Star Concert Productions presents Carine Gutlerner, pianist in Review

Star Concert Productions presents Carine Gutlerner, pianist in Review

Carine Gutlerner, piano
Weill Recital Hall at Carnegie Hall; New York, NY
February 25, 2014
 

Pianist, choral conductor, composer of film music, and visual artist, Franco-Belgian Carine Gutlerner is a person of many talents.  One can sample her output in all these areas at her website www.carinegutlerner.com. In a program of Beethoven, Mussorgsky, Brahms, Chopin, Tessier, and Van Rossum, to  promote her two CDs on the C.E.A Musika label- Franck/Mussorgsky (2011) and Beethoven/Brahms (2014), Ms. Gutlerner performed at Weill Recital Hall on the evening of February 25, 2014. I have heard Ms. Gutlerner in recital previously at Merkin Hall, and was left with mixed feelings. On that occasion there were moments of inspiration and beauty (especially in the works by Brahms) mixed with a lax approach to detail. How I would find this performance? It is always an interesting experience to hear the same performer twice.

It should be said that there was considerable doubt this recital was even going to take place.  Ms. Gutlerner only arrived several hours before the 8:00PM start time, having been subjected to the bureaucracy of those agencies responsible for issuing her a visa. I must express my admiration and respect to Ms. Gutlerner for “going on with the show” under such trying circumstances.  Other artists have cancelled concerts for much less compelling reasons, but Ms. Gutlerner showed she is made of sterner stuff.

Ms. Gutlerner opened with the United States premiere of Chant de l’Aube by French composer Roger Tessier (b. 1939). A short piece that could be described as Robert Schumann making a guest appearance in a Messiaen-like work, it was played by Ms. Gutlerner with commitment and special attention to detail, bringing the Schumann quotes out with tenderness. Beethoven’s monumental Sonata No. 32 in C minor, Op.111, followed and reinforced my earlier impressions. Ms. Gutlerner has her own ideas about this work and does not seem to be overly concerned with the smaller details in a reading that at times was sublime and at other times, erratic and unfocused. One wanted, even needed, more pathos and power in the opening movement and more subtlety in the Arietta. Chopin’s Ballade No.2 in F major, Op. 38 followed and was lacking the fury of the stormy second theme one hopes for, but overall, Ms. Gutlerner’s performance was solid, if somewhat undifferentiated. Twelve Miniatures, Op. 10, by the Belgian composer Frederik Van Rossum (b. 1939) followed the Chopin – No.1 (Prelude), No.9 (Toccata), No. 10 (March), No.11 (Elegy), No. 12 (Finale). These works all have strong similarities to Prokofiev and Shostakovich (The Finale I would jokingly refer to as “Son of the Prokofiev 7th”, as in the famous sonata’s finale). Ms. Gutlerner played these works with the right sense of biting humor and sarcasm in a nice end to the first half of her recital.

After intermission, Ms. Gutlerner offered two selections from the Klavierstücke, op 118, of Johannes Brahms: The No.5 Romance in F major, and the No. 6 Intermezzo in E-flat minor. Ms. Gutlerner’s playing of these Brahms pieces was exceptional. She seems to be possessed of a special affinity for his works, and I hope that she will dedicate her considerable talents for Brahms’s music more extensively. These were far and away the highlights of her recital to this listener.

Mussorgsky’s Pictures at an Exhibition ended the concert, at moments commendable and other times dangerously close to coming off the rails. High points included Bydlo, played with the just the right touch of heaviness, the Ballet of the Unhatched Chicks, played with humor and grace, and the Catacombs, which was excellent. On the other side, The Hut on Fowl’s Legs (Baba Yaga) was at times nearly unrecognizable, while The Great Gate Of Kiev was beset with wrong notes and overall messiness. Ms. Gutlerner has her own ideas about this work, most of which I find to hard to embrace, but the audience seemed to be pleased with her interpretation and gave her an enthusiastic reception.

