Ian Hobson, piano

The Tenri Cultural Institute, New York, NY

September 29, 2023

On a day of flooding that brought New York to a standstill, Ian Hobson showed us all once again what his staying power can do. Though government alerts cautioned residents to stay home, there was a healthy crowd of music lovers eager to hear yet another chapter in Mr. Hobson’s complete cycle of Schumann’s piano music, and they were handsomely rewarded.

From the first gentle notes of the Variations on a theme of Chopin, Anh. F26 (based on Chopin’s G minor Nocturne, Op. 15, No. 3) right through to the triumphant finale of the Symphonic Etudes, Op. 13, we were treated to the kind of musicianship in which all is thoroughly conceived, each phrase well-considered, and each tone well-prepared. The program itself was also dream in its perfect balance between the grandeur of the more “tried and true” (i.e., the Op. 13) and relatively little-known works such as the abovementioned Chopin Variations, as well as the Variations on a theme of Beethoven, WoO 31 (on the Allegretto from Beethoven’s Symphony No. 7), which opened the second half.  The program was filled out by the Abegg Variations, Op. 1 and Impromptus on a Theme by Clara Wieck, Op. 5, both known but somewhat underplayed as well.

Though this listener is not always a fan of complete cycles in concert, one of the great advantages of them is hearing some largely overlooked works and exploring how they illuminate the rest of a composer’s oeuvre. One insight that emerged throughout this program was the importance of Chopin to Schumann. The opening of Variations on a theme of Chopin served to underscore this Chopinesque thread. While many are familiar with Schumann’s praise of Chopin, including his famous, “Hats off, gentlemen, a genius!” –  as well as the inclusion of a Chopin movement in his Carnaval and the dedication of his Kreisleriana to Chopin – there is no clearer illustration of Schumann’s regard than his own treatment of Chopin’s work. This evening’s program led one to contemplate this aspect more and more, even in the five posthumous Etudes to the Op. 13, which Mr. Hobson himself described as “Chopinesque” in his spoken introduction. Along with the ever-present Florestan and Eusebius, there emerged the character, Chopin. Incidentally, I’ve seldom felt that these five etudes “worked” with the rest of this great piece (with all due respect to Brahms, whose publication reinstated them), but here, folded in between the tenth and eleventh Etudes, and in the context of the Chopin influence, I almost became a believer. Mr. Hobson’s performances were assured and persuasive, as one has come to expect, from his many decades of performing and his wide-ranging discography.

Time will tell whether Schumann’s variations on Chopin and Beethoven will enter the “mainstream” repertoire, as the Chopin set was only published in 1981, and the Beethoven set in 1974 – both have interpretive challenges.  The Beethoven set contains fifteen variations, and not all were completed, so Mr. Hobson chose ten and arranged them in his preferred order. There is some unevenness in the quality of the variations themselves – and many might categorize them as mere academic curiosities – but Mr. Hobson made a compelling case for them, as he did with the Chopin set. He pulled off both sets with confident artistry, for which he deserves our admiration and gratitude.

The Abegg Variations, though certainly ensconced in the mainstream piano literature, are still underrepresented in favor of more accessible triumphs, so it was a joy to see them on this program. Mr. Hobson brought out their grace, charm, and pianistic pearls, again with many Chopinesque moments. The Impromptus on a Theme by Clara Wieck, Op. 5 followed them in an eye-opening performance of brilliance and sensitivity. With a title reflecting thoughts not just of Schumann’s beloved Clara but also the memory of Schubert (as suggested by Richard Dyer in his excellent program notes), these pieces hold treasures too often overlooked. Mr. Hobson’s playing offered much needed advocacy.

The evening was capped off with the great Symphonic Etudes, and here we had the bold and powerful performance one would expect from this important pianist. Despite the program’s surfeit of riches, one wanted to hear more. Luckily for music lovers, there is more. This monumental series continues with several more concerts, the next being October 20, 2023, also at Tenri Cultural Institute.

Kariné Poghosyan, pianist; Jason Tramm, conductor; 

The MidAtlantic Philharmonic Orchestra

St. Vartan Armenian Cathedral, New York, NY

September 20, 2023

It was a joy this week to accept an assignment to review an evening of concerti for several reasons – one being the piano soloist Kariné Poghosyan, whom I had reviewed favorably for New York Concert Review in 2009 (at the much-missed Steinway Hall on 57th Street) and whose passionate playing has since attracted admirers globally. Another enticement was the program itself, honoring composer anniversaries of Sergei Rachmaninoff (150th) and Aram Khachaturian (120th). The conductor Jason Tramm was yet another draw, having impressed on several occasions as an orchestral Pied Piper – and this would be your reviewer’s first time hearing him lead a group called the MidAtlantic Philharmonic Orchestra. Not least of all, this concert offered the chance to explore a magnificent building, the St. Vartan Armenian Cathedral, which dominates an entire block of Second Avenue at 34th Street.

It is important to state right away that this occasion was no ordinary concert. Not only was the event marking the 32nd Anniversary of Armenian Independence, but it happened to take place the day after particularly severe losses to the Armenian community from attacks on the disputed Artsakh region, a tragedy so devastating that the organizers had considered canceling the concert in the wake of it all, according to the Very Rev. Fr. Mesrop Parsamyan in his introductory words; music won, however, as the unifying and healing force that it is, and we learned later that all concert proceeds would go to affected families in Artsakh.

Even the most curmudgeonly critic would want to avoid the usual dissection of performances under these circumstances, as the collective grief of the Armenian community seems to overshadow all else. What becomes paramount at such times is the spirit, and there was plenty of that. 

Especially spirited was the Khachaturian Piano Concerto in D-flat major, given a fiery and athletic ride by Ms. Poghosyan. This was the part of the program that one would stash away in one’s memory. Though the work has an impressive discography of champions including Moura Lympany, William Kapell, Alicia de Larrocha, Marc-André Hamelin, and a few dozen others, Ms. Poghosyan’s performance here had a unique vibrancy – partly of course because it was live and partly because of the occasion. Her own Armenian heritage embraced Khachaturian’s in a performance of fierce energy, pride, and affirmation. She has a strong bond with this composer, as also evidenced in her important recording of his work for Naxos, and here she brought his music to life with confident pianism and strong projection of its phrases and moods. 

