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Book Review: Ignacio Cervantes and the XIX-Century Cuban Danza

By Salomón Gadles Mikowsky

Ignacio Cervantes and the XIX-Century Cuban Danza

By Salomón Gadles Mikowsky

LAP, Lambert Academic Publishing

273 pp (including Appendices and Bibliography)

New York, NY 2016

ISBN: 978-3-659-82531-6

It is not every day that one encounters a flexible and inspiring teacher of classical performance who is also an uncompromising and meticulous scholar, but apparently we have both in Salomón (or Solomon) Gadles Mikowsky, as is evident in his newly published book, Ignacio Cervantes and the XIX-Century Cuban Danza. We also have here a “must read” book for those interested in the music of our neighbor to the south – and especially given recent developments in diplomatic relations, that ought to be quite a few. More specifically, we have an excellent study of Cuba’s most important nineteenth-century composer, Ignacio Cervantes (1847-1905), and a diachronic exploration of his favored pianistic form, the Danza, not only central to most Cuban music of his day, but influential to all that followed. In other words, if one is interested in a deep and thorough understanding of Cuban music, one will want to read this book.

Regular readers of New York Concert Review may have read my January review of Kookhee Hong’s book The Piano Teaching Legacy of Solomon Mikowsky, but to summarize, Ms. Hong’s book reflects Solomon Mikowsky’s role in the world as a pianist, pedagogue, and person. A reader may click here to read that review: Book review-The Piano Teaching Legacy of Solomon Mikowsky. Ms. Hong’s book, (also published by LAP) proved to be a somewhat fast and conversational read, so having been assigned to review this one, I was not quite prepared for the dense scholarship. The latter is an updated version of Dr. Mikowsky’s doctoral dissertation from 1973, Teachers College, Columbia University, so of course a breezy read it is not; it is, however, an extremely reasonable introductory course in Cuban music, and considering the voluminous materials that had to be predigested or evaluated for even each footnote, it is relatively short at 273 pages!

Naturally as an updated dissertation, this book on Cervantes is a highly specialized study. As such, it is appropriate for the serious student or professional, with references to chords and terms that presume at least an intermediate-level musical education; that said, much of it could be appreciated on a broader cultural level, as Dr. Mikowsky’s writing touches on many aspects of Cuban life beyond musical ones. Salomón Mikowsky (appropriately using his Cuban name as author) shows passionate dedication to his heritage. That dedication is absolutely essential in this area of music history, previously hindered by inadequate scholarship, domestic upheaval in Cuba, confusing and daunting nomenclature, and perhaps even a too-casual attitude towards the Danza, due to its social origins and the prevailing Euro-centricity of Cervantes’ day. Though there are now some respected reference books on Cuban music and Cervantes (cited by the author himself), it is clear that Dr. Mikowsky was a pioneer to be pursuing this study in the early 1970’s. As Radamés Giró, Cuba’s leading musicologist states in the Preface, “it was the first biography-study ever written about a Cuban composer from the 19^th century.”

Ignacio Cervantes is neatly divided into two parts. Part I includes the introduction and background of the Danza, related forms, and the musical predecessors of Cervantes (prominently Manuel Saumell), and Part II is devoted to Cervantes, the man and his music, including generous musical examples and analyses. The Appendices that follow include some 44 pages of Cervantes Danzas that are a reason in and of themselves to buy this book (not to mention additional examples by other composers). Ensuing discussions of various editions and a helpful bibliography listing several hundred titles make this a valuable resource for pianists as well as a springboard for further study.

As stated before, the book is scholarly, packed densely with information, evaluation of sources, explanation of bibliographic and ethnographic considerations, discussion of the origins and even choreography of related dances: the longway, quadrille, cotillion, contredanses, contradanzas, the danza, and the danzón, among others. One may grow faint of heart from what seems a confusing array of fine distinctions in the dances’ overlapping evolutions and transitions from European forms to Latin American, but Dr. Mikowsky does sort it all out tirelessly, with clarity, and with a sense of mission in defining the forces behind a national musical identity. He strikes an expert balance between detail and overview. The origins of the Danza’s precursors from France, Spain, and England are convincingly disentangled based on every conceivable source, and the effects of African and Haitian-French influences are discussed and also disentangled.

Areas of controversy or ambiguity are labeled as such with honesty and integrity, including as an example a point of disagreement with Nicolas Slonimsky on whether Cervantes actually studied with Louis Moreau Gottschalk as often reported (the reader will have to read that for himself – no spoilers here!), but all is illuminated by Dr. Mikowsky’s solid foundation of knowledge. We see the many layers of scholarship behind each statement but are not forced to wade through that scholarship ourselves – mercifully!

Moments in the biographical section are particularly fascinating, including mention of Cervantes auditioning in Paris in front of Charles Gounod (playing the Herz Concerto No. 5 which he had had left only two weeks to learn), embarking on a career in France and Spain, and beginning friendly relations with Franz Liszt. Cervantes became friends with Gioacchino Rossini (and an accompanist for him), as well as with Adelina Patti and Princess Marcelline Czartoryska, a pupil of Chopin who gave Cervantes some of Chopin’s works annotated in his own hand. One imagines that if there were tabloids in heaven, they would contain similar intermingling of legends. Cervantes did indeed win many hearts in Europe, but for reasons on which one can only theorize, he arrived back in his native Cuba in 1870, where he stayed (with the exception of trips to the US and Mexico) and composed what became a source of pride for Cuban musicians. It was not the Europeanized music of his teacher Nicolás Ruiz Espadero or of those Europeans who visited on tour and adopted a Cuban flavor for a miniature or two, but it was the beginnings of a national music.

To express a minor reservation, I would suggest that for the next edition there could be further editing of the prefatory material by Dr Mikowsky’s colleagues, as they contain a few obvious careless errors and some longwinded language (perhaps from awkward translating or language issues). A preface should whet one’s appetite to read a book, not slow one down! I am glad such a matter did not deter me, as the book is one of considerable importance.