Ms. Gutlerner is an artist who paints with broad strokes.  Those strokes are often seemingly careless and imprecise, but few would disagree that the larger conception is what matters the most. When one stands back and looks at the canvas, one sees the whole picture, not so much the individual brush strokes. The “whole picture” in this recital was one that provoked thought, and one of them, especially in this day and age of “production line” players, is that artists, even performers, are human beings.

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by Jeffrey Williams  for New York Concert Review; New York, NY
Michigan State University College of Music presents Michigan State University Wind Symphony in Review

Michigan State University College of Music presents Michigan State University Wind Symphony in Review

Michigan State University Wind Symphony
Kevin L. Sedatole, conductor; Lindsay Kesselman, soprano
Stern Auditorium, Carnegie Hall; New York, NY
February 22, 2014

 

In a performance billed as “commemorating the 10th anniversary of the premiere performance of John Corigliano’s Symphony No. 3, Circus Maximus,” the Michigan State University Wind Symphony concluded their five-city tour at Stern Auditorium at Carnegie Hall. In addition to Circus Maximus, another Corligiano work, Mr. Tambourine Man: Seven Poems of Bob Dylan, and Traveler by David Maslanka were on the program. The combination of one of my favorite wind ensemble composers (Maslanka) with one of my favorite composers period (Corigliano) held the promise of being a very enjoyable concert.

This listener is a great fan of the wind ensemble, having cut his musical teeth, so to speak, playing some of the works of the great composers of “band” music (e.g. Clifton Williams, W. Francis McBeth). With this experience also come some very strong opinions and high expectations. What actually transpired far and away exceeded my original hopes.

Opening the concert was Traveler (2003) by Michigan State University alum David Maslanka (b. 1943). Written in honor of the retirement of Mr. Maslanka’s friend and colleague, Ray C. Lichtenwalter, Traveler is a musical rendering of a life journey. The energetic first section, as the composer states, is  “depicting an engaged life in full stride.” The second and final section becomes quiet and meditative as the soul’s final preparation for the end of one journey and the beginning of the next. Mr. Maslanka has frequently alluded to his great admiration for J.S. Bach, so it is not altogether surprising that a Bach chorale, Nicht so traurig, nicht so sehr (Not so sad, not so much), BWV 384, is quoted in the opening of Traveler. The end of the journey need not be considered sad. Quoting Mr. Maslanka, “[In] our hearts, our minds, our souls- We travel from life to life to life- In time and eternity.”

Conductor Kevin L. Sedatole strode onto the stage and within seconds unleashed the dynamo that is his ensemble, setting the standard for the entire concert. Intonation was precise, and the playing was crisp and clearly articulated in the opening section’s rapid passages, which I have heard less skilled ensembles muddy up into an amorphous musical blob. The energetic percussionists dashed about as several players took on multiple roles. The final section was rendered with an otherworldly serenity that was simply breathtaking. As the music slowly faded away, disappearing into silence, the audience was spellbound.

Mr. Tambourine Man: Seven Poems of Bob Dylan (2000/2009) by John Corigliano (b.1938) followed. Scored for soprano soloist, and (in this arrangement) wind ensemble, the seven songs are Mr. Tambourine Man, Clothes Line, Blowin’ in the Wind, Masters of War, All Along the Watchtower, Chimes of Freedom, and Forever Young. The concept of taking lyrics of Bob Dylan’s songs and recasting them without any reference to the original musical material is a bold undertaking, even for a composer of the skill of Mr. Corigliano. The question of whether or not this “works” has a highly subjective answer. I would speculate that listeners who are very familiar with the original songs by Bob Dylan and the “hard-core” Dylan fans might experience more difficulties in “letting go”. To this listener, the settings were effective in the sense of capturing the power of the lyrics as if they had never had music associated with them. Soprano soloist Lindsay Kesselman made these songs her own in a performance filled with passion. Her diction was excellent and the colors of her voice really brought out the meanings of Dylan’s lyrics. There were countless moments of excellence, but I will mention just one that caught me off guard. The last line of Masters of War (‘Til I’m sure you’re dead) was delivered with a bone-chilling, angry hiss that I was not expecting from such a radiant voice! She was a joy to watch and hear, and when she finished Forever Young, the audience gave her a richly deserved and prolonged ovation. Mr. Corigliano came to the stage and shared his enthusiasm for the superlative performance the amazing Ms. Kesselman gave of his work.