On a largely visual note, Ms. Poghosyan has become known for her demonstrativeness in physical movements at the keyboard, a quality that is controversial among pianists, with this reviewer finding both pros and cons depending on what naturally supports the music. Though some of her movements could be thought to be unnecessary or distracting, it seems that through them she helped illustrate the emotional journey of the music better than captions ever could have for some of her less experienced listeners – an advantage here especially, given the rather indistinct sound in this reverberant space.  Beyond that, some of the full-body thrusts seemed designed to help the Khachaturian’s percussive attacks overcome the rather dull sound of the church piano – though it seemed overall that there was little one could do to change that. The challenge was to pierce through the orchestra’s overwhelming power as well as the church’s reverberant wash – and though that was a tall order, her gestures might have at least helped the synchronizing, had everyone been attentive.

The Khachaturian’s deeply soulful central movement was a highlight, with the welcome appearance of that rarely heard instrument, the flexatone (often replaced in concert by similar but more readily available instruments). A very young Mason Tramm contributed his efforts here admirably, supported by the strings. For those unfamiliar with the flexatone, it is akin to the musical saw in its eerie bending of pitch, and it has a percussive element as well. Its sound is perfect for this composer’s slower doleful lines, and alongside Ms. Poghosyan’s clear and expressive playing, there was some memorable music-making.

Also notable throughout the work were the bass clarinet lines, ennobled by the strong, pure sound of Timothy Hanley.  The orchestra seemed to gain confidence and polish along the way, and Ms. Poghosyan shone especially brightly in the impassioned finale. The audience roared its approval as the beaming pianist and conductor shared bows and fist pumps – Ms. Poghosyan with noticeable Armenian flag colors on her right wrist. That was the “takeaway image” for this concert.

Among elements one may choose not to take away, but which need to be mentioned as a matter of course would be the rest of the program preceding the Khachaturian. Close to twenty minutes past the designated start time of 8 pm, we finally heard the opening piano harmonies of Rachmaninoff’s glorious and ever-popular Piano Concerto No. 2 in C minor. It is a piece that would be more than enough for one evening for most pianists (Yuja Wang’s marathons notwithstanding), but unfortunately on this occasion it felt more like a mere appetizer for the Khachaturian. 

Despite Ms. Poghosyan’s physical exertions, including mini-launches off the bench with several of the opening chords, the muffled piano and garbled acoustics got the better of everyone. One also couldn’t help getting the sense – perhaps through some rubati that felt unsettled rather than natural – that this was not where the pianist’s heart truly dwelt. As the orchestra entered, they revealed a similar ambivalence. Rough patches seemed to suggest insufficient rehearsal time, and tempo discrepancies threatened to send the piece off the rails. These moments may be what led the pianist to be even more physically demonstrative in the attempt to corral some rogue orchestral personnel, but unfortunately, without a sufficiently compelling sound to match the visual, there were sections of chaos, scrambling, and blurring. Efforts to shoehorn cues into rapid fingerwork or wait midflight should rarely be necessary, but some of those were oddly impressive to anyone knowing the work’s challenges.

Why these issues beset the Rachmaninoff so much more than the Khachaturian is something of a mystery, but it is possible that the latter, being less well-known, had elicited more careful rehearsal. One might assume that orchestra players would know the Rachmaninoff almost well enough to play it without a conductor – after all, my pew neighbor was singing along with it (audiences, please do not do this!); alas, however, the piece still demands and deserves maximum effort.

After such stressful moments in the Rachmaninoff, many pianists would want to collapse, but – make no mistake – Kariné Poghosyan is a force.  She had stood out fourteen years ago as having “a passionate musicality that transcends repertoire issues, ‘off’ nights, and a host of other challenges…” (New York Concert Review, vol. 16, no. 3, 2009), and in some ways, this concert validated that comment. Given the rather “off” start to the evening, her rebound into the Khachaturian (after barely a two-minute break) was mind-boggling. Her finish was triumphant. Brava!

Thomas Nickell, piano

Tenri Cultural Institute New York, NY

September 17, 2023

It is always interesting, after one has reviewed a young student, to review that same performer some years later. Five years ago, I reviewed a very young Thomas Nickell in a program at Zankel Hall that included Beethoven’s Piano Concerto No. 2, Liszt’s Totentanz, and a composition by Mr. Nickell himself. He was on a dual path as a double major in piano and composition at The New School, Mannes College of Music (from which he now holds double B.M. degrees), but he had struck this listener at the time as being primarily a pianist who happened also to compose. Five years later (though still young!), with some more compositions, premieres, albums, and ballet company collaborations under his belt (including with the illustrious Pacific Northwest and Joffrey Ballet companies), he projects the opposite impression – that of a composer who also plays the piano, but much better than composers typically do. This is not to say that one needs to choose, because there is a synergy that happens by combining performing and composing – but each art can be “a jealous mistress” as the saying goes, so prioritizing can be helpful in building programs and ultimately in following one’s heart.

One had a sense that Mr. Nickell was following his heart and in complete comfort with his choice of the Satie Sarabande No. 1. It was a wonderful piece to precede Mr. Nickell’s own Sonata, as it readied the listeners’ ears for something fresh, new, and highly individual. It is funny that one can barely enter certain coffee shops without hearing Satie’s Gymnopedies, but the three Sarabandes have been relatively underplayed, so it was good to hear Mr. Nickell’s probing and sensitive rendition. 

It was also a joy seeing on the program the solo version of Poulenc’s Aubade, Concerto Chorégraphique (1929), which closed the evening. Though created by Poulenc himself from a ballet he had conceived, it has yet to gain currency as a piano work. Especially effective was Mr. Nickell’s fiery and fleet fingerwork in both the Toccata and the Allegro Féroce movements. The Andante – Variation de Diane, a meltingly lyrical movement, was given the sensitive devotion it needs and deserves. Bravo! Oddly, this movement wasn’t listed as the Variation de Diane, nor was there any mention of the story of the goddess Diana – the inspiration behind the work. Without a ballet to project the story, some brief program notes could have certainly helped guide listeners. Especially curious was their absence in view of the fact that there were notes for the four very famous Chopin works on the program. 

