying that this was not the case. Perhaps I might be flattering myself in believing that my concerns were heeded, but whatever the case, it was a pleasant surprise.

Violinist Kurt Nikkanen and pianist Maria Asteriadou opened the first half with Patterns for Violin and Piano, LRC 119b, a highly dramatic work that was played with passion by both players. In particular, Mr. Nikkanen’s sound projected boldly, as his robust tone filled the hall without any stridency. It was to be this listener’s favorite selection of the evening. Mr. Nikkanen followed with the Sonata for Solo Violin, No. 3, LRC 63 (Kaleidoscope), a work that can be described as either serialist or experimental in nature. It was amusing to see the poster-sized score being carefully placed on the music stand before Mr. Nikkanen began. This work is thorny for the performer and listener alike, and Mr. Nikkanen’s fine performance might have not gotten the credit it deserved from the audience, but this listener was impressed. It was not just his commitment to this difficult piece, but also his technique in dealing with the challenges that abounded throughout. The Theme and Variations for Solo Piano, LRC 1, played by Ms. Asteriadou followed. The composer writes in his notes that this work is based on a famous Greek folk tune (but does not name the actual tune). The melodic line is definitely modal, but the harmonies have diverse styles, including bi-tonality. One could hear hints of Chopin, Schumann, Liszt, and even Debussy throughout this eight-minute work, which Ms. Asteriadou played with an evident reverence.

To end the first half, Mr. Nikkanen and Ms. Asteriadou offered the twelve-tone Sonata for Violin and Piano, LRC 21c. It would seem that Mr. Nikkanen has a special affinity for taking on works that require a huge technique without any real hope of the general listening public to be wowed by that technique (read: This work is not Sarasate). Kudos to both Mr. Nikkanen and Ms. Asteriadou for their excellent playing.

After intermission, double bassist Yung-Chiao Wei and pianist Michael Gurt offered Reverie II for Double Bass and Piano, LRC 81b, a lovely three-minute work. Mr. Gurt followed with a sensitively played Two Preludes for Piano, LRC 101b, the first of which employs melodic lines from the First Delphic Hymn (c. 138 B.C.(!)) according to the composer. I’m not at all sure about this, but I’m going to give Mr. Constantinides the benefit of the doubt! Ms. Wei and Mr. Gurt returned for the Concerto for Double Bass and Piano, LRC 269b, derived from a cello concerto. It showcased Ms. Wei’s virtuosity to say the least. It was notable how well she articulated some rapid passagework that one would have not expected to be possible on the double bass. Other than a few moments when there were some balance issues, it was a remarkable performance. Percussion Quartet No. 2, LRC 270, featuring Hamiruge, The LSU Percussion Group, closed the evening. This four-movement, fifteen-minute work saw the members of Hamiruge playing xylophones, wood blocks, suspended cymbals, snare drum, timpani, chimes, triangles, and even the celesta. It was mesmerizing both to see and to hear. The audience responded with prolonged applause. Mr. Constantinides was present and came to the stage to join all performers to accept the continued applause of the large audience.

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
The Art of Listening in Review

The Art of Listening in Review

The Art of Listening
Javor Bračić, piano
National Opera Center, New York, NY
September 17, 2017

 

The 7th floor Rehearsal Hall at the National Opera Center was a perfect venue for this most interesting hour- long event, an interactive investigation and performance of Chopin’s Nocturne in C# minor, Op. 27 No. 1. During the half hour before the scheduled start, pianist Javor Bračić mingled with the gathering audience while encouraging them to sample the wine and cheese set out in the back of the hall. As there is no raised stage in this space, the piano was at audience level, making for a continued intimate connection between performer and audience. I especially liked the fact that the piano was turned diagonally so that there was no “keyboard-side,” allowing all audience members the coveted view of the performer’s hands.

 

As stated in the event’s publicity material (notice I do not call this a “recital”) Mr. Bračić wishes both to break down the wall between performer and audience, and to give his listeners a deeper understanding of what they are hearing. It is a pleasure to say that he succeeded in both endeavors.

 

After a brief statement as to how the session would be organized, we heard a masterful performance of Chopin’s Nocturne in C# minor, Op. 27 No. 1. (But this was just a taste of Mr. Bračić’s pianism. I look forward to hearing a full recital.) He then asked the audience for any thoughts about the piece. After a silence, which felt longer that it really was, people began to overcome their shyness and spoke. Words like “sad,” happy,” “victorious,” were followed by stories people thought the music evoked. I, being a trained musician, thought major, minor, modulation, ternary form. I had to say to myself: “Stop! Just see what Mr. Bračić will do.”