After the intermission, it was time for the showstopper: Corigliano’s Symphony No. 3, Circus Maximus (2004). Scored for wind ensemble on-stage, off-stage players throughout the hall (in this case in each tier of the auditorium), including a small marching band, it is an approximately thirty-five minute work in eight sections that are played without pause. Those eight sections are entitled Introitus, Screen/Siren, Channel Surfing, Night Music I, Night Music II, Circus Maximus, Prayer, and Coda-Veritas. As Mr. Corigliano writes, “The parallels between the high decadence of Rome and our present time are obvious. Entertainment dominates our reality, and ever-more-extreme ‘reality shows’ dominate our entertainment.” Circus Maximus is a musical depiction of this decadence, and a shockingly effective one at that. It is at turns brash, monstrous and grotesque, ear-splittingly loud, but also filled with humor and moments of poignancy. It grabs the listener by the throat and holds him there for the entirety of the work.

I am quite familiar with this work, but this is the first time I have seen it staged live. The word staged is not a mistake, as this massive work is not something one just hears, but experiences in every sense of the word. Although there is an excellent recording of this work on the Naxos label conducted by Jerry Junkin (the commissioner and dedicatee of Circus Maximus) and the University of Texas Wind Ensemble, it simply cannot compare to a live performance. The infrequency of performances of this incredible work is regrettable, but understandable, given the ferocious difficulty of the music and the complexity of managing all the aleatoric elements with widespread forces.  I must express my admiration for the work of conductor Kevin Sedatole, who was the ultimate ringmaster for this circus! (There is an excellent 2010 performance lead by Maestro Sedatole on video that one can view by clicking here.)

The playing of the Michigan State University Wind Symphony was outstanding from the opening calls of the Introitus to the last notes of the Coda. This was playing of a level that I would rate as being in the top five of all wind ensembles I have heard or played in (and there have been some heavy hitters on the list). I was transfixed in a way I can’t recall experiencing, and while the brilliance of the work was a factor, it is the players that make it all happen. It’s self-evident – it doesn’t matter how good the work is if the players are not good.

Highlights abound and I could go on and on, but I will limit myself to a few things I found to be particularly striking.  Channel Surfing, with the constant stops, starts, and interruptions from all locations around the hall was really as if someone with a remote control were pushing buttons every few seconds in a sonic depiction of Attention Deficit Disorder. The use of soft mallets on the interior of the piano on the low A string in a continuous tremolo during Night Music I gave this section an eerie atmospheric aspect that was mesmerizing. The marching band wending its way down the aisles, onto the stage, past the conductor, and back up the aisles in the Circus Maximus section delighted all. I especially enjoyed the spectacle of this merry band passing directly by my seat. The Prayer section was hauntingly serene after the preceding chaos.

At the end of the Coda, a gunshot (yes, a gunshot!) ends the work. After the report of the gun, the stage went instantly to black, which was an inspired touch. The lights slowly came on to find Maestro Sedatole with his baton still suspended in midair as if he were frozen in time. The audience did not wish to wait for the customary lowering of the baton before exploding into an immediate standing ovation. One did not need to be a music reviewer to know they had just experienced something awe-inspiring. After a ten-minute standing ovation (in which Mr. Corigliano was called back to the stage multiple times), Maestro Sedatole led the ensemble in a rousing MSU Fight Song, to the delight of the many Michigan State University students, parents, and alumni in attendance.

There are concerts that one enjoys, but those memories often fade as time passes. There are others one remembers for negative reasons. The instances of concerts that years later still fill my memory with wonder are rare indeed. This is a concert that will remain as one of the highlights of my concert-going experiences. Congratulations to Maestro Sedatole and the superb Michigan State University Wind Symphony.