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

Distinguished Concerts International New York (DCINY) presents Songs of Inspiration and Hope in Review

Distinguished Concerts International New York (DCINY) presents Songs of Inspiration and Hope

Spivey Hall Children’s Choir; Martha Shaw, director

Stuyvesant High School Chorus; Holly Hall, director

Distinguished Concerts Singers International; Lori Loftus, DCINY debut conductor

Stern Auditorium at Carnegie Hall, New York, NY

June 26, 2016

On June 26, 2016 Distinguished Concerts International New York (DCINY) presented a concert entitled Songs of Inspiration and Hope. Featuring the Spivey Hall Children’s Choir from Georgia, the Stuyvesant High School Chorus from New York, and the Distinguished Concerts Singers International (singers from North Carolina, Ohio, Georgia, Pennsylvania, California, and Maryland), it was an afternoon filled with the heartfelt joy of youthful singers from elementary school age through high school.

A concert featuring exclusively children (or young people, if you prefer) presents a difficult set of choices to the reviewer. It would be inappropriate, or even downright hostile, to judge using the standards applied to professional or adult ensembles. It would also be inappropriate to grant a wholesale “free pass” based solely on the ages of the performers and to ignore issues of balance and intonation. This reviewer decided that he would give the just consideration that developing voices deserve, assess whether the selections chosen were appropriate for them, and evaluate the ensemble, intonation, and to a lesser extent the diction.

The hall was filled with family and friends of the performers ready to cheer on their young stars. The sacrifices of time and money made to give these talented youngsters the opportunities to travel and perform are often overlooked. They might not be the ones on stage, but they help to make it possible, and that deserves recognition.

Due to the quantity of selections offered (twenty), I am not going to comment on each work as I usually do in a review, but will offer some general observations and highlights. For detailed information about the program, program notes, and biographies of Ms. Shaw, Ms. Hall, and Ms. Loftus, click the following link: Concert Program and Notes.

What was at once apparent to this reviewer was the nurturing and completely involved approach the three directors, Martha Shaw, Holly Hall, and Lori Loftus, all took with their young singers. One could see the encouraging gestures, the coaching during and between selections, and the complete joy from these three masterful directors. This is the right approach, and it paid off in what were very good performances for these very young and developing singers.

Opening the afternoon was the Spivey Hall Children’s Choir, led by Martha Shaw. They offered eight selections. Their ensemble was good, and intonation was steady, but there needed to be more projection of sound. The vastness of the hall demands a more robust approach; otherwise, the sound is lost before it reaches the middle of the hall. This is especially true of high treble voices. To be fair, much more experienced groups have had similar issues. Special recognition goes to oboe soloist Natalie Beckenbaugh, saxophonist Randall Reese, bassist Daniel Stein, and drummer Chris Gella, for their roles. The highlight of their selections for this listener was the Hoagy Carmichael classic Georgia On My Mind, with the clever J’entends le Moulin by Donald Patriquin as a close second.

After intermission, the Stuyvesant High School Chorus, led by Holly Hall, took the stage. They offered five selections. They sang with the confidence that comes from being extensively prepared. Accordingly, their offerings were all highly polished. The highlight for this listener was Beethoven’s festive Chor del Engel, from his oratorio Christus am Oelberge (The Mount of Olives), Op. 85. The ensemble, diction, and balance were outstanding, in what would have been exceptional even for an older, more experienced group. They continued their good work throughout, in selections that showed their depth and maturity beyond their years. Excellent work!

Ending the afternoon was the Distinguished Concerts Singers International, led by Lori Loftus, in her DCINY debut as conductor. They offered seven selections. Good balance, mostly steady intonation, and diction were present throughout. The contrapuntal singing in Heinrich Schutz’s Cantate Domino was quite impressive for such young singers.

For The Storm is Passing Over, three (unnamed) soloists (two young ladies and one gentleman) came to the front of the stage, and each had an opportunity to “let loose” with some very impassioned singing. This was the highlight of their set, and the audience loved every second of it! Ending with America The Beautiful, complete with each member of the ensemble waving an American flag, brought another standing ovation from the audience. It was a fitting end to an afternoon that showed the promise of the future of music is alive and well in these young hands and hearts.

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

The Eighth New York International Piano Competition in Review

The Eighth New York International Piano Competition (NYIPC) under the Auspices of the Stecher and Horowitz Foundation

Greenfield Hall, Manhattan School of Music, New York, NY

June 24, 2016

It was an honor and pleasure to be asked to review the awards recital of the New York International Piano Competition – now its Eighth Biennial event – as I had enjoyed and written quite favorably about its seventh competition back in 2014. Interested readers may wish to read about the 2014 edition by following the link here: Seventh International Piano Competition in Review. To reiterate my positive reactions, this competition stands out in two special ways from other competitions. First of all, everyone is a winner in a way, because, in addition to the major prizes, there is a finalists’ award for each of the remaining contestants. Secondly, there is outstanding commitment to maintain relationships between the contestants and the organization, under the leadership of Melvin Stecher and Norman Horowitz, both veteran musicians and mentors. To read more about this remarkable duo, the reader can also read a recent article by Frank Daykin entitled “The Musical Father Figures We All Need” by clicking here: The Musical Father Figures We All Need. One may also click here to visit the competition website: http://stecherandhorowitz.org/competition/.

In addition to the two above-mentioned pluses and the “no elimination” policy (everyone getting to play every round), this competition is perhaps unique among soloist competitions in holding a piano-four-hand round, an appropriate signature feature given the history of the duo-pianist founders, Stecher and Horowitz. This year’s inclusion of John Corigliano’s Gazebo Dances was a particular joy. This competition boasts plenty of other pluses, including its distinguished jury and excellent track record for selecting talent, but the numbers tell their own story: this year’s twenty-two pianists were selected from an international field of over 150 applicants, and many of them traveled a long way for it.

These award evenings tend to start with a string of speeches. We heard from Mr. Stecher, Mr. Horowitz, and Chairman of the Board William S. Hearst, in addition to the delightful Master of Ceremonies, Robert Sherman, of WQXR fame. As engaging as the speeches were, one could not help empathizing with the twenty-two contestants seated onstage awaiting the calling of names and, in the cases of some winners, their own chance to perform. It won’t be the last time these youngsters (ages 16-21) are required to have nerves of steel in their chosen field, but the speeches are certainly a rigorous test. The winners were certainly up to the challenge.

