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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

Bargemusic Presents Masterworks Series: Emanuel Krasovsky in Review

Bargemusic Presents Masterworks Series: Emanuel Krasovsky

Emanuel Krasovsky, Piano

Bargemusic, Brooklyn, NY

May 28, 2016

Emanuel Krasovsky is a Lithuanian-born Israeli pianist whom one might call a musician’s musician. He has established a following of experienced music-lovers and musicians, and in some ways their high expectation for something beyond mere pianistic thrills can amount to a self-fulfilling prophecy. This is not to say that his audiences do the work for him (clearly not possible), but that the bated breath of those awaiting his magic does help welcome the music in, as it did this past Saturday at Bargemusic. Not a peep was heard from his audience during long stretches of calm pianissimos. In repertoire that can tax the untutored or impatient listener, Mr. Krasovsky’s deeply thoughtful interpretations held his avid listeners rapt through Schubert’s sprawling Sonata in B-flat (D. 960), the same composer’s Drei Klavierstücke (D. 946), and the first book of the somewhat elusive cycle On the Overgrown Path (Book I, JW VIII/17) by the Czech composer Leoš Janáček (1854-1928).

Mr. Krasovsky started with Janáček, whose musical gold has been increasingly mined in recent decades after relative neglect. Ten movements of On the Overgrown Path, an emotionally demanding group, established Mr. Krasovsky as an artist. He drew his listeners in gently with “Our Evenings” which was projected with an especially beautiful singing tone and flexibility of phrase. This listener found his style quite moving, as with the greats of the twentieth century as heard over a lifetime. All of the remaining nine movements measured up in terms of expressiveness, from the childlike innocence of “A Blown Away Leaf” and “Come with us!” to the mystical frissons of “The Madonna of Frydek” and frenetic energy of “They Chattered like Swallows.” Not even the occasional horn blast of boats could disrupt the spell (ah, the uniqueness of the floating concert hall!).

Janáček, as well as being a folklorist, was a colorist of a subtlety that still sometimes eludes pianists and listeners alike a century later. What impressed one especially about Mr. Krasovsky was his sensitivity to shading and his warmly balanced voicing, where there was always something new emerging from the musical textures. Some of Janáček’s folk-like (and hymn-like) writing can be treated in a two-dimensional way, but Mr. Krasovsky consistently plumbed the depths. Even in the cryptic closing piece, “The Barn Owl Has Not Flown Away,” he answered the tonal and emotional ambiguity with the inspired decision to follow directly into Schubert. The ensuing Drei Klavierstücke (D. 946), among the last compositions Schubert wrote (only published decades later by Brahms), were a perfect choice. Schubert’s overall symmetry and clarity made a perfect exit from the “overgrown path” and yet the kindred elements between Schubert and Janáček were also implicit. A program by pianist Jeremy Denk in recent years made a similar connection between Schubert and Janáček –– but this segue was striking in its own unique way.

If the title Drei Klavierstücke (not a title by Schubert himself) brings to mind some random miniatures, think again. Collectively longer than many of the same composer’s Sonatas (around twenty-five minutes), these three late pieces (written just months before the composer’s death) are large in scope, emotion, and pianistic challenges – sometimes akin to those of Schubert’s notoriously difficult Wanderer Fantasy. Mr. Krasovsky handled the challenges with expertise. Only occasionally did one notice a loss of tonal control as the technical demands mounted, but one headed to intermission musically fulfilled and with a sense of admiration for the pianist.

After intermission came Schubert’s great B-flat Sonata, again among the composer’s last works. This monumental first movement happened to coincide with the more active river tides, but despite some rocking of the barge the pianist kept things on an even keel (no pun intended). The divine slow movement had just the right tempo for this listener’s liking. Such slow pacing does invite some occasional glitches – but they are nearly negligible in such cases of inspired artistry. What was less negligible was some roughness in the third and fourth movements, not merely note-wise but in tone. As passages grow more challenging some sacrifices to tone quality may be inevitable – but one ideally wants as much care and attention to tone in rapid octave jumps as in tender sostenuto melodies. Mr. Krasovsky’s own playing sets a high bar, so this listener may be forgiven for wanting a level of polish that may be unrealistic in live performance!

As well as being a fine pianist with excellent credentials, Mr. Krasovsky has been a respected and beloved pedagogue for decades. Currently head of the piano department at Tel-Aviv University, he has also been a writer of articles on various musical subjects, a presenter of master classes, and a juror for many international competitions. It is not common, while wearing so many hats, to pull off such a hugely demanding solo recital, but the good news is that Mr. Krasovsky did just that with remarkable success. All in all, the evening was a musical revelation, and this listener will be back! Bravo!