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents Shawnee Press: Celebrating 75 Years in Music in Review

Distinguished Concerts International New York (DCINY) presents Shawnee Press: Celebrating 75 Years in Music in Review

Distinguished Concerts International New York (DCINY) Presents Shawnee Press: Celebrating 75 Years in Music
Distinguished Concerts Orchestra, Distinguished Concert Singers International
Tim Seelig, Conductor Laureate; Greg Gilpin, composer/conductor; Mark Hayes, composer/conductor; Joseph M. Martin, composer/conductor; Sean Berry, Ben Cohen, Heather Sorenson, accompanists
Stern Auditorium, Carnegie Hall, New York, NY
February 17, 2014

For seventy-five years, the Shawnee Press has published music which has become part of the core repertoire of choral groups all over the United States and in many foreign countries. What better way to celebrate this anniversary  than by presenting a sampling of this music performed by fourteen choral groups from twelve states (Ohio and Pennsylvania each sent two groups), a contingent of individual singers from around the globe, vocal soloists, three piano accompanists, and a large orchestra led by four different conductors, all brought to Carnegie Hall by Distinguished Concerts International New York?

First a little history, adapted from the concert’s program notes: “In the late 1930s Fred Waring, renowned bandleader and choral master, and some of his friends formed a music publishing company called WORDS AND MUSIC, INC. As he and his famous singing group, “The Pennsylvanians,” grew in stature and popularity, school choral and church choir directors began requesting copies of his unique arrangements. In 1939, the first choral arrangement became available, and in 1947 Mr. Waring changed the name of the company to Shawnee Press.”

Each of the two halves of the concert featured seven of the above mentioned choruses and was divided into two sets, each set directed by a different conductor. First on the podium was Conductor Laureate Tim Seelig, who led the assembled singers and instrumentalists in an arrangement of “America the Beautiful” by Marvin Gaspard. This lush, technicolor arrangement set a pattern for the concert which, for this listener, contained too many works which would have served as perfect concert finales. It sounded great – the DCINY Orchestra played at its usual high level (although the timpanist did get a little overexcited at times), and who isn’t thrilled by the sound of a huge chorus of avocational singers? The audience loved it, and loved all of the concert’s finale-like works, but did these works give a clear idea of the breadth of the massive Shawnee Press catalogue? This catalogue contains fourteen other arrangements of “America the Beautiful,” and multiple arrangements of many of the nineteen other works on the program. It would have been good to hear some of the more simple arrangements and some of the versions of works with just a piano accompaniment. The audience didn’t mind at all, and reveled all evening in the massed sound.

Next on the podium was Mark Hayes, who led performances of his own compositions and arrangements. The accompanist was Shawn Berry, who also accompanied the first set. I do wish he and the other accompanists, Ben Cohen and Heather Sorenson, had more to do.

A different, even larger chorus took the stage for concert’s second half. Although both choruses produced a pleasant sound, the men were sometimes overpowered by the more numerous women, and both by the sometimes too loud orchestra. Crisper consonants would have also improved the diction. Conductors Greg Gilpin and Joseph M. Martin each led performances of their own compositions and arrangements. As with most of the evening’s arrangements, I found these and those on the first half by Mr. Hayes “too much of a muchness,” often obliterating the simplicity and beauty of the original material. I suspect that these “over the top” works were chosen to make a big impression for this celebratory concert, but to continue with my series of clichés, “less would have been more,” if a more varied repertoire had been offered.

I remember with great pleasure the music in Shawnee Press editions I sang many years ago with the Midwood High School Mixed Chorus. I am sure, thanks to the continued success of Shawnee Press, many thousands of people are now creating, and will in the future create, similar memories.