 

Soon, after playing the opening two measures of the piece (the left hand playing just C#’s and G#’s,) he asked if the music was happy or sad. Silence followed. Both Mr. Bračić and I knew why. I raised my hand and said “We don’t know yet.” As I had just stepped on his line, Mr. Bračić made a joke about the showoff in the audience and proceeded to add an E, the first note of the right hand. “Sad,” said the audience, for this made the chord C#-E-G# – a minor triad. The next note in the right hand was E#, which then created a major triad. This was a brilliant way of introducing major and minor, concepts which are very important to understanding this Chopin Nocturne.

 

The concepts of polyphony, modulation and chromaticism were introduced in equally clever and easy- to- understand ways. (Upon re-reading the previous paragraph and seeing how convoluted it is, I won’t try to explain how he did it.)

 

The hour ended with another beautiful performance of the Nocturne. Three more events in the series will take place this season at the National Opera Center, when works by Chopin, Mozart and Samuel Barber will be performed, discussed and elucidated. I wish him continued success in this laudable project.

 

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by Harry Saltzman  for New York Concert Review; New York, NY
CD In Review Sohyun Ahn: Mozart Piano Sonatas and Duport Variations

CD In Review Sohyun Ahn: Mozart Piano Sonatas and Duport Variations

Sohyun Ahn: Mozart Piano Sonatas and Duport Variations
The ClassicArt
JEC-0242

As a young piano student, I was often admonished by my teacher to let the music speak for itself. “Whatever you want to add, leave it out…and whatever you want to leave out, keep it in!” At the time, I saw this as a curb on my expressivity, but I later came to appreciate the message. This concept of fidelity to the composer came to mind often as I listened to the recent recording of Mozart Sonatas and the Duport Variations by the pianist Sohyun Ahn. Click to purchase MP3 or CD.

Mozart composed the sonatas K. 330, 331, and 332 in 1783 during his time in Vienna and Salzburg, and published them as a group. In order to support his new wife Constanze, he turned to teaching to supplement his income. Although these three works would never be described as student pieces, their apparent simplicity would have made them suitable for Mozart’s pedagogical inclinations.

In general, Ms. Ahn adopted a straightforward, unadorned approach to her readings of these sonatas. Her mastery of the functional aspects of technique is complete, which allows her the freedom to craft a detailed interpretation. In the outer movements especially, a crisp, dry staccato and sparse pedaling evoked the texture of a fortepiano of Mozart’s time.

The arc of these three works traces a gradual expansion from small ideas to big ideas, and the Ms. Ahn understood the nature of this progression. The musical events in the Sonata No. 10 in C major, K. 330 take place within a modest framework. Ms. Ahn remained within the confines of this framework, yet was able to produce a perfectly balanced, crystalline performance. In particular, her second movement was phrased with tender rubato and room to breathe.

The lack of adherence to traditional Sonata form is a defining aspect of the Sonata No. 11 in A Major, K. 331. In the first movement, structured as a Theme and Variations, there is ample opportunity for a variety of stylistic contrast. Ms. Ahn was at her best in the beautifully posed third variation, and a brilliantly vibrant sixth variation. Perhaps because it is my favorite, I felt the quasi-operatic fifth variation could have used more drama and a more cantabile melodic line. The famed Rondo Alla Turca, however, was a very pleasant surprise. After hearing so many hackneyed renditions of this over the years, I appreciated this pianist’s miniaturistic version, with tapered phrasing and modest dynamic range.

This trio of sonatas most unconventional member is its last, No. 12 in F Major, K. 332. In terms of technique alone, it is the most rigorous, but more importantly, it requires the interpreter to think more orchestrally in terms of color and voicing. Ms. Ahn seemed to enjoy the challenge. Of the three, this was her most sophisticated, personalized reading. Her opening gesture in the Allegro Assai was thrilling, and she maintained a combination of impeccable skill and joyous feeling throughout the rest of this movement.

Hardly a year separates the publication date of these first three sonatas from No.13 in B-flat major, K. 333, but the latter already shows a striking difference in complexity.  The Andante Cantabile movement, with its chromatic modulations and liberal use of melodic ornamentation, is one of Mozart’s most sublime creations. As each sonata on this recording unfolds, a more flexible and evolved artistry is required. Ms. Ahn became a vessel for all of them, and then as a coda, she gave us the charming Duport Variations, K. 573, maintaining her high level of consistency and musicality.