Newer still than Poulenc or Satie was Mr. Nickell’s own Sonata, which was given its world premiere during the first half, to a reception of the pianist’s cheering fans. Though this listener could have used more illumination to help knit together its chromaticism and thorny beginning with other sections, plus the brief appearance of a nostalgic waltz later on in the piece (is there a story there?), it contained many ideas one could find engaging (even if the composer himself, reading from an electronic score, needed a degree more of engagement at times). Also engaging was a movement called Silver Lake from the composition Scenes from My Childhood by Cameron Smith, about whom there were no biographical notes. Ms. Smith’s piece employs extended techniques (plucked lower strings inside the piano), to evoke the depths of the remote lake for which her piece is named. Mr. Nickell played it with a persuasive dreamlike quality.

Last of all to discuss, yet spread throughout the program and dominating it timewise – were four of Chopin’s most revered and frequently performed works, including two Ballades (No. 1 in G minor and No. 4 in F minor) and two Scherzi (No. 1 in B minor and No. 2 in B-flat minor). In these, Mr. Nickell acquitted himself well overall, but, given the immense stature of these pieces in the piano world and their very rich performing histories, it seems that programming these was not the best representation of Mr. Nickell’s considerable gifts. Though there were glimmers of magic where Mr. Nickell took more time than many pianists do to highlight certain inner voices and progressions, there were also a few too many details obscured or glossed over (a quibble mentioned also in my 2018 review) – and one hesitates even to use such a potentially dismissive term as “detail” in discussing the finely wrought creations of Chopin. 

Aside from some overlooked articulations, pedal blurring where clarity was needed, and lost textures (generally in the left hand), there was the occasional need for more attention to cantabile treble lines, which need to soar and ring out at phrase peaks. Pianists tend to live for such lines in Chopin, but perhaps Mr. Nickell was pre-emptively overcompensating for the notoriously harsh sound of the piano and acoustics of this venue, the Tenri Cultural Institute (and Tenri has been cited repeatedly for the harsh sound by reviewers from New York Concert Review). To Mr. Nickell’s credit, there was not a single harsh sound, neither in the bracing opening chords of the Scherzo in B minor (nor their return after the B major section), nor in the climaxes of the other pieces. Oddly, one might have willingly endured just a touch of harshness here and there, in pursuit of unleashing the big spirit in these great works – though it is of course hard addressing so many issues at once and finding the right balance. 

Projection, and the practice of thinking outwardly as a performer, may not be easy to combine with the introspection involved in composing, so it is undoubtedly a challenge to straddle two such demanding artistic pursuits; it is clear, however, that Mr. Nickell has the talent and potential to take on enormous challenges, so we’ll look forward to his next chapter.

Andrew Harrison, saxophone; Jason Lo, piano

Bargemusic, Brooklyn, NY

September 15, 2023

Friday, September 15, saxophonist Andrew Harrison played a program of new music with pianist Jason Lo at Bargemusic in Brooklyn, as the opening concert for a set of similarly tantalizing programs entitled “Eclectic Series.” I am happy to report that this concert lived up fully to the name of the series, boding well for the others (listed partially at the Bargemusic website: Bargemusic). This particular program was entitled “Imaginary Folksongs” for Saxophone and Piano, deriving its name from a featured composition of that name by Stephen Lias.

What first struck this reviewer was the personable style of the duo, joking about their flights to New York (presumably from California where they both teach) and about the airline losing some luggage. For outreach concerts, this duo would be a presenter’s dream with their approachable style and low-key ad-libbing. Though there were just biographies of the performers on the program, no notes on the program itself (something that might have been easily handled by these two performers, both with doctorates), Dr. Harrison mostly made up for that with some brief spoken introductions; printed notes, however, would still have been welcome!

Though their stage presence was “low-key” their playing was high voltage. Their first three selections from Imaginary Folksongs (2014) by Stephen Lias opened the concert with energy and brilliance. In Titania’s Bower, High in the Andes, and Bonnie-Bye, there are no actual folksongs referenced, but that is where the word “Imaginary” comes to the fore. The modally-inflected Titania’s Bower evokes a sense of the fairy queen of Ovid and Shakespeare dancing her way into a technicolor dreamscape, one foot in reassuringly traditional meters and tonality, while also exploring more adventurous musical territory. It was given a marvelous performance by Dr. Harrison on soprano sax, the instrument for all of the first three Lias pieces performed here. Pianist Jason Lo shone especially in the second piece, High in the Andes, with tonal colors that conveyed its melancholy well. (One had already had a hint of Dr. Lo’s coloristic bent from strains of his Ravel Ondine as he warmed up in the hall shortly before starting, but here he confirmed his fine collaborative sensitivity). The third piece, Bonnie Bye, was pure fun in its jaunty suggestion of highland dance, though, if there were any actual Scottish tunes in there, they seemed highly flavored by Poulenc and those of his milieu. This whole set has been embraced by a fair number of saxophonists – and it is no wonder, as it has immediate appeal and is brimming with lyricism – but one can hardly imagine the set being played better than it was by this duo.

Next on the program were Three Negro Spirituals (originally for violin) by Florence Price, recast for saxophone by Andrew Harrison. There has been something of a resurgence in programs of the music of Florence Price (1887-1953), and in all kinds of arrangements, but these were the first I’d heard for saxophone and piano. Arrangements of O Holy Lord, Sometimes I Feel Like a Motherless Child, and Lord I Want to be a Christian were given respectfully minimal treatment and played with tenderness.

Returning to Imaginary Folksongs by Stephen Lias, the duo played Magic Island, Song of Light, and The Three Jolly

Pigeons – now with alto saxophone. In contrast to the earlier three pieces, these employ some extended techniques – including percussive effects, pitch bending, and air sounds – all carried out expressively by Dr. Harrison. The exotic atmosphere of Magic Island was especially enhanced by these effects. Dr. Lo achieved more of his sensitive shading in the Song of Light, with his gentle whole-tone patterns setting the perfect backdrop for Dr. Harrison’s long-breathed lines. The Three Jolly Pigeons concluded the set with zest and humor.