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by Harry Saltzman  for New York Concert Review; New York, NY
Korea Music Foundation presents Allant Piano Trio in Review

Korea Music Foundation presents Allant Piano Trio in Review

Korea Music Foundation presents: Allant Piano Trio
Anna Park, violin; Alina Lim, cello; Hyo Kyoung Beth Nam, pianist
Weill Recital Hall at Carnegie Hall, New York, N.Y.
February18, 2014

 

Firepower was present in each work from music of Beethoven and Mendelssohn to that of living composers Kelly-Marie Murphy (b. 1964) and Sun-Young Park (b. 1988), at the Allant Trio’s New York debut recital. Recipients of numerous accolades individually, the three are recent awardees of the John Madrigano Entrepreneurship grant at the Juilliard School, where their instrumental teachers have included Martin Canin, Robert McDonald, Hyo Kang, Naoko Tanaka, and Richard Aaron, plus coaches Toby Appel, Rohan DeSilva, Jonathan Feldman, Nicholas Mann and Vivian Weilerstein. In addition to such illustrious guidance, each member of the trio reflects the will and determination of a lifetime of passionate commitment to performing. True to the needs of today’s classical performers to reach out in musical mission, they are also versatile, spreading their gifts from major concert venues to soup kitchens and senior centers, and from innovative teaching projects to commissioning and performing new compositions. If there were a checklist for the musician of today, theirs would leave nothing blank.

Of course all checklists are meaningless without the performance itself, and I am happy to say that the performances were riveting.  In fact, I would defy even the most exhausted and jaded listener to experience even a moment of boredom in this group’s high-voltage evening.  The rocketing opening of Beethoven’s Trio in D minor, Op. 70, No. 1 (Ghost) caught me off guard as faster than what I’m accustomed to, but it lost nothing in clarity and was perfectly synchronized. There was throughout an almost microscopic attention to detail, and the result was a performance as close to perfectly polished as one will find; unlike some instances of this hyper-vigilance, however, theirs never interfered with the sense of overall structure. This trio had clearly done its homework and looked at the work from inside and out – with undoubtedly expert coaching. Ms. Nam, the pianist, showed extraordinary dynamic range with precision and clarity. There were even moments (especially in the central Largo) when one might have actually wanted less clarity (for example in its awkwardly exposed tremolos) but the same crisp articulation was again a joy in the finale. The ensemble work was outstanding. Physical unity was demonstrative without histrionics, and attacks and cut-offs were arresting and razor-sharp.

If one wanted more a bit more presence from violinist, Anna Park, the next work gave her more of a showcase along with the cellist, Alina Lim. Both were passionate and projective. “Give Me Phoenix Wings to Fly,” by Kelly-Marie Murphy, found the violin in a leadership role (in fact standing) through three highly expressive movements that evoked (as the Ms. Murphy describes) “fire, bleak devastation, and rebuilding.” In confrontational exchange of jagged virtuosic gestures one could easily envision the violent darting of flames, and the trio played up the drama to the hilt, as was fit. The dark second movement was haunting and beautifully connected in spirit to the Ghost Trio (ingenious programming), but all finished brilliantly with resurgence of energy in the third, as the phoenix began its rise. Ms. Murphy is an exciting and imaginative composer, much in demand especially in her native Canada and deservedly so. Of strong personality, she posts her occasional negative press on a webpage entitled “They hate me … they really hate me” – a cheeky feature that I almost regret to say will not be including my comments!

After intermission came music slightly lighter in spirit, along with a brightening of wardrobe from largely black to glimmering and golden hues (an optional item on the checklist – visual excitement!). First was the New York premiere of a work entitled HEEM by Sun-Young Park and commissioned by the performers. The title, according to Ms. Park’s notes is a Korean word with “a multitude of meanings: energy, strength, force, potency, effort” with the central premise being “intensity”, an aptly chosen word for this trio. A seven-minute showpiece with “everything but the kitchen sink” in terms of technical wizardry, and glissandi galore, it will surely be a regular vehicle for the Allant Trio and probably many others.