I have two observations which are minor, but nonetheless merit a mention. In passages where a phrase was repeated verbatim, the pianist almost always played the second phrase as an echo. This can be effective, but only when used sparingly. Secondly, while her sense of rhythm is impeccable, I did find it constricting at times, especially in cases where the harmonic changes suggest more expansive phrasing. But these are small matters in the context of this remarkably impressive recording by Sohyun Ahn.

 

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by David La Marche  for New York Concert Review; New York, NY
Manuel Barrueco and the Beijing Guitar Duo in Review

Manuel Barrueco and the Beijing Guitar Duo in Review

MetLife Foundation Music of the Americas Concert Series, 2017 New York Guitar Seminar at Mannes: Manuel Barrueco and the Beijing Guitar Duo
Manuel Barrueco, guitar, and the Beijing Guitar Duo: Meng Su and Yameng Wang, guitar
The Americas Society, New York, NY
June 26, 2017

Kicking off the 2017 New York Guitar Seminar at Mannes was an absolutely superb concert by an esteemed master of the instrument, Manuel Barrueco and two extraordinary young stars, Meng Su and Yameng Wang of the Beijing Guitar Duo. Mr. Barrueco hardly needs introduction, having been a leader in the guitar world for several decades. After emigrating to the US from Cuba to train at the Peabody Conservatory, his career took off, and he now maintains his own small Peabody studio. The Beijing Duo members, counted among his protégés, are much more than protegés, as both are masters in their own right with very busy careers underway. Meng Su was winner of the Vienna Youth Guitar Competition and the Christopher Parkening Young Guitarist Competition, and Yameng Wang was the youngest guitarist in history to win the Tokyo International Guitar Competition at age 12 and was invited by Radio France to perform at the Paris International Guitar Week at age 14. They both perform actively across the globe. As a duo, Su and Wang play with consummate sensitivity, as if playing a single instrument. In Barrueco’s collaboration with them, one heard the sublime melding of his lifetime of musical experience with their split-second responsiveness and keen musical instincts. What a trio!

The program was divided between Bach on the first half and Enrique Granados on the second – not a huge surprise given that works from the Baroque and Spanish repertoires are mainstays for the guitar. On the first half, we heard Bach’s Brandenburg Concerto No. 6 arranged for all three guitars and then the Chaconne in D minor from the Partita No. 2 for violin, BWV 1004, as arranged and performed on solo guitar by Mr. Barrueco.

Various transcriptions of the Brandenburg Concerti exist for nearly every kind of ensemble, including, of course, multiple guitars. As a devotee of these works in something close to their original instrumentation, I found their invigorating performance a surprise and delight. It was captivating. Because the arranger was not named in the program, one might be hard pressed to figure out whether the success was due more to the arrangement or to the performance – most likely there was a debt to both.

Despite the blending of similar timbres from three guitars, there was a clarity of voicing and distinctness of entrances that brought this work to buoyant heights. Highlights included the exquisite end to the brief Adagio movement, where ensemble work was about as close to perfection as it can ever be, and the extremely light finale, liberated from the less flexible weightiness that can beset larger ensembles. It enjoyed a breathtaking balance between individual expressiveness and group momentum. I won’t soon forget the first entrance of the finale’s sixteenth-note motive being tossed between guitars – it was pure life-affirming joy.

About the second work, I’ll confess that as soon as I saw a solo guitar arrangement of Bach’s famous Chaconne in D minor on the program, I had some trepidation. Despite popular opinion, most reviewers do not enjoy being a “wet blanket,” but this reviewer has long had serious misgivings about the effectiveness of this piece for solo guitar, even in the most masterful hands. There is simply something about the grandeur and passion of the violin’s sustained legato lines, the strenuous double and triple stops and heightened resonance, that is perfectly suited to the cathedral-like architecture of this piece (with Busoni’s arrangement for piano coming in perhaps as close second); despite the powerful original (or because of it), guitarists have not been able to resist this Everest, including, among past artists, the noble Segovia. Anyway, with that disclosure behind us, one can say that Mr. Barrueco’s version is surely among the best for his instrument, and his performance was indeed thoroughly engaging. He is undoubtedly still on top of his game, with enormous artistry and virtuosity to share.

The second half opened with the Valses Poeticos of Granados, played by the Beijing Guitar Duo. Extremely well suited to their sensitive listening and flexible team work, this arrangement from the original piano version (arranger not listed) came off beautifully. It was richly fulfilling to hear the exchange of lines from one guitar to the other, with intimate expressiveness, and also to behold the inspired moments when they were breathing musically as one player. No nuance was beyond their conception. Bravissima!