More lyricism of a meditative sort came next in the piece Journey (2008) by Lori Laitman. Lori Laitman is best known for her vocal music, but the story goes that she had written Journey as a song before the poet withdrew the poem – at which point she arranged it for saxophone and piano. Interestingly, there is a growing body of music that has been recast after being set to particular poems that became no longer available – one notable example being an Eric Whitacre setting of Robert Frost. The moral to composers seems to be, “inspiration first, details later.” In any case, the vocal world’s loss is the saxophone world’s gain in this moving work, which the duo played with devotion.

The program’s biggest virtuoso showpiece Rhapsody on Japanese Folksongs by Ryota Ishikawa, followed. Sailing through a panoramic range of moods and an encyclopedic array of trills and slides and tricks, the duo relished each one of these with ease. It was what could have been a perfect bravura close, but was capped off gently by what amounted to a programmed encore in the lovely miniature Lilac Tears (2022) composed by Jennifer Jolley. Ms. Jolley was present to acknowledge the receptive audience. The piece was, we are told, inspired by a Prince performance in 2004 of George Harrison’s “While My Guitar Gently Weeps” at Harrison’s posthumous induction to the Rock and Roll Hall of Fame. It was a dreamy close, after which Dr. Harrison invited the audience to “hang out” and ask questions. Of course, inquiring minds being the way they are, the first question was about what happened to the duo’s luggage. If the readers wish to know, they’ll simply have to be in the audience at the duo’s next performance!

Speaking of audience, the sparse attendance at this high-level performance struck one as almost criminal. Though Bargemusic is a bit off the beaten path, it has established a fine track record since its founding in 1977. If the hindrance for some is cost, they even have an admission-free series called “Music in Motion.” It is definitely worth exploring!

Jiwon Han, piano

Chopin–Ballade No. 4 in F Minor, op. 52

Chopin–Barcarolle in F-sharp Major, op. 60

Liszt–Sonata in B minor, S. 178

Stravinsky–Three Movements from Petrushka

Isang Yun–Five Pieces for Piano (1958)

Recorded at Yagi Studio, Seoul, Korea, 2014

Fortified with two performance degrees and an artist diploma from South Korea, a second artist diploma from Cincinnati, two doctorates in piano from Michigan State University, and an admirable list of prizes, recordings, and jobs as conductor, educator, and collaborative artist, Jiwon Han should have little need to prove his status as an expert in the field. Judging from his album “Jiwon Han—Début,” recorded nine years ago at the age of twenty-seven, we can already hear Mr. Han’s formative tastes spanning the range of pianistic warhorses, pieces which define the real article and demand the utmost of a performer. These audio files present the young, pre-Doctor Han as a probing yet conservative virtuoso steering all ears toward an eminent future.

The chronological arrangement of the YouTube playlist, Jiwon Han—Début , begins in 1842 with rather late Chopin, although one could only imagine the effect of Mr. Han’s incisive fingers on a Baroque or Classic masterwork (perhaps something to anticipate in another release). Meticulous to a fault in the preparation of every musical detail, he squeezes the last drop of tone from each voice in Chopin’s multi-layered counterpoint and leaves no note to speculation. The poetic genesis of the Fourth Ballade is nascent and the woven, operatic gondola songs of the Barcarolle, among Chopin’s last and most reflective experiments in sound, are given highly burnished treatment marked by discipline and unflinching concentration. To be sure, audio engineering and the YouTube format place us in a digital environment quite different from that of a concert hall—which would not jostle our meditations with jingles and blaring ads—but the “acoustic” is somewhat distant, treble-centric, and wet, even when Mr. Han seems to be pouring both hands into a chordal tirade. Liszt’s symphonic and tumultuous B minor Sonata unfolds acrobatically yet earnestly, pacing out the glorious arrivals of second themes and fugal upheavals with an almost micro-managed conductor’s sense of time. We marvel at Mr. Han’s power and facility while we search for a trace of the Hungarian rhapsodist who would transmute absolute structure and tonality within several years of the Sonata’s publication in 1854. Perhaps owing to the limitation of computer speakers and the sprinkling of commercial breaks between sections of this one-movement traversal of the human spirit, Mr. Han’s assiduous interpretation leaves us longing to hear him live, in a setting in which we might actually hold our breath.

Igor Stravinsky’s Petrushka becomes an instant magnet for Jiwon Han, who recorded the three excerpts at nearly the same age as the composer of the original ballet (Stravinsky was twenty-eight in 1910 when he realized his orchestral vision of a magician instilling human energy and emotion into puppets). Indeed, the piano suddenly leaps into the room as Mr. Han conjures a model soundscape of electric octaves, staccatissimo accents, and carnival folk themes. His superb rhythmic articulation and dry ostinato, so well matched to the exacting style of the regimented Russian, could be lifted into a freshly choreographed performance if Vaslav Nijinsky’s mocking reincarnation were to reappear onscreen, as Petrushka’s ghost hovered over the stage at the end of the Shrovetide Fair scene in the ballet. A pianist, however, as the sole element absent a full tableau, must be set designer, theatrical costumer, director, and choreographer, and in this regard, we hear Mr. Han’s neoclassic character primed to discover more Slavic savagery and sheer zaniness in his brilliant playing.

In a surprising detour from the showy persona exemplified by the rest of his program, Mr. Han ends on an unsettled note, with the expressionist Korean-German Isang Yun’s Five Pieces for Piano, or Fünf Stücke für Klavier. These comprise the earliest work of a Korean-born composer who studied in Japan, Paris, and Berlin and befriended Cage, Boulez, and Stockhausen in his quest for the unification of Eastern and Western styles. In 1958, before his political imprisonment and voiced strivings for the reconciliation of North and South Korea, Isang Yun was influenced by a mix of twelve-tone serialism, Taoist naturalism, Buddhist chants, and Korean instrumental timbres. It is to his credit that Mr. Han champions such mathematically constructed and intricate music. The five pieces evoke strains of Schoenberg’s Suite for Piano, op. 25 and Messiaen’s Catalogue d’Oiseaux, with new ideas: extreme curves of high and low register, colorful grace notes, imitations of vibrato, glissando, and pizzicato techniques, and fortississimo or pianississimo fermatas as isolated sounds trailing off into silence. Mr. Han portrays the contrasts effectively and freely. There may be an even higher level of control indicated by the composer’s careful progression of rhythmic values (triplets, quintuplets, septuplets) that could warrant a sense of restraint in the performer’s instinctively Romantic rubato, but the result is dramatic and alluring.