More of this group’s superb playing shone in Mendelssohn’s Trio No. 1 in D Minor, Op. 49, and, though it lacked nothing in intensity, I was glad to see that there were some more moments of the slightly more relaxed, intimate music making that I usually look for in chamber music. The cello lines breathed beautifully and the violin projected more individually than in the rest of the program. The one or two moments where not everything meshed perfectly I actually took as wholesome sign that each line was living a bit more independently. As a minor reservation, the Andante con moto tranquillo in my opinion could have enjoyed a more straightforward quality in the phrasing. Its very simplicity tends to invite self-consciousness in the opening piano melody, with some left-before-right-hand emoting, but its purity usually speaks for itself (even if it sometimes takes years to capture). The Scherzo that followed was all one could want, quintessential Mendelssohn, with his sparkling writing given a high polish. The Finale capped off the evening in triumph.

Nothing prepared one for the cyclone of this group’s energy, not even their chosen title of “Allant,” a musical term loosely translated as “going” or moving forward. While I don’t quite agree with their definition as listed in the (uncredited) program notes as “driving” and “energetic”, their name still seems appropriate – they are definitely “going” places!

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by Rorianne Schrade  for New York Concert Review; New York, NY
An Evening of Contemporary Music in Review

An Evening of Contemporary Music in Review

An Evening of Contemporary Music: Compositions by George Oakley, Richard Danielpour, Justin Dello Joio
Inga Kashakashvili, Steven Masi, Nino Jvania, Piano; Mary Mackenzie, Soprano; Anton Rist, Clarinet; Jay Campbell, Cello
Merkin Concert Hall, Kaufman Center; New York, NY
February 9, 2014

 An evening of contemporary music is indeed truly new when one of three composers on the program is completely unknown to the reviewer. In this case, the Tbilisi (Republic of Georgia) native George Oakley bookended works by his two composition teachers in a well-played program. All three of the composers share certain affinities and influences: neo-Romanticism, neo-Impressionism. Thank goodness academia has ceased to devalue, or worse, ridicule, music that allows the expression of sentiment through a more traditional use of tonality. All the music on the program was readily comprehensible, clear in structure, and beguiling in sonority. Harold Bloom wrote of the “anxiety of influence,” but this evening was more about influence without anxiety.

Mr. Oakley’s two Shakespeare sonnet settings (Sonnets 56 and 111) were sensitively set, despite the fact that, as Mr. Oakley reminded us, he is not a native English speaker. He “did not kill the spirit of love with a perpetual dullness,” although the songs could have benefited from clearer diction by Mary Mackenzie. Here, one was aware of a sort of “song continuum” from Georges Auric to Ned Rorem and Henri Sauguet, down to Mr. Oakley. The collaborative pianist in the Shakespeare settings, Inga Kashakashvili, segued effortlessly into the Debussy-like colors of three of Richard Danielpour’s From the Enchanted Garden Preludes, Vol. II. Her touch was liquid at all times, with seemingly limitless color, and one always sensed that she meant every note intensely. She also brought out the raucous, jazzy jokiness of “There’s a Ghost in my Room!”

Remembrance for clarinet and piano, by Mr. Oakley, was a world premiere. Its tone was predominantly elegiac, as befit the title. The first section Daydream began in imitative style, interrupted by Dream, a more impassioned outburst, concluding with Awakening, a return to the opening material transformed. Perhaps Mr. Oakley will find more variety in his structures as he matures. Nearly everything was in a very audible three-part A-B-A (sometimes with Coda) form. The performance was beautifully shaded by clarinetist Anton Rist and pianist Nino Jvania. Prelude, Nocturne, and Toccata by Mr. Oakley was given an exciting reading by Ms. Kashakashvili. She never made an ugly piano sonority, even when the music turned more extroverted.

Pianist Steven Masi gave a ferociously virtuosic performance of Justin Dello Joio’s  Two Concert Etudes: Momentum and Farewell. This reviewer did not expect the most “progressive” sounds of the evening to be in this work, but they were. Glimmers of the Scherzo from Barber’s Piano Sonata seemed to be peeking through the rapid-fire textures of Momentum. Dedicated to the memory of Danish opera and film star Poul Arne Bundgaard, Farewell was somber, implying rather than stating its tonality directly, perhaps a metaphor for the death of its dedicatee.