The biggest thrills of the evening, though, were in the performances of all three guitarists, mentor and “protégés.” The selections from Goyescas were enchanting. Again, we had the energy and flexibility of youth combining with a musical savoir faire that has spanned generations. This is not to suggest, by the way, that the younger players are in any way missing their own musical savoir faire – the rubato in melodies traded between Ms. Su and Ms. Wang had all the heart and soul of old Spain. Though all seven movements were listed, only three were performed, El Pelele (“The Puppet” or “The Strawman” by some translations), The Maiden and the Nightingale, and El Fandango de Candil to finish. Each was alive with musical color, and each was played with the highest polish. It was an excellent finale to a superb concert.

For encores the lucky and enthusiastic audience members (including many guitar aficionados) were treated to a Danza by Cervantes from Mr. Barrueco’s native Cuba, and a crowd-pleasing encore (name not quite heard) from China, the land of the Beijing Duo. Congratulations are due to these exceptional performers and to the NY Guitar Seminar for a strong start to their series.

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by Rorianne Schrade  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents Canta! Canta! Canta! in Review

Distinguished Concerts International New York (DCINY) presents Canta! Canta! Canta! in Review

Distinguished Concerts International New York (DCINY) presents Canta! Canta! Canta!
Cabrillo Symphonic and Youth Choirs, Cheryl M. Anderson, conductor
Ensemble Monterey Chamber Orchestra; Cabrillo Symphonic and Youth Choirs, John D. Anderson, conductor
Distinguished Concerts Singers International
Francisco Núñez, composer/conductor; Kristen Kemp, piano; Steve Picataggio, percussion
Stern Auditorium at Carnegie Hall, New York, NY
June 26, 2017

The final choral offering of the 2016/17 season presented by Distinguished Concerts International New York (DCINY) fell into two highly contrasted halves, musically and culturally, the whole making a complementary and enjoyable evening.

The first two offerings were by Latvian composer Ēriks Ešenvalds, who has become highly sought after in his field. His music evokes natural and cosmic vistas with beautiful use of accessible diatonic tunes, tone clusters, soaring descants, and good quality texts. The Long Road is a Latvian poem (sung here in English translation) about a young woman whose lover she has lost to war, she yearns for their reunion but realizes that that may constitute a “long road.” As conducted by Cheryl M. Anderson, the radiance of the music perfectly underscored every line of text, which was rendered crystal clear by the large choir.

Then followed the New York premiere of what one might term an “environmental” piece: Mr. Ešenvalds’ Sunset in My Hand: Ancient Voices of the Wild Pacific Coast. The work was extremely effective at portraying the moods of the sophisticated poems (by Teasdale, Neruda, Gioia, Steinbeck, Jeffers, and an anonymous Franciscan monk) as each one of them contemplates a different aspect of nature, hence reflecting upon themselves too. John D. Anderson led the group beautifully. One of the movements, Prayer at Winter Solstice, contained a slow-ticking metronome, with which the choir was deliberately supposed to sing “out-of-sync” to show the difference between measured time and “felt” time. This was the only problematic movement for me, as the metronome interfered with the gorgeous choral output. My personal favorite was Evening Ebb, a meditation at sunset on the ocean shore. Its rising and falling palindromic cluster chord repetitions were stunning. The inclusion of an Ohlone chant (the indigenous tribe of the San Francisco/Monterey region) in the final section, I Hold the Sunset in My Hand, was a nod to California’s colonial history.

My only suggestion to Ēriks Ešenvalds would be to create more variety of tempo in his otherwise transcendent output. Everything sounds very stretchy, like slow floating. I would have liked to hear this central-California coastal group cut loose in something with a bit more rowdy energy.

After intermission, Francisco J. Nuñez took the stage with his own renowned Young People’s Chorus of New York City, part of a composite group that included many other children’s choirs from across the US. Mr. Nuñez is a recipient of the prestigious MacArthur Foundation Fellow “Genius” grant, and has devoted his life to the creation and commissioning of quality accessible choral materials for children, works that will teach not only musical skills (while providing enjoyment) but also moral precepts such as diversity, strength, and faith.

His set was mainly of shorter “fun” pieces like the traditional Spanish song De Colores (colors of the rainbow and sounds of animals) and Pinwheels (joy of young people spinning and turning), but the Misa Pequeña Para Niños, an abbreviated Catholic Mass setting in Spanish was a novelty to me—its tiny dimensions coordinating with the children singing it. Four young soloists with great self-possession fulfilled the brief solo parts nicely. May I also note that the choir’s diction was clear as well, an accomplishment not so easy to achieve. An uncredited duo, one playing flute/piccolo/clarinet, the other violin, added excellent evocative sonorities to the piano and percussion.