Da Capo Chamber Players

Curtis Macomber, violin; Marianne Gythfeldt. Clarinet; Christopher Gross, cello

Guest Artists: Roberta Michel, flute; Lois Martin, viola; Molly Morkoski, piano

Tenri Institute, New York, NY

June 11, 2023

It is a special pleasure to review an ensemble that was just creating a name for itself 51 years ago when this reviewer was a young child. Anyone in New York interested in new music over the past half a century has most likely known of the Da Capo Chamber Players for their many concerts and distinctions, starting with their Naumburg Chamber Music Award in 1973. They’ve given premieres of works by Elliott Carter, Joan Tower, George Perle, Shulamit Ran, and countless noted composers, many of whom have composed works just for them (totaling over 150). Though the only original member of the ensemble is now flutist Patricia Spencer, and she was not performing in this weekend’s concert at Tenri, Da Capo did present three of its stellar regular members, including violinist Curtis Macomber, clarinetist Marianne Gythfeldt, and cellist Christopher Gross. Their usual pianist, the uniquely gifted Steven Beck, was also absent from this concert, but guest pianist Molly Morkoski gave performances all evening that would be hard to surpass, if not impossible. To expand the forces for this concert – a celebration of young composers – the ensemble brought in excellent guest artists Roberta Michel (flutist) and Lois Martin (violist).

The program started with Look Again (2013, also listed in the program as 2014) by Jessica Mays (b. 1986). It turned out to be one of my favorite works on the program. Composed for flute, clarinet, cello, piano, and violin, it centers on the experience of grief and (in the composer’s words) “that experience of shock while facing the unknown and repetitive rumination that accompanies the grief cycle.” It was a refreshing – and surprisingly rare – experience to hear music that corresponded so perfectly with the composer’s written description and stated intent, though the music itself evoked more than those words ever could. Bursts of sound and large gestures conveyed shock, alternating with doleful repeated tones (especially from the piano) suggesting the relentless revisiting of thoughts in a mind that is simply trapped by grief. The players were united in their dedication to communicating the work’s essence, and they succeeded. It was both stimulating to the imagination and stirring to the emotions, the work of a fresh and sincere voice in the composition world.

The second of the five works we heard was a 2014 one by Durban-born Andile Khumalo (b. 1978) who currently teaches in South Africa and whose US connections include a Doctor of Musical Arts degree from Columbia University with George Lewis. His work on this program was Schaufe[r]inster II for solo piano- and yes, you read that correctly as a title and not an editor’s marking. As the composer writes, “The title of this piano series comes from a combination of two German words ‘Schaufenster’ (display window) and ‘schau fern’ (look farther away) … The two words triggered the idea of detailed observation or enhanced sensitivity towards observation or listening.” With wordplay already involving some brain-teasing, the composer continues with references to spectralism, the interlocking techniques of African xylophones, and research into the approach to the timbre of the ama Xhosa, some of which this listener imagines she may have heard in it – some not. Frankly, given the live acoustics at Tenri, the harshness of parts (especially in its second section) impeded truly receptive listening. With persistent focus, though, one could hear the glimmers of its many intriguing ideas. This listener was doing more searching than finding, but that may have been the composer’s aim. The pianist did a commendable job navigating the work’s myriad challenges and complexities, from fleet finger work and rapid leaps to handling disjunct material.

The third work on the program was Prelude (2019), a duo for cello and piano, composed by Katherine Balch (b. 1991).  Composed for Zlatomir Fung and Tengku Irfan, it was (in the composer’s words) “written to precede attacca into” the Brahms E minor Cello Sonata without pause, though she adds that “it may also be performed alone” – which of course it was here, given the program’s focus on new young composers. Aside from its ending on the dominant (B) of the E minor key of the sonata, one was hard-pressed to connect this work with Brahms, though undoubtedly such a new piece requires more listening and study. It was certainly full of great tonal and timbral variety, from the bell-like prepared piano effects to a variety of bowing techniques and the highest cello range imaginable, where sighing motives resembled seagull cries. Once again, percussive treble attacks were painful to hear in this space, but apart from those, it was a compelling performance. One could hardly ask for a more committed duo than that of Gross and Morkoski.

On a side note, one drawback of such a contemporary music series is what amounts to the segregation of new music from old. A composition designed to precede a specific Brahms work left this listener pining to re-hear the Brahms itself, as originally planned by the composer, and surely the newness and Romanticism would have complemented each other while making connections between them more apparent. Though the Brahms would have made this program twenty-five minutes too long, perhaps down the road Da Capo can experiment a bit more with diachronically themed programs, even on a small scale. Just as toddlers and seniors are now found to be mutually beneficial in intergenerational living experiments (ha! – after many societies already knew it), the same concept can enhance a musical experience. There could still be an emphasis on the new.

After intermission, we heard a piece called Trinket (2013), composed by Wang Lu (b. 1982). With paper clips on the piano strings and numerous effects for the cello, violin, and flute (plus piccolo), it tickled the ears as one might have imagined from its title. Ms. Lu writes (after stating that her piece had “no program note”) that the title indicates “a tiny box. It is shiny and sharp on the edges. Who knows what’s inside but we can hear sounds from the outside. We want to open it, we turn it around and around in our hands. But maybe it’s better not to open it, and only listen to it from the outside.” For “no program note” that was one of the most helpful notes imaginable for what we then heard. With the long rests between opening tones conveying the box’s mystery, its sharpness conveyed in its clear-cut phrases and percussiveness, and its sheen heard especially in the flute part, one could absolutely imagine this box, dream of some humorous possibilities inside it – and also have a healthy fear of it. It could have been called “Pandora” with its later recurring Dies Irae snippets (just four notes here which, then circled back up), but the word “Trinket” was a far more colorful (and somewhat onomatopoeic) choice. The ensemble was, as expected, superb.