The programming was excellent, saving the best for last, another world premiere, Mr. Oakley’s Sonata for Cello and Piano. This is an extended three movement work, given an impassioned and marvelously “together” rendition by cellist Jay Campbell and the masterful Ms. Kashakashvili. The work was excellently crafted, real chamber music, and the unanimity of the two artists was stunning, not only in their delivering of the musical text, but in their intention. In his program note, Mr. Oakley expressed concern about his ability to write a lighter, happy sort of Finale. He succeeded, without triviality. This work deserves to take its place in the smallish repertoire of cello sonatas, and to be essayed by intrepid conservatory students and other recitalists.

Overall, these composers are extremely fortunate to have performing artists of this caliber take up their music and fill it with such beauty and commitment. It was also heartening to see so many younger children in the audience, listening intently. The Cello Sonata was dedicated to one of these smartly dressed children: Dylan Carlson, son of the principal producer of the event.

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by Frank Daykin  for New York Concert Review; New York, NY
Musica de Camara in Review

Musica de Camara in Review

Musica de Camara:“La Passione” A Saint Valentine’s Celebration
Romantic works by Bach, Chopin, Mozart, Schubert, Montsalvatge, Schumann
Byron Marc Sean, piano; Brian Sanders, cello; Camille Ortiz-Lafont, soprano
Christ and St Stephens Church; New York, NY
February 14, 2014

 

Musica de Camara is a thirty-four year old organization with the valuable mission of increasing performance opportunities and audience awareness in minority communities, especially, but not exclusively, among Hispanics and Latinos. An enthusiastic audience turned out for the concert, a respite from the relentless February weather. The founder of Musica de Camara, Eva de la O, was the personification of charm in her pre-concert greeting, in which she shared her dismay at a radio interview when she was a performer (soprano), during which the interviewer said that he didn’t know there were any Puerto Rican classical musicians, or any appreciation of the repertoire.

All the selections were from the standard repertoire, appropriate for a lighter “Valentine’s Day” event, although I would have welcomed some contemporary Latin classical music, to bolster the mission statement. I understand this will occur on their next concert. Again, in keeping with the spirit of the occasion, I can report that all the performances were heartfelt, even when details slid by the board. In a program of such standard repertoire, the pressure on the musicians is much higher, because of inevitable comparison with all who have gone before. Each of the three musicians was very sensitive, but at their young stage of development, they may need further technical refinement to take their rightful place among the very best.

The discovery of the evening for me was the cellist Brian Sanders, who opened the program with two movements from Bach’s Suite for Solo Cello No. 3 in C Major, BWV 1009, played with flawless intonation, and natural phrasing, despite his unusual bow hold. It made me wish to hear the entire suite, which was probably considered too heavy for the occasion. Perhaps the tie-in with “Valentine’s” is that the only extant manuscript copy of the cello suites is in the hand of Bach’s second wife, Maria Magdalena.

Pianist Byron Marc Sean followed with a rendition of Chopin’s Berceuse, Op 57. One critic compared the colors of the piece to the “shifting hues of an eggshell,” and for the performer the piece can be like walking on those same shells, so exposed and delicate is the writing. The tempo and lyricism were appealing, but it lacked the ultimate intimacy, delicacy, and repose to make it a convincing lullaby. Perhaps some of this was due to opening nerves and a strident piano heard on a tile floor with no absorbing textiles.

Soprano Camille Ortiz-Lafont then performed two art songs by Mozart. The wistful Abendempfindung (Evening Mood) was charming, if somewhat forced. An Chloë (To Chloe) was performed too slowly for this impetuous, adolescent “study” for the character of Cherubino. Both were marred by peculiarities in the German diction.