We heard from First Prize Winner, Aristo Sham, who dazzled with Scriabin’s Sonata No. 9, Op. 68 (the “Black Mass”) as well as with Two Impromptus, Op. 131 by Lowell Liebermann. The latter was commissioned by the Stecher and Horowitz Foundation to be played by each contestant, and Mr. Sham happened also to win the award for Best Performance of Commissioned Work, so he gave the Impromptus what could be considered their public premiere on this occasion. It would be difficult to imagine them played more compellingly. Mr. Sham showed tremendous command, involvement, and what seemed to be intimacy with the piece, showing meditative lyricism through its melancholy sections and fierce intensity through its severe contrasts. It was impressive to consider that he, like all contestants, had been sent the scores only two months prior. Fortunately Mr. Liebermann, a fine pianist himself, writes some of the most idiomatic piano music today, so any contestant would be delighted to be assigned the Two Impromptus as a “test piece” – Mr. Sham said as much to emcee Robert Sherman, and volunteered that he was (“obviously”) already familiar with Mr. Liebermann’s Gargoyles. (How old that made me feel, as I recall when they were “hot off the press!”) The Impromptus are a welcome enrichment to the contemporary piano repertoire, and Mr. Sham will be an able champion for them.

Originally from Hong Kong, educated in London, and currently enrolled at Harvard University and New England Conservatory, the 20-year-old Mr. Sham is a young phenomenon. His Scriabin, in addition to showing passion and pianism, reflected logic and clarity, two qualities one doesn’t always associate with Scriabin but which are nonetheless vital in holding it together. Every note had a decisive place in the grand scheme of things, and the more extroverted moments had a strong sense of inevitability. One’s interest in Mr. Sham’s Beethoven was certainly piqued (and he had offered Op. 106 in earlier rounds, but opted here to play Scriabin, with help from an audience “vote” he solicited). There is clearly much to look forward to, both for Mr. Sham and for us.

We also heard from talented Second Prize Winner Angie Zhang, also age 20, in Los Requiebros from Goyescas by Granados. Ms. Zhang’s playing was warmly expressive, sensitive and polished, just right for this piece. Almost as impressive was her ease and eloquence in speaking about the music, to share a bit about the composer and give the audience some context. It almost seemed as if this were not an awards night but simply a chance to share music. Ms. Zhang will be a valuable advocate for classical music from her generation if this evening is any gauge. One looks forward to hearing her again, hopefully in a more telling variety of repertoire.

We did not hear the other prizewinners as soloists, but Jiacheng Xiong, age 19, from China, won Third Prize, and Evelyn Mo, age 17, from the US, took Fourth Prize. For the four-hands ensemble component, Second Prize went to the team of Jhiye Lin, age 19, from China, and Aaron Kurz, age 20, from the US.

First Prize in the ensemble round went to the team of Prudence Poon, age 19, from Hong Kong, and Jooyeon Ka, age 20, from Korea, who performed a pair of Corigliano’s wonderful Gazebo Dances with festive spirit. The Waltz showed nuance, elasticity, and playfulness that were just right. Despite a supposed language barrier during rehearsal (when asked, Ms. Poon said they relied somewhat on “body language”), they obviously had found a rapport. The feisty Tarantella was stunningly together, with an exciting display of fireworks at the end. The audience heartily approved. Mr. Sherman, with ever-perfect timing asked, “see what body language can achieve?”

All who participated in this event are to be congratulated, and certainly among them the distinguished panel of Francis Brancaleone and Anthony Lamagra (Screening Jury) and the Competition Jury of Tong-Il Han, Jane Coop, Ian Hobson, Orli Shaham, Jeffrey Swann, and Erik Tawastjerna. One eagerly awaits the Ninth NYIPC in 2018!

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

Distinguished Concerts International New York (DCINY) presents Show Me LOVE: Bringing Beauty & Love to a Hurting World in Review

Distinguished Concerts International New York (DCINY) presents Show Me LOVE: Bringing Beauty & Love to a Hurting World

The Lincoln Gospel Choir, T.H.I.S. Movement Players; Darcy Reese, director

Tonia Hughes, Darnell Davis & The Remnant, special guests

Alice Tully Hall, Lincoln Center, New York, NY

June 17, 2016

Today’s world is fraught with what seems to be an endless cycle of violence, intolerance and polarization. What is to be done? A group of incredible passionate and talented youngsters believe there is an answer – Show Love. These two simple words were the unifying theme for what proved to be one of the most impassioned performances this reviewer has heard and seen. On June 17, 2016, Distinguished Concerts International New York (DCINY) presented Show Me LOVE: Bringing Beauty & Love to a Hurting World at Alice Tully Hall, featuring the Lincoln Gospel Players from Thief River Falls, Minnesota, with the T.H.I.S. Movement Players, all led by Darcy Reese. Special guests Tonia Hughes, Darnell Davis & The Remnant, were also on hand to lend their considerable talents to the mix.

DCINY live-streamed this event and made it possible to hear (or re-hear) it by visiting their Facebook page ( DCINY Facebook page).

This was not a conventional concert by any definition. It could be called a Gospel oratorio, but I believe the best way to describe this performance might be to call it an experience. This listener decided almost immediately that any “typical critic” remarks would be meaningless, so it was time to sit back, go on the journey, and experience the power and the energy that abounded. It was an easy decision to make.

The nearly two hour Show Me Love consisted of three parts (without break). The first, The Crisis, presented the reality of today’s world. There was a montage of audio clips from actual events in recent times, highlighting the violence and the tragedy. The second, The Remedy, spoke of what needs to be done to address the crisis. The third, The Cure, told of the actions being taken. Each section was filled with songs appropriate to the message. There was also “slam poetry” in the first section, with small sermons in the second and third sections.

These youngsters came to rock the house, and rock it they did. The energy never flagged, and the movements and choreography were astounding. It was obvious that there was complete commitment and belief in their mission; there was none of the pasted on smiles and robotic group movements that one so often sees. Their faith was the “secret sauce” that put them over the top. Their director, Darcy Reese, has the energy of twenty people. She invested every ounce of her being as she swayed, jumped, clapped, and cajoled the singers with her infectious energy, which the singers radiated right back. T.H.I.S. (The Hero Inside Shines) Movement Players provided able support, the quiet heroes of the night. The audience was filled with people dancing, waving their hands in celebration, and clapping along. Many appeared to be completely overcome with emotion, in what is really the true Gospel experience.