The final work on the program was Enclosed Position (2014) by Matthew Ricketts (b. 1986). Composed for alto flute, clarinet, string trio, and piano, it is a stunning piece, built from (as the composer describes it) “a harmonic vocabulary which traces a zagged path through the chords of Ravel and Massenet, which start rather similarly but then modulate in different directions.” The program notes are too long to quote sufficiently here, but suffice it to say that they confirmed much of what a listener could hear and feel.  One heard in it both the sadness and sensuality of the musicians who inspired it, and at its very quiet end, one could hear that often-mentioned pin drop. It seemed not the typical silence of an audience wondering whether an unfamiliar piece was over – but more the silence of an audience hoping it was not over.

Bravo to Da Capo for so many great performances and compositions – and cheers to their upcoming 52nd season!

Rodney Wynkoop, guest conductor

Michael Bussewitz-Quarm, DCINY Composer-in-Residence

David Cole, piano

Greg Gilpin, composer/conductor

George Hemcher, piano

Distinguished Concerts Singers International

Stern Auditorium at Carnegie Hall, New York, NY

June 5, 2023

Distinguished Concerts International New York (DCINY) ended its 2022-2023 series with a concert entitled Music for the Human Spirit. The first half took the subtitle Where We Find Ourselves, the name of the work that filled the half itself. The second half, Together We Are Better, featured seven works for younger voices, some composed/arranged by Greg Gilpin, who conducted this half, and others were old favorites. The choruses came from North Carolina, New York, Texas, Florida, Kansas, Indiana, Nevada, and Tennessee.

Rodney Wynkoop took the podium to conduct Michael Bussewitz-Quarm’s Where We Find Ourselves, with text by Shantel Sellers. Where We Find Ourselves takes its name from a photo collection book featuring imperfect (i.e., double-exposed) plates taken by photographer Hugh Mangum (1877-1922). Why Mangum saved these photos is not known, other than he believed they had value. Quoting the program notes, “We are all damaged in some way, and sometimes the world seems broken…yet even in brokenness, there is beauty. This is where we find our courage. This is where we find ourselves.“ Clocking in around twenty-five minutes, it is divided into five-movements (I. “Would you know me by my hat?” II. “Would you know me by my hair?” III. “Would you know me by my work?” IV. “Would you know me by my scars” V. “Memento Vivere”). It emerged as the work of a skilled choral composer, employing accessible tonal language without cloying consonance, clear text setting, and enough complexity to challenge listener and performer alike. It was also well within the capabilities of a good high school chorus, showing a strong understanding of the different vocal ranges.

Highlights included the performance by bass soloist Mark Garbrick in the “Would you know me by my hair?” movement. Imagine Ice and the Jets (or Tony if you prefer the 2021 West Side Story) singing “Cool” in the middle of a church service spiritual. “Would you know me by my scars?”, with soloists Brooke Sullivan and Q Davis, had a very unsettling quality that was hauntingly effective. It was far and away my favorite part of this work.  Let’s not overlook soprano soloist Alyssa Anzelmo, whose lovely voice filled the hall in the “Would you know me by my work?” movement. Kudos to Maestro Wynkoop and the chorus for their excellent performance, and to Ms. Bussewitz-Quarm, who was in attendance and stood to receive congratulations and applause from the audience.

It is regrettable that the photos that inspired this work were not projected for the audience to view.. It would have added an additional layer of context that might have helped the listener gain a deeper understanding. One can view the pictures by visiting the following site: Where We Find Ourselves- Mangum portraits.

After a very short (and the fastest stage reset in my thirteen years of reviewing DCINY) pause, Greg Gilpin took the stage. A DCINY favorite (this being Mr. Gilpin’s seventh appearance with DCINY), Mr. Gilpin is something of a magician with young singers. I have mentioned his avuncular qualities in past reviews, but that is probably an oversimplification of his talents. He is “all in” – cajoling, gyrating, singing along, whatever it takes to coax these youngsters to heights they probably never imagined possible. As an old and crusty music critic, such choral performances can be trite and tiresome (the obligatory handclapping while singing and the choreographed sways), but as a human being, it is enchanting. It is like I have two hundred kids, and I am proud of each and every one of them. Accordingly, I am not going to do the usual “critic” thing, other than to acknowledge soloist Leah Crane for “rocking the house” with her impassioned performance.

For the sake of completeness- the selections were as follows: Music Gloria! (Hayes/Martin), Yeish Kochavom (Tunick), Hakuna Mungu Kama Wewe (arr. Gilpin), Together We are Better (When We Sing) (Gilpin), Pilgrim Song (arr. Murphy), Dry Bones (arr. Hayes), and How Can I Keep From Singing? (Gilpin).

The hall erupted in a loud and raucous standing ovation for their stars. As Mr. Gilpin said before the final number, “They are our future,” as he pointed to the youth on stage. Maybe the future is brighter than I might have imagined. Congratulations to all.

Magdalena Filipczak, violin; Jessica Xylina Osborne, Piano

Weill Recital Hall at Carnegie Hall, New York, NY

May 30, 2023

A large crowd came out to Weill Hall this Tuesday for the debut recital of violinist Magdalena Filipczak with pianist collaborator Dr.Jessica Xylina Osborne, and it was a concert not to be forgotten. The program was beyond bountiful, including fiercely demanding 20th-century works (by Arnold Schoenberg, Witold Lutoslawski, Benjamin Britten, and Stephen Coxe), alongside virtuoso showpieces (Eugène Ysaÿe and Henryk Wieniawski), all flanking the centerpiece of the evening, Franz Schubert’s monumental Fantasy in C major, D. 934. Of these works, almost any by itself might be the high point of a typical violin program, but here were seven such pieces together. The duo of Filipczak and Osborne was certainly a match for it all, as one might have been led to expect from their excellent credentials, but they surpassed expectations, adding memorable surprises along the way.