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

Distinguished Concerts International New York (DCINY) presents The Triumph of Hope in Review

Distinguished Concerts International New York (DCINY) presents The Triumph of Hope

Reno Philharmonic Youth Symphony Orchestra; Jason Alteri, director

West Monroe High School Rebel Choir; Greg A. Oden, director; Kristen Anderson Oden, accompanist

Military Wives Choir; Paul Mealor, composer/conductor; Rob Young, director; Kathy Kenny, accompanist

Stern Auditorium at Carnegie Hall, New York, NY

May 27, 2016

To kick off the Memorial Day Weekend, Distinguished Concerts International New York (DCINY) scheduled two concerts to commemorate the occasion. The first, on May 27, 2016, was called The Triumph of Hope and featured the Reno Philharmonic Youth Symphony Orchestra, the West Monroe High School Rebel Choir, and the Military Wives Choir from the United Kingdom.

Taking the stage to begin the concert was the Reno Philharmonic Youth Symphony Orchestra from Reno, Nevada, “The Biggest Little City in the World.” Led by Jason Alteri, the orchestra offered three works, the New York premiere of Solis by Amanda Harberg, a movement of Max Bruch’s Violin Concerto No. 1 in G minor, Op. 26, and the 1919 suite version of Igor Stravinsky’s L’Oiseau de Feu (The Firebird).

Solis opened their set. In the words of the composer, “The title Solis refers to the sun-like brilliance communicated in the work’s climax.” Things got off to a rocky start, particularly some nerve-induced intonation problems in the trumpet solo that opens the piece, but this issue abated as the jitters wore away and the players settled in. Solis is an interesting and effective work that I do hope to hear again. Ms. Harberg was in attendance and appeared to be pleased, so one should take that as a cue.

Violinist Natasha von Bartheld hurried off the stage, only to return in a bright red dress for her featured role as soloist in the Bruch. An abridged arrangement of the Finale’s Allegro Energico was offered. Ms. von Bartheld played with flair and confidence, tackling the technical challenges with apparent ease; this talented young lady has great potential for the future. The razzmatazz is there, but I’d like to hear her project her sound more, which might be helped with a higher-quality instrument. In any case, she can be very proud or her fine work. The orchestral support was excellent, and erased some of the reservations I had had earlier.

Ending with the Stravinsky, all traces of nerves were gone once and for all. I could almost not believe the difference – this was playing brimming with confidence and energy. If I had not known any better, I would have thought I was hearing, at the very least, a college-level ensemble. The audience rewarded the ensemble with a loud ovation. Congratulations, Reno Philharmonic Youth Symphony Orchestra, for a job well done!

The West Monroe High School Rebel Choir from Louisiana, led by Greg A. Oden, took the stage next. There were no notes or texts about their selections included in the printed program, which to this reviewer is an inexplicable and inexcusable omission. It is hardly common knowledge that the text for their first work, Williametta Spencer’s At The Round Earth’s Imagined Corners, comes from John Donne’s Holy Sonnet 7! The hard working young performers deserved better, as this administrative gaffe has an effect on the audience’s understanding and enjoyment of the works. Thankfully, the product was better than the packaging, as this ensemble showed great depth and maturity in their performances. Highlights were Mark Hayes’ Grace, and Moses Hogan’s showstopper Elijah Rock. Special recognition goes to Bailey Young for her solo in Schubert’s Kyrie from the Messe in G, as well as to oboe soloist Paige Freeman and vocal soloists Rhett Finley, Olivia Myers, Kayln Clifton, Caroline Counts, Kelly Cole, Cara Ramos, Jace Cascio, Caleb Norman, and Scott David in Song for The Mira from Allister MacGillivray.

After a short pause, the Military Wives Choir took the stage. Composer/conductor Paul Mealor, himself a rising star in the choral world, told the audience about the history of the organization. Consisting of wives, mothers, sisters, active duty soldiers, and widows, the Military Wives Choir is a means for these women to join together as friends, as mentors, and as a mutual support system for what can be an uncertain and stressful life often overlooked by society in general. As Mr. Mealor stated, The Military Wives Choir now has twenty-six groups throughout the United Kingdom. It would be something beneficial for our own here in the United States.