Darnell Davis was a double threat, both as a soloist and singer with the amazing vocal group, The Remnant, and as a preacher of two mini-sermons. The second sermon, which I will call “The ONE person,” brought the house down. One simply must view it, because trying to describe it here would not do it justice. Watch, and you will agree! Tonia Hughes has a voice that soars in the heavens, in what had to further inspire both the young singers and the audience.

Special recognition to Narrators/Soloists/Readers Elise Kalsnes, Hannah Brickson, Richard Sather, Samantha Buckley, Matt Johnson, Ethan Halvorson, Claire Naslund, Cooper Sorvig, Lauryn Thune, Bethany Fanfulik, McKayla Erickson, McKenna Blaine, Brandi Hannon, Richmond McDonald, Lindsey Van Elsberg, and Sam Buckley. You were all stars!

It all ended in a fever pitch, with all audience members on their feet, and they continued to roar their delight even as the members of the chorus exited the stage, row by row. The afterglow of all this energy is still with me days later.

The message is clear: don’t give up. There is hope yet. Show love.

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

Vocal Artists Management presents the 7th Annual Artist Showcase in Review

Vocal Artists Management presents the 7^th Annual Artist Showcase

James Greening-Valenzuela, manager

Stacey Stofferahn, Alison Davy, Cynthia Leigh, Deborah Lifton, sopranos; Eunjoo Lee-Huls, Thea Lobo, mezzo-sopranos; Eric Malson, accompanist

Marc E. Scorca Recital Hall, Opera America National Opera Center, New York, NY

June 16, 2016

Vocal Artists Management (www.vocalartistsmgmt.com) presented the 7^th Annual Artist Showcase at the National Opera Center America on June 16, 2016. Featuring six singers from their roster (four sopranos and two mezzo-sopranos), they offered one of the most eclectic programs this listener can recall hearing. There was “something for everyone,” including thirteen works from Baroque, Romantic, Viennese school (omitting the triskaidekaphobic Arnold Schoenberg, of course), and contemporary periods. It was to prove to be both an enjoyable and edifying evening.

To start with few words about the venue, the recital hall has the intimate feel of a salon, with seating on this occasion for sixty-four people. The design has clearly taken acoustics into consideration as well. I would also like to take the time to commend the organizers for providing synopses of the works, which gave the listener a reference point to understand the underlying meanings, a very valuable thing that is overlooked almost all the time.

Soprano Stacey Stofferahn led off with Ain’t it a Pretty Night from Susannah by Carlisle Floyd and I Want Magic from A Street Car Named Desire by André Previn. The dreamy coquettishness of Susannah and Blanche was portrayed by Ms. Stofferahn with charm and a voice to match. It was an impressive start.

Mezzo-soprano Eunjoo Lee-Huls followed with George Handel’s Hence, Iris Hence Away from the opera Semele, and Von ewiger liebe, Op 43, No.1 by Johannes Brahms. She navigated the vocal gymnastics of the Handel with confidence, and her excellent German diction in the Brahms made quite an impression on this listener.

Soprano Alison Davy was up next. Her two selections, Hugo Wolf’s Bedeckt mich mit blumen and Grace by Michael Tilson Thomas, showed her stylistic versatility to great advantage, from the poignant despair of the Wolf, to MTT’s comical celebration (in what was essentially an expression of admiration for Leonard Bernstein).

Soprano Cynthia Leigh followed with two highly polished performances – Marietta’s Lied from the opera Die Tote Stadt by Erich Wolfgang Korngold, and The Maid and the Nightingale (from Goyescas) by Enrique Granados. Ms. Leigh has the assured technique of a seasoned performer.

Mezzo-soprano Thea Lobo was up next. She offered a playful rendition of The Owl and the Pussycat by Igor Stravinsky. Her Tief gebückt, the 4th movement of the Cantata BWV 199 by J. S. Bach, was exquisite.

Soprano Deborah Lifton was the final performer for the evening. She offered three works. Try Me, Good King, from Anne Boleyn by Libby Larsen, was an impressive display of power, and her negotiation of the extreme upper register was flawless. Joaquin Rodrigo’s ¿Con qué la lavaré?, from Cuatros Madrigales Amatorios, was heartbreaking. Richard Strauss’ Muttertändelei, Op. 43, No. 2 was a pleasing finish, with Ms. Lifton capturing the essence of the mother who can’t stop bragging about her child. It was a delightful performance.

Eric Malson was the unsung (no pun intended) hero of the evening. To accompany six different singers with such different repertoires is no mean feat, yet Mr. Malson did so with consummate skill.

At the end all the performers joined together on the stage for a group bow to the enthusiastic audience. Congratulations to all.

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

Distinguished Concerts International New York (DCINY) presents Eternal Light in Review

Distinguished Concerts International New York (DCINY) presents Eternal Light

Distinguished Concerts Orchestra; Distinguished Concerts Singers International

Jonathan Griffith, DCINY Artistic Director/Principal Conductor

Cristian Grases, composer/conductor

Stern Auditorium at Carnegie Hall, New York, NY

June 12, 2016

On June 12, 2016, Distinguished Concerts International New York (DCINY) presented a concert entitled Eternal Light, featuring two works, Lux Aeterna by Morten Laurdisen (b. 1943), and the World Premiere of Cristian Grases’ (b. 1973) Nocturnos y Adivinanzas (Nocturnes and Riddles). Featuring singers from Georgia, Mississippi, Missouri, Texas, Tennessee, Utah, Washington, Australia, Canada, and “individual singers from around the globe,” it was a richly rewarding experience for those intrepid souls who braved the crowds enjoying the Puerto Rican day parade to make it to Carnegie Hall.