Incidentally, this recital was supposed to have occurred in 2020 but was among those canceled because of the pandemic. Three extra years can make a program feel stale, but in this case time seems to have ripened it perfectly. With only one change from the original 2020 program (still posted on the Carnegie website) – Wieniawski’s Fantasie Brillante on motifs from Gounod’s Faust in place of Ravel’s Sonata No. 2 –   the substitution simply expanded on a “Fantasy” theme that was already emerging with the Schubert, Wieniawski, and Schoenberg (all heard in Ms. Filipczak’s debut CD album, Essence of Violin).

Back to 2023, the recital burst into action with a work aptly named Subito, Lutosławski’s dazzlingly craggy and chromatic test piece commissioned by Joseph Gingold for the 1994 International Violin Competition in Indianapolis. Ms. Filipczak exploited it as the vehicle of violin wizardry it was meant to be, showing a huge emotional range from violent outbursts to lyrical lines. The split-second timing of the duo was exceptional.

As if the Lutoslawski had not been edgy and dissonant enough, Schoenberg’s Phantasy, Op. 47, the composer’s last strictly instrumental work, followed. In lieu of program notes, Ms. Filipczak made some prefatory comments (also announcing a change from the program which had listed the Britten next), but sadly a very noisy late seating drowned her out. This was a lot of challenging music for a lay audience to process, but the duo did pull it off with conviction.

Anticipation was building (in this listener anyway) for the Schubert Fantasy in C Major (1827) as Ms. Filipczak explained the connection between this great work and one of the lieder Schubert had composed in 1822, Sei mir gegrüßt, or “I greet you” (the Fantasy‘s Andantino movement being a set of variations on that song, reworked). Little did we know what was up this pair’s sleeves, but just as the pianist started what sounded like the introduction of the Andantino movement (which would have been skipping ahead in the Fantasy), it turned out to be the similar piano introduction to the original song Sei mir gegrüßt – sung by none other than Ms. Filipczak herself! To be clear, that is not to say that Ms. Filipczak played a transcription of the song (something violinists have done in conjunction with this work), but that she sang it, and with a lovely and well-trained voice!  At this point, one recalled that along with her violin studies there were mentions in her biography of voice studies – but those had been nothing to prepare one for her singing at her own violin debut. What a wonderfully bold touch! It became clearer and clearer that Ms. Filipczak, along with being an immensely gifted violinist, is first and foremost a musician. She aims to communicate all she can by whatever means necessary, going the extra mile and taking risks. Based on what we heard, she is succeeding!

Overriding any urge for disruptive applause, her pianist and “partner in crime” led smoothly from the song to the tremolando piano opening of the Fantasy, as if in a dream sequence.  It was a breathtaking segue, and it enhanced the experience of this magnificent piece. Aside from what seemed slightly differing conceptions of tempi in the earlier of the Andantino‘s variations, the Fantasy benefitted from still more superb playing from this duo. Dr. Osborne handled with polish the torrents of passagework, octaves, and other difficulties, while always listening and intuiting keenly as a chamber musician. The piano lid was up, but her piano sound rarely overpowered – it was just robust, as most of this duo program demanded.

After intermission, we heard Britten’s Reveille: A Concert Study for Violin and Piano, moved from the first half. A dreamy evocation of the difficulty Britten’s young violinist friend had with early mornings, it enjoyed sleepy slides from the violinist over a hypnotic piano part, blooming gradually into the day’s etudes before a comically perfunctory close from both – it was done to a tee.The audience then lapped up Wieniawski’s Fantasia on Themes from Gounod’s Faust, a piece that piles so many different facets of violin technique on top of one another that it verges on hilarity. It was great to hear a duo good enough to have fun with it – one didn’t know whether to laugh or gasp in awe.

Cherchant, a 2019 work (World Premiere) by Stephen Coxe came as a sobering interlude with notes of Ravel, Berg, and Szymanowski, and it lived up to its title well with its sincere feeling of searching. Around this point in the long evening, it struck one that this duo may want to opt eventually for slightly shorter programs. Sometimes less is more (and it is a lot to ask an audience – including a reviewer – to leave after 10 pm for a concert starting at 8 pm). Allowing time for talking (and singing!), the Coxe work could have perhaps replaced the Schoenberg (fantasy themes notwithstanding), leaving the second half lighter and with more momentum.   Alternatively, perhaps just one of the showier pieces was enough. Ysaÿe’s Caprice d’après l’étude en forme de Valse de Saint-Saëns closed the program with still more over-the-top brilliance, and one approached what could be called the “virtuosity saturation point.”

Minor reservations aside, the Ysaÿe found Ms. Filipczak in incredible form yet again, and Dr. Osborne masterful, never becoming the bland background even with the violin in the fore, but always adding flavor to each gesture and phrase. Their rapport was felt in musical exchange that resembled witty conversation – wonderful fun, expertly projected.

A cheering crowd received two encores, Paderewski’s gentle Melodie Op. 16, No 2 (arr. Stanislaw Barcewicz) and Szymanowski’s haunting Prelude Op. 1, No. 1 (arr. Grażyna Bacewicz), both played with sensitivity. Hearty congratulations to both musicians!

Yixiang Hou, pianist

Joel Crawford, Recording, mixing, and mastering engineer

KNS Classical label: KNS A/139

The KNS Classical recording label (www.knsclassical.com) has just this spring released an album entitled Carnival featuring excellent performances by pianist Yixiang Hou in unusual selections from the late Renaissance to the twentieth century. Recorded December 18, 2022 on a Steinway at Robert J. Werner Recital Hall (University of Cincinnati College-Conservatory of Music, CCM), it includes composers as disparate as Orlando Gibbons, Robert Schumann, Charles-Valentin Alkan, Alexander Scriabin, and Arnold Schoenberg. Not too surprisingly this album includes Schumann’s epic Op. 9, Carnaval, but equally carnivalesque is Alkan’s Le Festin d’Ésope (The Feast of Aesop), Op. 39, No 12 (1857), an exciting and still relatively overlooked work. Mr. Hou, a winner of quite a few prizes, revels in this diverse musical menu, proving himself to be a gifted and adventurous young artist. 