These ladies are all heart, and it shows immediately. They are giving their all and loving every single moment. The audience was completely won over, and in spite of my best efforts to remain the hard-nosed, emotionless critic, I was won over as well, in about twenty or so seconds. They even made me enjoy U2’s With or Without You, a song I have never cared for at all! Their song set spanned from World War I’s Keep the Home Fires Burning to the World War II classics, The White Cliffs of Dover and We’ll Meet Again, pop and Broadway works, and the World Premiere of Paul Mealor’s This Song of Mine. Each selection held special meaning about war, service, and separation. For a complete list of songs, click here Program Notes.

After the last song, Stronger Together, the audience gave these wonderful women a richly earned and deserved standing ovation. Kudos to the soloists, Beth Joy, Alison Nuttall, Louise Forbes, Kirsty Ann Johnstone, Giselle Fitzsimmons, Joanna Grant, and Larraine Smith. An encore of Stronger Together, with the singers joined arm-in-arm and hand-in-hand, was a fitting close to a wonderful night.

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

The Consulate General of Argentina Presents Rosa Antonelli, Pianist in Review

Rosa Antonelli, Pianist: Alberto Ginastera Centennial Gala

The Consulate General of Argentina, New York, NY

May 18, 2016

The centennial of the birth of Argentine composer Alberto Ginastera (1916-1983) is no small occasion for the music world. It is fittingly capturing the attention of musicians and audiences worldwide in various ways, but in New York this past week, it was celebrated at the Consulate General of Argentina, in a recital by Argentine pianist Rosa Antonelli.

Ms. Antonelli’s performances, as listed in her biography, have taken her to distinguished venues across the globe, in many countries throughout Europe, Africa, Asia, Latin America, and North America, and frequently under sponsorship by government organizations. Her lovely, gracious demeanor and sense of commitment to her country’s music make her a natural for such a diplomatic venue.

Several dignitaries spoke addressing the occasion, but the most memorable speaker by far was the composer’s daughter, Georgina Ginastera, who spoke of her father’s note-by-note perfectionism, his sense of musical architecture, and the kinship between the Argentine landscape and the tonal evocations of the pampas, the desert, the oceans, the hot midday sun, and vibrant native malambo dancing. She also spoke of his free approach to teaching and how, when he was guiding Astor Piazzolla (1921-1992), also represented on the program, her father urged him to follow his natural inclinations, saying, “if you like tangos, write tangos.” We know from historic records that Nadia Boulanger had similar advice to Piazzolla, who grew restless with his native voice and sought more sophisticated genres, but a large debt of gratitude there clearly goes to Alberto Ginastera.

To start the music, Ms. Antonelli played Ginastera’s exquisite Idilio Crepuscular (“Romance at Twilight” from the ballet Estancia). With generous pedaling aiding the dreamy atmosphere, it started the evening with music of a love story – as Ms. Antonelli explained, “like Romeo and Juliet, but with a happy ending.” More of Ms. Antonelli’s gentle approach brought out the poignancy of the slow Triste and Vidala from the 12 Preludios Americanos. Homenaje a Roberto Garcia Morillo (also from the Preludios) kicked things up a notch, though with more restraint than one hears generally. The ending, notated as a ferocious fff, seemed a bit tame for this listener – whether this was out of concern for the stunning Steinway at hand or for the elegant milieu one could only guess, but it raised concern for the how the rest of the evening would go on with music by a composer of such uncompromising, sometimes savage, vibrancy and frankness.

Back to the lyricism, the program proceeded with Rondo Sobre Temas Infantiles, a nostalgic piece dedicated to Ginastera’s children and similar in language to some of the Villa-Lobos Prole do Bebê. It was played with sensitivity and charm. Three more selections from the Preludios Americanos followed, the gentle Pastoral, nicely shaded, the quiet tango-like Homenaje a Juan Jose Castro, also well rendered, and the rustic Danza Criolla, given an energetic reading.

Four Tangos by Astor Piazzolla followed and seemed a fitting tribute to Ginastera the teacher, who encouraged his composition students to follow their hearts. First came El Mundo de Los Dos, and it was preceded by a reading of melancholy lyrics written for it by Albino Gomez, writer, journalist, and Argentine diplomat. It was given a heartfelt musical interpretation by Ms. Antonelli, who brought out its desolation.

Three more famous tangos followed, including two from the Cuatro Estaciones Porteñas (“Four Seasons of Buenos Aires”), Verano Porteño (summer) and Invierno Porteño (winter), in addition to the effusive Libertango. All three of these have found their way into the concert hall in all manner of arrangements, some recapturing the original bandoneón ensemble and others branching out into cello duos, string quartets, orchestral versions, and more. Piano alone by comparison can seem lacking in color if one does not pull off some technical and tonal miracles, or at least vary the texture and dynamics in strategic ways. Stretches of repeating bass patterns under expansive melodies that in more sustaining instruments are atmospheric and seductive (as tangos invite), can sound arid and grey in solo piano versions. To Ms. Antonelli’s credit, the powerful undercurrent of tango rhythm was rarely sacrificed – a challenge in the Libertango where distribution of hands is awkward – yet one still longed for more of the focal melody. Verano Porteño experienced some rough spots, but overall the pianist acquitted herself well.