Jonathan Griffith took the podium to conduct Morten Lauridsen’s Lux Aeterna. Composed in 1997, Lux Aeterna is a five-movement work, taking the opening and closing of the Requiem Mass and three sections of the Te Deum for the texts. If “heaven” is really as many imagine, I would not be shocked if this music is being heard and played there. This is simply some of the most beautiful music I have ever heard, and at the risk of being accused of intellectual laziness I will respond that its transcendence simply eludes words. I will mention in particular the final Agnus Dei – Lux Aeterna, where voices and instruments converge in a musical apotheosis like no other, as if the gates of heaven were opening and beckoning one to enter. The chorus was well-balanced, with clear diction and projected clearly. Maestro Griffith led with his usual skill, with careful attention to details and subtleties. It was a celestial journey of twenty-seven minutes. As Maestro Griffith lowered his baton, the sound slowly died away to complete silence. After about five seconds of this silence, the audience “returned to earth” and gave the performers a well-deserved standing ovation.

After intermission, Cristian Grases took the podium to conduct the World Premiere of his Nocturnos y Adivinanzas (Nocturnes and Riddles). This six-movement work is set to four riddles and two lullabies, all in different Latin American dances, such as the Puerto Rican Bomba, the Cuban Habanera, Danzón, Cha Cha Cha, and the Brazilian Samba Reggae. Dr. Grases gives a detailed explanation in his excellent program notes, which the reader can access by clicking here – Program Notes (this will also include the texts with translations).

The chorus consisted entirely of young singers (most appeared to be pre-teens and teens), which lent a certain charm and innocence that was completely consistent with the texts and the musical styles. One could not help being won over by these youngsters singing with such enthusiasm, not to mention fine diction and projection.

If Lux Aeterna is the music of Heaven, then Nocturnos y Adivinanzas is the music of Earth. This is not to suggest that it is crude or of less import, but rather to highlight it’s obvious projection of the joy of life and of life in this world. It’s a thirty-five minute trip of some of the most festive and infectiously happy music one could have the pleasure to experience. It’s a virtual tour of the sounds of Latin America, delivered with consummate skill and reverence. Dr. Grases was a charismatic leader as he led the large forces in an engaging performance. Highlights for this listener were the charming La Luna (the Moon), and the ebullient Las Estrellas (The Stars). Nocturnos y Adivinanzas is a winner! The audience agreed and responded with a roaring ovation that lasted for several minutes. Congratulations to all!

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

Distinguished Concerts International New York (DCINY) presents Echoes of Deserts and Mountains in Review

Distinguished Concerts International New York (DCINY) presents Echoes of Deserts and Mountains

Highlands Youth Ensemble; Jane Deloach Morison, director

Odem High School Wind Ensemble; Steven Rash, director

Colorado Springs Youth Symphony; Gary Nicholson, director

Wajima Wadaiko Toranosuke; Tetsuta Imai; founder/director

Stern Auditorium at Carnegie Hall, New York, NY

June 11, 2016

Distinguished Concerts International New York (DCINY) continued their mission of bringing talented young ensembles to Carnegie Hall to give these youngsters the once-in-a-lifetime opportunity to showcase their talents in one of the world’s premiere concert halls. This concert, entitled Echoes of Deserts and Mountains featured the Highlands Youth Ensemble choir from Tennessee, the Odem High School Wind Ensemble from Texas, the Colorado Spring Youth Symphony from Colorado, and Wajima Wadaiko Toranosuke from Japan (!).

The Highlands Youth Ensemble, led by Jane Deloach Morison, opened the night. They offered five short works, Jubilate Deo by Peter Anglea (b. 1988), O Vos Omnes, an adaption of Lamentations 1:12 (Vulgate) by Pablo Casals (1876-1973), Haec Dies from William Byrd (1540-1623), Psalm 8, as set by Dan Forrest (b. 1978), and Gloria by André Thomas (b. 1952).

The first thing one observed about the Highlands ensemble was that the ratio of women to men was quite high – the young women outnumbered their male counterparts by nearly three to one! Happily, there were very few issues with ensemble balance, and they blended well throughout. It would have been good if the ensemble had projected more sound – this is something common for small ensembles accustomed to singing at much smaller venues. This concern aside, this ensemble was well prepared and gave highly polished performances. Highlights for this listener were the energetic Jubilate Deo and the beautiful Psalm 8 (with violinist Natalie Lugo). After the Gloria (with kudos for soloists Sarah Shipp and Brenna Williams), the large audience gave the singers a standing ovation.

After a short pause, the Odem High School Wind Ensemble took the stage. Led by Steven Rash, they offered six works. John Philip Sousa’s The Fairest of the Fair was their opener. Written in 1908 for the Boston Food Fair, it has been claimed that Sousa composed this work from inspiration of the memory of a beautiful girl he had seen or met at an earlier fair – a nice, but factually unsubstantiated story that is still making the rounds (e.g., Wikipedia). It is one of the more melodic and less martial of Sousa’s marches. There were some instances of less than precise ensemble articulation in the more rapid passages, and the “off to the races” tempo of the final repeat of the trio was bizarre (there is no indication of this in the score); other than these issues, however, it was a solid start.

Next from the Odem ensemble came A Walk in the Morning Sun by Pierre La Plante (b. 1943). It is, according to the composer, “’a tip of the hat’ to Leroy Anderson’s unique style and contribution to American Music.” This is an apt description of this sunny work, which was played with an appropriate light touch. Gustav Holst’s Second Suite in F for Military Band, Op. 28, No.2 (omitting the third movement) followed. There was much to praise here, with still some room to improve. Just one general observation, and that is playing loudly is too often considered the answer to intonation issues in Holst and shouldn’t be. A Childhood Remembered by Rossano Galante (b. 1967) was played with assurance, which showed me the potential these youngsters have, and W. Francis McBeth’s 1977 Canto, Op 61 (led by Nathan Williams), was right in the wheelhouse of this ensemble. Ending with the aptly named Imaginarium by Randall D. Standridge (b. 1976), the ensemble let loose and the result was simply unbridled fun. Their many supporters (family and friends) gave them a standing ovation, something these young players will remember forever.

The Colorado Springs Youth Symphony, led by Gary Nicholson took the stage to begin the second half. They opened with a spirited and precise reading of Leonard Bernstein’s Overture to Candide, a much-loved work (and much-performed – this is the third time in three successive concerts I have had the pleasure of hearing this piece). Hopefully the audience members were familiar with this work, as it was listed in the program as being the second work! I shudder at the thought that anyone though that the playful Candide was actually Rimsky-Korsakov’s Russian Easter Festival Overture! About the Rimsky-Korsakov – it was excellently played, with special recognition to the fine soloists. The last work, John Williams’ The Cowboys, an overture constructed from music from his score for the 1972 John Wayne film The Cowboys, was the highlight of their performance. Incidentally, it was written especially for Maestro Williams’ first concert as principal conductor of the Boston Pops. The audience rewarded the Colorado group with an extended standing ovation.