The concert concluded with a rousing performance of La Sopa de Isabel (Elizabeth’s soup), a merengue that involved all manner of eurhythmic clapping, stomping, turning, etc. Mr. Nuñez’s sheer joy in this work was front and center, his hips grew ever looser with each repetition, and it was clear how much the children enjoyed working with him and he with them.

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by Frank Daykin  for New York Concert Review; New York, NY
Víjon Duo in Review

Víjon Duo in Review

Víjon Duo
Joong Han Jung, piano
Victor Chávez Jr., clarinet
Weill Recital Hall at Carnegie Hall, New York, NY
June 22, 2017

On June 22, 2017 at Weill Recital Hall, the Víjon Duo presented a concert of clarinet-piano duos and solo piano works. The duo’s musicians are pianist Joong Han (Jonathan) Jung and clarinetist Victor Chávez Jr. Both performers have impressive credentials and extensive performing appearances in venues throughout the globe. One can learn more about the artists by clicking on the following links: Joong Han Jung and Victor Chávez Jr. As an additional point of interest, Mr. Chávez is a Buffet Crampon Artist and exclusively plays on Buffet Crampon clarinets, which are considered by many to be the finest in the world.

There were brief programs notes for all the works in both English and Korean, no doubt due to the large following of Korean-speaking fans of the duo.

The duo opened with Prokofiev’s Sonata for Flute and Piano in D major, Op. 94, as transcribed for clarinet by Kent Kennan. It is well-known that Prokofiev himself made a transcription for violin, at the request of his friend, the legendary violinist David Oistrakh (Op. 94a). There seems to be no reason why the clarinet, an instrument with versatile and agile qualities similar to the flute, cannot “be part of the fun” that this popular work gives performer and audience alike. Make no mistake, the end result is something rather dissimilar, due to the differences in timbre between the flute and clarinet, especially in the extreme register. This listener did not find those sections to be effective, but that in no way is a criticism of Mr. Chávez. His technical prowess was more than able to deal with the challenges, and his tone in the middle and lower registers was warm, full-bodied, and enchanting. There were some “squeaks” in the extreme register, which are among those occupational hazards that clarinetists have to deal with. In the end, it was an excellent reading that showed both performers to advantage.

Following the Prokofiev came Four Pieces for Clarinet and Piano, composed by Mr. Jung. Originally conceived for voice and piano, Mr. Jung arranged these pieces for clarinet in 2017 to honor his friend and duo partner Mr. Chávez. In his notes, Mr. Jung wrote that the four pieces were to be used “to compliment and uplift the Catholic Mass.” The four pieces are (no title), Illuminate, Sanctus, and Agnus Dei. There is a strong French influence in the first three; the first two have striking Debussyian qualities, and the third reminds one of Milhaud. The piano part is virtuosic; there is no “hack-in-the-back” anywhere to be found in any of the selections. The fourth piece, the Agnus Dei, was much more individualistic, with a mournful sound that was truly moving. It was this listener’s favorite of the set. Mr. Jung knows his partner well, as the clarinet writing strongly realizes all of Mr. Chávez’s strengths- his rich tone and assured technique.

After intermission, Mr. Jung took the stage and briefly spoke to the audience about how he came to collaborate with Mr. Chávez, and about the Beethoven and Scriabin works he was to play. After thanking the audience for attending, he took his seat at the piano and played Beethoven’s Seven Bagatelles, Op. 33. As the title suggests, these are light-hearted works showing Beethoven in a happy, playful vein. Mr. Jung played with a light touch that seemed ideal, not too serious, but not tossed off glibly. Scriabin’s Piano Sonata No. 5, Op. 53 followed the Beethoven. This work, in a single movement (a scheme that Scriabin used for his subsequent sonatas), was written shortly after the Poem of Ecstasy, in which Scriabin struck out towards a style that Mr. Jung aptly called “hyper-romantic.” It’s an eleven-minute powerhouse work. Mr. Jung has obviously made it his mission to make this work a signature piece. He brought a well-considered, technically polished, and “hyper-romantic” approach that electrified the audience. It was a performance that Mr. Jung can be proud of and one that this listener found compelling.

Mr. Chávez rejoined Mr. Jung in a spirited reading of World Dance, the third of Three Pieces for Clarinet and Piano, from the pen of the well-known Israeli-American composer Ronn Yedidia (b. 1960). One can hear many dance styles, in what might be called a “Klezmer Hoedown.” It’s a delightful romp, and the duo played it to the hilt. It was a joyous ending to the evening. The composer was present, and he acknowledged the cheers of the audience. They gave the duo a standing ovation.

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