The program returned to music of Ginastera to close, the Danza del Trigo (“Wheat Dance” from Estancia) and Tres Danzas Argentinas. These were high points, showcasing Ms. Antonelli’s lyrical expressiveness at its best. Incidentally, the Danza del Trigo struck this listener for the first time as having a strong kinship melodically with the second of the Danzas Argentinas, the Danza de la Moza Donosa, a longtime favorite. The pairing of the two together offered a glimpse into the musical soul of Ginastera – for which Ms. Antonelli is to be thanked. Both were played with real tenderness and were worth the trip by themselves.

Danza del Viejo Boyero and the Danza del Gaucho Matrero, more typically motoric fare, offered a balance. One was surprised by the quantity of pedal in the Gaucho Matrero and also wanted a bit more “oomph” in sections (the subject being cowboys, after all), but these were just a few reservations in what was an effective close to the recital.

All in all, it was a successful evening of tribute. Happy Anniversary, Ginastera!

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

Rondo Young Artist 2016 presents Rondo FORMA Competition First Place Winners’ Recital in Review

Rondo FORMA Competition First Place Winners’ Recital

Weill Recital Hall at Carnegie Hall

The non-profit Rondo organization is now in its fifth year, and has recently opened its competition to conservatory-age students. The four winners, all pianists, were presented in their award recital on Thursday. This concert was a mammoth program of about a “half” recital from each of the four pianists, the repertoire, with one exception, was standard.

Grace Han opened the evening with a lovely account of Bach’s Prelude and Fugue in E-flat minor/D sharp minor, BWV 853 (WTC I), with the fugue especially notable for its gentle movement and contrapuntal clarity. She then followed with the baroque viewed through the eyes of the romantic composer Brahms: his Variations and Fugue on a Theme by Handel, Op. 24. She performed it in a very tightly organized way, musical certainly, but often lacking in poetry, and at times way too muscular, brusque, and noisy. The first turn to B-flat minor in variation five should be arresting and heartbreaking; instead it was loud. However, the very next one, also in the minor, a canon at the octave was beautifully ghostly.

Ziang Xu followed, with another very poetic Bach Prelude and Fugue in B-flat minor, BWV 867 (WTC I), sensitive to every harmonic change and linear movement. He then played a riotous etude by Nikolai Kapustin (b. 1937) that was a jazzy staccato study, ferociously difficult, which Xu tossed off with great flair. Not quite as successful, however, was the main “dish” of his mini-recital: Chopin’s set of 12 Etudes, Op. 10. As Alfred Cortot always said, (the Chopin etudes are) “as inaccessible to the technician without poetry as they are to the poet without technique.” Mr. Xu occupies something of a middle-ground in my opinion. He certainly gave astonishing displays of dexterity, usually with tempi that were inhumanly rapid. But I questioned the true musical value of some of the achievement, for many, many opportunities for sensitivity were left in the dust. For me, the three that verged on “perfection” were Nos. 5, 9, and 11: in those he responded to every need. The “Black Key” etude was fleet but playful; the cruel stretches of the left hand in the F Minor were no obstacle to his rendering the right hand poetically; and the wide arpeggios in the E-Flat Major had a perfectly voiced melody floating on top. Mr. Xu needs to reconsider the material in what I call the “non-etude” hand (usually the left hand), so that it isn’t buried amid the difficult figurations. This will automatically increase his musical depth, of which he already possesses a great deal.

After intermission came the best playing of the night with the final two pianists. Sun Young Lee chose just one work, but an immense one, Schumann’s three-movement Fantasy in C Major, Op. 17. She brought out the impetuous, playful, “Florestan” qualities in the first movement beautifully. Her second-movement march had the requisite mercurial mood shifts and poetry in the middle section. Her bravura risk-taking was worth the (very few) missed notes in its treacherous coda. Finally, she brought deep color changes and consideration to the quiet concluding movement, each harmonic shift contained magic. She was the first pianist of the night to seem like she was actively listening, not only to herself, but to the composer and the music, making something “live” before our ears.