After a short pause, Wajima Wadaiko Toranosuke, led by Tetsuya Imai took the stage. The members of this ensemble consist of youngsters from elementary school through high school age. As the various drums were positioned and the traditionally dressed players took their places, the audience awaited what we would call a demonstration of Taiko drumming. The term “Taiko” includes a broad range of Japanese percussion instruments. In Japanese, the term refers to any kind of drum, but outside Japan, it is used to refer to any of the various Japanese drums called wadaiko (“Japanese drums“), and to the form of ensemble taiko drumming, more specifically called kumi-daiko (“set of drums”).

The youngsters offered four selections, all of a ceremonial nature. I’m not going to bluff here and claim any special knowledge (that is best left to those who have studied and practiced the art), but it was obvious that this ensemble was top-notch. Movement and stick-work was exquisitely precise, the energy was electric, and the stamina of the players was jaw-dropping. The audience loved it!

To close the concert, Wajima Wadaiko Toransosuke joined with the Colorado Springs Youth Symphony for the New York Premiere of Fantasia for Taiko and Orchestra by Eric Ewazen (b. 1954). This work is a concerto grosso that combines the power of taiko with the tonality of an (western) orchestra. It had all the hallmarks of Mr. Ewazen’s imaginative and all-embracing style, and it was a treat for the eyes as well as the ears. The audience responded with a standing ovation, and Mr. Ewazen took a bow from his balcony seat. Congratulations to all.

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

The International Violin Competition of Indianapolis Presents Jinjoo Cho, Violin, in Review

The International Violin Competition of Indianapolis Presents Jinjoo Cho

Jinjoo Cho, violin; Hyun Soo Kim, piano

Stern Auditorium/Perelman Stage at Carnegie Hall, New York, NY

June 9, 2016

Violinist Jinjoo Cho is a discovery. Well, to be fair, she was discovered as 2014 Gold Medalist at the International Violin Competition of Indianapolis, one of the most prestigious violin competitions in the world – and before that, at the 2006 Montreal International Music Competition (winning at age 17), and at quite a few other venues worldwide. I had not heard her though, and despite being spoiled from decades of hearing great violin playing (from over a century if one counts recordings), I was completely won over. Ms. Cho has it all – brilliant technique, musicality, passion, intelligence, flair, and an engaging stage presence. It is always exciting to hear an important debut at Carnegie Hall, but when a young performer “knocks one out of the park” as they say, it is simply electrifying. Her excellent collaborator, Hyun Soo Kim, deserves high praise as well.

First off, the recital gets high marks for programming. Ms. Cho demonstrated her commitment to living composers by featuring (along with well-loved works by Robert Schumann, Clara Schumann, and Franz Waxman) solo works by Joan Tower (b. 1938) and Ellen Taaffe Zwilich (b. 1939) – both present to take a bow – as well as the formidable Sonata for Violin and Piano by John Corigliano (b. 1938). Mr. Corigliano may or may not have been present, but one hopes he will hear a recording of this duo’s sensational rendition of his work.

Fittingly, Ms. Cho opened her entire program with Joan Tower’s String Force, commissioned by the International Violin Competition of Indianapolis as the compulsory work for the sixteen semifinalists in their 2010 competition and dedicated to the contest’s director Jaime Laredo. It is an all-out exploration of the power of a single string instrument, sometimes reminiscent of Bach’s great D minor Chaconne in idiom but in an overall twentieth-century, sometimes Bartókian, language. It was a great introduction to this young violinist, who needs no accompaniment to keep her audience riveted – and needed no score either, a powerful statement of commitment that stands out from the usual.

Musicians often fall into niches, whether modern, “early”, neo-Romantic, etc., so somehow Ms. Cho’s program emphasis on contemporary composers did not prepare me for her exceptional Schumann performances that followed. One might peg her as a Romantic solely on the basis of them, if one had not just witnessed her mastery of much newer fare. First came the Three Romances for Violin and Piano, Op. 22 by Clara Schumann, played with devotion and beautifully sensitive phrasing. Next was Robert Schumann’s Sonata in D minor, Op. 121 (reviewed in another violinist’s recital less than two weeks ago), also superb. With the easy flow that is possible only when the technical elements have become effortless, the piece soared. Especially refreshing was Ms. Cho’s grasp of its sprawling shape and maintaining of momentum accordingly. The old saying, “If everything is important, nothing is important,” is key in interpreting this work, but Ms. Cho knew how to prioritize. One mishap with the violin (a peg slipping?) necessitated a complete halt to the first movement to retune, an unnerving occurrence at a debut, but both musicians appeared unfazed. Mr. Kim fared admirably, though one did want to feel more from him through much of the Schumann Sonata. For this listener there was occasionally too much the sound of “accompaniment” rather than full collaboration. This is not a matter of tonal balance, but more a matter of musical presence; that changed, however, as the evening progressed. Incidentally, the piano lid was up on the full stick – as I wish were more common occurrence – and it never overwhelmed the violin. Skillful pianists know how to cope with the full stick, and Mr. Kim is one of them.

Ellen Taaffe Zwilich’s Fantasy for Solo Violin opened the second half. Another tour de force for the soloist, this work presents the full gamut technical challenges (like the Tower work) but has more of an extroverted “Americana” feel to it, with a freewheeling, fiddler’s feel at times. It suited Ms. Cho to a tee. As a side note, if one were not paying attention to its date of composition (2014), one might think one was reading the program notes twice, because this, like the Tower piece, was commissioned by the International Violin Competition of Indianapolis as the compulsory work for the sixteen semifinalists, and was also dedicated to Jaime Laredo, with the same sponsor. As Ms. Cho studied with Jaime Laredo (among other teachers) it seemed fitting to showcase both pieces, although it was very generous considering the demands on the violinist’s stamina. It was also played from memory.