One is a bit puzzled by the inclusion in a “Carnival” collection of several much more somber selections – the Schoenberg Op. 11, Scriabin’s “Black Mass” Sonata No. 9, and especially the  Gibbons Pavan in G minor which opens (the processional display aspect notwithstanding); perhaps these are to serve as foils for the Schumann and Alkan centerpieces, but if the title “Carnival” is simply to suggest great variety, these works do add to that.

Mr. Hou opens the album with solemnity, imbuing the Gibbons Pavan in G minor with a free, quasi-improvisatory expressiveness that suits it well. It is a joy to hear. Though performance practice specialists tend to prefer early instruments for such a piece, a modern piano works beautifully in its own ways (as Glenn Gould and others have agreed). Mr. Hou is a persuasive advocate here, exploiting the piano’s colors to project its mercurial changes and shaping its florid lines well.

Alkan’s Le Festin d’Ésope (the twelfth etude of Alkan’s Op. 39 from 1857) follows in complete contrast, starting with an impish theme in E minor followed by twenty-five virtuosic variations. Honoring Aesop with various animal evocations, this etude an orgy of pianistic display, chordal bombast, wild hand-crossing, rapid octaves, ridiculously fast sixty-fourth notes in one hand with simultaneous leaps in the other, and just enough rhythmic mischief and abbajante (“barking”) dissonance to keep a virtuoso from taking himself (or anything) too seriously. Mr. Hou handles the pyrotechnics easily, with a technique that allows him to unleash its maniacal outbursts with zest. Still a bit more measured than my “go-to” recording of this by  Marc-André Hamelin (who was noted for pioneering this and other pieces by Alkan), Mr. Hou maintains most of the overall tautness of tempo as requested by the composer (avoiding what pianists jokingly call the “emergency maestoso” even in the direst diabolical difficulties), but he takes extra time where the music invites breathing. He is always controlled, with careful metric placement. He also thankfully manages the bravura passages without stretches of “banging” or stridency.

The relative spareness of Schoenberg’s Drei Klavierstücke, Op. 11 (1909) feels just right after Alkan’s circus of excess, though the three pieces are challenging to pianist and listener alike. Mr. Hou gives them thoughtful interpretations, carrying the listener through their almost stream-of-consciousness journey. The slow second piece benefits from a particularly expressive and involved performance here, and the stormy third is full of passion.

Scriabin’s Piano Sonata No. 9, Op. 68 (“Black Mass”) is one of the more difficult of Scriabin’s piano sonatas to hold together, but Mr. Hou has the insight and technique to do just that. Going back to the album title “Carnival” (if this work were meant to relate to that title at all), this would surely be the carnival’s Tower of Terror or some such attraction. This pianist’s rendition comes closer than most in capturing its eerie otherworldliness and ineffable terror.

Placement is key in music, and almost anything following the “Black Mass” Sonata sounds joyous; Robert Schumann’s Carnaval thus brings an especially welcome spirit of triumph to close this album. Mr. Hou gives it all it requires in a fairly mainstream, unsurprising but thoroughly satisfying performance. One can only imagine that his various live performances of it in competitions must have wowed his juries with his technical strengths and reliable musicality.

Along with being a frequent prizewinner in competitions, Mr. Hou continues his studies as a doctoral candidate at the University of Cincinnati College-Conservatory of Music (CCM) under the tutelage of Ran Dank (whom this reviewer reviewed as a musician of “immense talent” in 2008 as the winner of the Hilton Head International Competition).  What a fruitful pairing of two adventurous musicians! In addition, Mr. Hou has studied at the Shanghai Conservatory with pianists Qi Zhang, Weiling Chen, Dachun You, and Ting Zhou, in Boston with Wha Kyung Byun at the New England Conservatory, and at the Aspen Music Festival with Arie Vardi.

To reach such a high level while still a student bodes well for Mr. Hou’s future, and he is certainly an artist to watch as he continues to explore. Meanwhile, one can find his album at most online music stores. It would be hard, if not impossible, to find this particular array of works played as well by a single artist.

Xiao Chen, piano, and Xenia Deviatkina-Loh, violin

May 15, 2023

Recognizing, performing, and recording works of under-represented composers is a popular and welcome trend now; the hope being that their proliferation will gain acceptance into the canon of standard repertoire. Duo X² has realized a dream in their recording of works by women composers. This selection showcases music written in the 21^st century by extremely accomplished women hailing from differing cultural heritages.

The video recording can be viewed on YouTube: A Celebration of Women Composers. Each track brings the listener into a unique world, from Chen Yi’s Chinese diaspora (From Old Peking Folklore) to Ellen Taffe Zwilich’s eclectic expression (Episodes for Violin and Piano). Some of the composers wrote pieces as a reaction to global events, such as Gillian Whitehead’s Tōrua, written in the wake of the destruction of the February 2011 earthquake in Christchurch, and Jessie Montgomery’s Peace, a reflection composed during the height of the COVID-19 pandemic. Other works on this recording include Impulse by Franghiz Ali-Zaden, Memories by Michiro Oshima, Ara Ri Yo by Eun Young Lee, and Speak, Memory, by Lera Auerbach, which shares its title with Vladimir Nabokov’s critically acclaimed memoir.

Duo X² delivers a crystalline accuracy in their highly refined ensemble playing; they are consummate professionals whose commitment to excellence is evident throughout this recording. Xenia Deviatkina-Loh possesses a toolbox of comprehensive technical skills: finger pizzicato, intricate bowing, and mastery of intonation in the extremely high registers. Xiao Chen displays a deep understanding of the transparent textures, playing with clarity and brilliant rhythmic backbone. The two musicians are consistently successful in achieving balance.

The only distraction seemed to be in the sound engineering. Often the audible breathing was too present in the violin part, possibly a result of microphone placement. In addition, between each selection was dead air as opposed to an ambient sound to connect the music.

While the music in this recording is by no means “easy listening,” the performances are riveting and a worthy addition to the continuing mission of expansion and inclusion.

Alexandra Eames