The concert concluded with what was, for me, the finest playing. Mintra Rungruengsorakam (I hope I never have to pronounce that in public) gave an absolutely radiant account of a rarely-played Haydn Piano Sonata in A-flat major, Hob. XVI:46. She was divinely in tune with the style, the instrument, and herself. I never wanted it to end, especially her breathtaking account of the Adagio. She then followed with two of the four movements of Prokofiev’s Second Piano Sonata (D minor, Op. 14): the way she played the first two notes of the first movement, a deceptively simple octave descent, signaled to me that she was going to deliver a beautiful rendition, and she did. No opportunity for lyrical playing was missed, which is so difficult in Prokofiev. Her no-nonsense, motoric Scherzo was absolutely appropriate. She concluded with Chopin’s brilliant Waltz in F major, Op. 34, No. 3, which was tossed off with humor, flirtatiousness, and every note considered. Beautiful work!

I heartily congratulate the achievements of all the Rondo winners, and I pray that they may always play to FULL houses.

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

Legato Arts presents Maria Prinz in Review

Maria Prinz, Piano

Weill Recital Hall at Carnegie Hall, New York, NY

May 13, 2016

A large audience greeted Bulgarian-born pianist Maria Prinz, who offered an ambitious program that never strayed from her stated strengths and love for the Austro-Hungarian core repertoire: mature Haydn, late Beethoven, late Schubert—even the contemporary work was Austrian.

The recital was full of paradoxes for me however: someone with such obvious affection and affinity for this music yet lacking the “world-class” fingers and memory to render it without many slips; a keen poetic, lyrical sense yet one that led to rhythmic distortion beyond the pale of emotion and/or spontaneity; a good understanding of the phrasing and grammar of the period yet often with an oddly wooden sound, and many notes in chords not sounding, imperfectly voiced; and some doubtful analytical connections made in her program notes. Perhaps I was just not on her wavelength, but I could not shake these thoughts while listening.

Haydn’s great E-Flat major sonata (Hob. XVI:52) opened promisingly, with wit and crisp articulation, even when the fingers were not cooperating fully. The loveliest movement, captured very well by Ms. Prinz, was the second movement Adagio in the remote key of E major. Here her sense of quasi-improvisation suited the music perfectly.

Beethoven’s quirky two-movement E minor sonata, Op. 90, suffered from a lack of liveliness in its first measures, coupled with a rhythm that never really got off the ground. Descending scales don’t always have to have the first note lengthened before precipitously rushing downward. The Schubertian rondo in E major was graceful, though not really well-sung by Ms. Prinz. The piano tone was dull, and she didn’t observe many of the subito pp indications that give it its charm. When the repeating melody finally appears in the left hand, it was insufficiently projected, drowned by the figures in the right hand. I’d like to suggest to her that the Schubert that this movement most resembles is his late Rondo in A major, D. 951, which Alfred Brendel states was “obviously” modeled on the Beethoven.

After intermission, she tackled the first of Schubert’s last three sonatas, the C minor, D. 958. This harrowing, death-haunted music still sounds as threatening, even with its few flashes of Viennese charm, as it must have in 1828. It is Schubert at his most Beethovenian, with its virtual quotation of the descending bass line of the 32 Variationen, WoO 80, perhaps prompted by the death of Beethoven the preceding year. Again, the 3/4 rhythm of the first movement was violated right away in the first measure. I can understand a “romantic” approach to Schubert, but not to this extent. There was insufficient contrast from the ppp to the ff requested by Schubert. The slow movement had a lovely interior quality that revealed the lonely prayer-like affect and the violent tremblings of the diseased composer. The Trio section of the Menuetto captured the Ländler spirit perfectly, with vaguely ominous shadows never far away. In the finale, the longest in Schubert’s music, the tempo was not as terrifying as befits a dance of death, although the episode in which the Erlkönig sweetly lures the protagonist was beautifully played.

Ms. Prinz then played the Moto bravouroso composed by her late husband, Alfred Prinz, a clarinetist with the Vienna Philharmonic for fifty years. If he began when his bio says he did, he would have been fifteen (!). This work was in a dissonant but conservative style, sounding at times like the Swiss composer Frank Martin. Ms. Prinz brought the authority and force only she could to this touching tribute.

Her first encore, Mozart’s D minor Fantasy, K. 397, contained the loveliest playing of the evening. Ms. Prinz’ unity with the music and the style were perfection. She followed that with another paradox: a clangy rendition of Schubert’s A-Flat major impromptu (D. 899, No. 4) that was short on genuine cantabile, and with the same left-hand melody issue that marred the Beethoven for me. I do appreciate Ms. Prinz’ devotion to this core repertoire, and hope she realizes that this is just one person’s opinion.

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