Speaking of stamina, Ms. Cho’s was mind-boggling. The Corigliano Sonata followed. This Sonata is an established part of the violin repertoire by now, having been composed in 1963, but Cho’s energetic performance made it brand new for this listener. For full disclosure, to say I love this piece would be an understatement – I am completely smitten by it – but Ms. Cho captured its fire and lyricism especially wonderfully. Special kudos here must go to the pianist, Hyun Soo Kim, who was the partner extraordinaire, handling fistfuls of notes at lightning speed and dovetailing perfectly even through some devilishly tricky ensemble challenges.

One could have easily ended the recital here, but the showy Waxman Carmen Fantasie finished things off with a flourish. Calls of “brava” (including my own) were met with two Gershwin-Heifetz encores, “Summertime” and “It Ain’t Necessarily So.” Frankly, these seemed a bit rushed – I’d rather hear one played deliciously than two crammed in – but to avoid that special place in purgatory for nitpicking reviewers, one can chalk it up to the impatience of youth.

As a postscript, anyone in the music world could not miss the debates over “fairness” in the Indianapolis jury’s 2014 decision (an issue endemic to music contests, but well-addressed by this contest’s administration). Speaking only about the debut, what I heard showed preternatural gifts, phenomenal stamina, and passionate commitment; to possess all of these may indeed be unfair (apart from the hard work), but evidently the disgruntled will need to take their complaints up with a higher power. Seriously, one is thankful that Ms. Cho has risen above it all to do great things – may she rise farther!

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

Bargemusic Presents Masterworks Series: Vera Vaidman and Emanuel Krasovsky in Review

Vera Vaidman, Violin, and Emanuel Krasovsky, Piano

Bargemusic, Brooklyn, NY

May 29, 2016

Just one day after pianist Emanuel Krasovsky performed a demanding solo recital at Bargemusic, he performed again in collaboration with violinist Vera Vaidman in a program that might be called equally rigorous (if one could quantify artistic demands). One cannot measure such things, of course, but suffice it to say that the double-header weekend was a large undertaking for any musician.

As an explanatory note, there are those who might view the second program (the duo recital) as less demanding for the pianist compared to the solo piano program. Doesn’t the second recital become easier, one might ask, with the use of a printed score, and doesn’t another performer lighten one’s responsibility? Yes, regarding memory, but overall no. Each player gives ideally more than one hundred percent, so there is never any “break.” Furthermore, performing with a close associate can intensify one’s stress through sheer empathy. Lastly, in much of the repertoire performed in this particular recital, an enormous responsibility falls to the pianist, who takes on much of the harmonic, rhythmic, and dynamic foundation, the momentum, and frequently melodic roles as well. Therefore, despite showcasing the prodigious gifts of violinist Vera Vaidman, pupil of David Oistrakh and soloist of countless superb credentials, it was not “merely” a violin recital. Large works of Schumann and Fauré alternated with challenging ones of Mozart, and so playing them all on the heels of a large solo concert was indeed a formidable undertaking for Mr. Krasovsky.

The opening work on the Vaidman-Krasovsky program, Mozart’s Sonata in E-flat Major, K. 302, was a bright and brisk choice to open on and was well handled. Again, at the risk of sounding piano-centric, this listener has heard K. 302 (and other sonatas) played much too often by violinists completely enamored of their own tone during relative accompaniments, to the exclusion of everything in the piano part. This was thankfully not the case with the Vaidman-Krasovsky duo, but there were a few moments where it seemed the violin overwhelmed the piano in less than soloistic material. There was the right conversational fluency in tossing themes back and forth, but sometimes some tonal imbalances undercut the sense of a completely unified conception. Balance can be affected by anything from positioning onstage to venue, from the condition of respective instruments to how warmed up each player is. Mr. Krasovsky seemed rather comfortable from the outset – naturally enough, considering he had just finished his solo recital there hours earlier! – but he seemed to take a musical “back seat” a bit too often. Minor reservations aside, the duo gave a buoyant feeling overall to the Allegro opening movement, and the deeply moving Andante grazioso, one of this listener’s favorites, had a beautiful stately quality to it.

Schumann’s Sonata No. 2 in D Minor, Op. 121 occupied the rest of the first half. Possessing a soulfulness that belies its hasty composition in the sad late years of Schumann’s life, it is a tour de force for both players, and it found this duo in fine form. Ms. Vaidman came across as ideally suited to the impassioned repertoire of the Romantic period, and so it was good to hear her come into fuller and fuller bloom during this work and still more as the evening progressed. Incidentally in her biography it is mentioned that she recorded (and gave several premieres to) a violin version of Liszt’s Piano Sonata in B Minor, and so it is quite clear – regardless of what one thinks of such a transcription – that she is a fearless virtuosa!

The second half started with Mozart’s Variations in G minor on “Hélas, j’ai perdu mon amant” K. 360. It is a set of variations that David Oistrakh himself had performed, and it suited well Ms. Vaidman, who seems to share her late teacher’s virtues in matters of control and phrasing. There were momentary glitches ensemble-wise, but nothing that disrupted the worthy work that it is.

The bulk of the second half of the recital was devoted to Fauré’s Sonata No. 1 in A Major, Op. 13. An early work of the French composer, it is nonetheless a masterwork universally embraced (including by Fauré’s teacher Saint-Saëns), and it was in good hands on this occasion. Again, this listener wanted a bit more piano sound in the balance, as there seemed sometimes to be increasing intensity from the violin when one simply wanted more depths of texture; that said, Ms. Vaidman projected its long soaring lines well, with especially pure, sweet tones at peaks. The Allegro vivo was energetic and light, with exceptional staccato passagework from the pianist. A brilliant close from both players elicited hearty applause from a grateful audience, and a touching encore of Fauré’s Berceuse followed.

It was yet another rewarding concert at Bargemusic, an idyllic setting for such a concert on a Spring day. If the two concerts over the weekend were representative of the “Masterworks” series as a whole, then Bargemusic is offering cultural enrichment of great importance.

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

Distinguished Concerts International New York (DCINY) presents On The Winds of Song in Review

Distinguished Concerts International New York (DCINY) presents On the Winds of Song: An Evening with Mira Costa High School (CA)

Mira Costa High School Wind Ensemble and Symphony Band; Joel Carlson, director

Mira Costa High School Philharmonic and Chamber Orchestras and Symphony Orchestra; Peter Park, director

Stern Auditorium at Carnegie Hall, New York, NY

May 29, 2016

Distinguished Concerts International New York (DCINY) continued their presentation of the second of two concerts for the Memorial Day weekend on May 29, 2016 at Stern Auditorium at Carnegie Hall. This concert, entitled On The Winds of Song, featured four ensembles (two bands and two orchestras) from Mira Costa High School in California. I was looking forward to this performance, both from the standpoint of hearing how the West Coast youngsters were going to compare to the excellent Midwest ensembles heard recently and because the program featured some of my favorite works and composers. Being a California native, I will admit I was silently rooting for them, but no free passes were to be issued, lest anyone imagine otherwise.

This reviewer has had the pleasure of hearing many talented young ensembles this year. They have generally followed a similar pattern – some nervousness at the onset (most often intonation and balance issues) that fades as the players settle in. Confidence grows and the playing level follows accordingly, with a strong finish. I can (and do) offer advice on how to deal with these issues. Tonight was different – there was not even a trace of hint of any nervousness whatsoever in any of the four ensembles. My usual litany of suggestions was unneeded, and this was unexpected! These ensembles all came to play, and play did they ever! This suggested to me a level of preparation that I would expect from a college or professional ensemble. For that, one must credit the excellent directors Joel Carlson (bands) and Peter Park (orchestras) – neither one needs my help!

The Wind Ensemble, led by Joel Carlson, took the stage to open the concert. Armenian Dances (Part 1), a rhapsody using four folk songs from the “Father of Armenian Music” Gomidas Vartabed (also known as Komitas) and arranged by Alfred Reed, was a terrific start. Balance, intonation, and articulation were all razor-sharp! The second movement of David Maslanka’s five-movement work Song Book for Flute and Wind Ensemble, with flute soloist Tanner Yamada, followed. The composer writes of this movement subtitled Solvitur Ambulando (It is solved by walking), “there is a centuries-old tradition that good ideas come from walking. It is a practice I have used in my creative work for some years.” It’s no secret that I am a fan of Maslanka’s work, and this is no exception. It is idiomatically written for the flute. Mr. Yamada plays with a maturity beyond his years, with a strong technique coupled with a rich, full-bodied tone. There were no instances of loss of intonation in the extreme high register, no breathiness in sustained notes, and no amorphous articulation in rapid passages. The audience rewarded Mr. Yamada with a standing ovation. When Jesus Wept, as adapted by William Schuman followed. Kudos go to the trumpets for skillful playing of Schuman’s decidedly unidiomatic passages. Eric Whitacre’s Equus was a crowd-pleasing close.

The Symphony Band was up next, and Leonard Bernstein’s Overture to Candide, one of the staples of the band repertoire, was their opener. This work is full of whimsy and subtle sarcasm, which the young players captured in fine style. Old Churches by Michael Colgrass led the listener to imagine himself in an old monastery, and John Phillip Sousa’s Manhattan Beach March was a clever follow-up. Mira Costa High School is in Manhattan Beach, CA, so the latter paid tribute to New York’s Manhattan Beach while drawing its connection to New York. It was played with careful attention to subtle detail that is so often missing when Sousa’s marches are (bombastically) played. The modern classic Havendance, which put composer David Holsinger on the map, ended their selections. It’s one of the most fun works in the band repertoire, but it is demanding and difficult to pull off in performance. I’ve heard a few too many less-than-stellar attempts, but there was nothing to worry about here. Simply put, the Symphony Band “nailed it!” What a great closer it was!

Next up was the Philharmonic and Chamber Orchestras, led by Peter Park. The aptly named Jubilant Overture by Joshua Reznicow opened. Brimming with energy and joy, it is an embodiment of Americana and the fiddling tradition. The large forces blended together effectively, and the articulation and bow-work was some of the best I’ve seen or heard at this age level. Vassily Kalinnikov’s 1891 Serenade for Strings was up next, and the lyric, sometimes melancholy themes were played without being maudlin, a common drawback with less well-prepared and less talented groups. It was the highlight of their selections.

I must express my one true reservation with the evening, and that was the Danza Final from Alberto Ginastera’s Estancia. This all-strings arrangement simply is lacking the machismo that is so important to the spirit. It’s not the fault of the players, but there was not a drop of machismo to be found. Play the full version please! You have the forces and the talents. It would rock the house!

The Symphony Orchestra took the stage for the final segment. Carl Maria Von Weber’s Jubel Overture got things off to a fine start. The World Premiere of Serenade for Strings by Lee Holdridge, which was written especially for the Mira Costa High School Symphony Orchestra, followed the Weber. Dedicated by the composer “to so many friends lost over recent years,” it suggests a nostalgic look at fond memories, with a tinge of sadness, but not despair. The work was played in tribute to Mr. Park’s late father-in-law, Dr. James Cavallaro. Mr. Park was visibly moved by the audience reaction to this work.

After the emotionally charged Serenade, it was time to get to the fun, and Gershwin’s Rhapsody in Blue, featuring alum Brian Zukotynski, fit the bill perfectly. I would have preferred an open-lid piano to the lidless one used, as the sound of the piano goes straight up instead of out, making the pianist’s job of projecting that much more difficult. One must admit that Mr. Zukotynski did a fine job in making himself heard without resorting to pounding.

Clarinet soloist Cameron DeLuca won me over. I’ve heard a lot of players give that famous opening the characteristic “wail”, but this was something special!

Mr. Zukotynski has undoubted talent and an affinity for this work. His interpretation was not “cookie cutter”, but also was not eccentric or affected, like some players feel they must do to “put their mark” on the piece. All the dazzle is “baked in the cake,” and Mr. Zukotynski clearly grasped that concept. With the orchestra’s first-rate support, it was the highlight of the evening, and the ovation was well deserved for both soloist and orchestra.

After the Rhapsody, a charming arrangement of Tico-Tico no Fubá (Sparrow in the cornmeal), made popular by Carmen Miranda, served as a built-in encore that closed the night in a joyful way. The audience loved it and the ovation was loud and long. Congratulations, Mira Costa High School Bands and Orchestras!

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