Mr. Sean found a better match in his rendition of Chopin’s Barcarolle, Op 60, where the tempo and big line were nicely managed, even when certain passages were a bit approximate. However, in the magical “kiss in the gondola” moment, marked dolce sfogato (gently expressed) by Chopin, Mr. Sean’s moment was expressed none too gently. After intermission, Mr. Sean found his stride with his best performance: Chopin’s B Flat Minor Nocturne, Op 9, No. 1. Here his lyricism was heard to advantage, and he handled the repetitive middle section with much more color than is often heard.

Ms. Ortiz-Lafont sang two of Schubert’s best-known songs: Die Forelle (The Trout) and Gretchen am Spinnrade (Gretchen at the Spinning Wheel). In both, the tempi were pushed, depriving the music of charm in the first song, and cumulative passion in the second. I don’t imagine that any of today’s young people have ever seen a spinning wheel, let alone operated one, to understand the “tempo” at which it performs its work. Again, the German diction was so peculiar that it undermined Ms. Ortiz-Lafont’s emotional involvement with the music. Her high notes tend to stick out from the rest of her tone, rather than integrate into her pleasing general sound. Then, as if from heaven, she followed with two songs by the Spanish Catalan composer Xavier Montsalvatge from his Cinco Canciones Negras. Singing in her native language released a flood of effortless musicality and charm that I knew she possessed. Mr. Sean rose to the occasion with fine collaborative pianism.

The concert concluded with the return of cellist Sanders and pianist Sean in the Three Fantasy Pieces by Schumann, Op 73. These were performed with beautiful soaring cello tone, perfect intonation and vibrato, and really fine piano colors underneath. Romantic ardor was entirely present and given realization by both performers. The audience was duly thrilled.

Ms. Ortiz-Lafont favored the room with the delicious encore Del Cabello mas sutil by Fernando Obradors.

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by Frank Daykin  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) Artists Series presents Nordic Voices in Review

Distinguished Concerts International New York (DCINY) Artists Series presents Nordic Voices in Review

Distinguished Concerts International New York (DCINY) Artists Series presents Nordic Voices
Nordic Voices- Tone Braaten and Ingrid Hanken, soprano; Ebba Rydh, mezzo-soprano; Per Kristian Amundrøy, tenor; Frank Havrøy, baritone; Trond Olav Reinholdsten, bass
Weill Recital Hall at Carnegie Hall; New York, NY
February 2, 2014

Scheduled the same evening as the Super Bowl, Nordic Voices appeared in concert at Weill Recital Hall. It was gratifying to see a packed house- an indication that there are people besides me who couldn’t care less about the other event taking place at the same time. Before I get to my review proper, I have an admission to make – I arrived at the concert late and missed the first four pieces. Although I do feel that my discussion of the remaining ten works will give a valid appraisal of the concert, my responsibility to the performers, presenters and other readers of this review impels me to let them know why I will not be discussing these works. I am reminded of a music critic whose “review” of a concert which he failed to attend was published in a major New York newspaper. Unfortunately for him, the concert never took place, having been cancelled at the very last moment.

I arrived during spoken commentary from the stage introducing two works from György Ligeti’s “Nonsense Madrigals,” a collection of settings from “Alice in Wonderland.” As no printed texts and translations were distributed, many of the tonight’s works were introduced in this manner. Although readers of my reviews know that I like to follow the texts/translations word by word, Nordic Voices and many other performers have begun to realize that very few people do. Tonight’s introductions couldn’t have been better – they were enunciated well enough to be heard in the back row of the hall, were informative and witty, and helped to create a warm relationship between the performers and their audience. The performances were all one could ask for, as the extended vocal techniques and rhythmic complexities were handled with consummate skill and ease. This was the case in all of the more experimental works which were to follow. I am confident this was so in the works by Lasse Thorsten and Bjarne Sløgedal which opened the program.

The first half ended with a spirited rendition of “Les chants des oiseaux,” a chanson by the Renaissance composer Clément Janequin. Nordic Voices also performed this work on a 2004 concert which I reviewed for this publication. In that review, I chided them for not following “the rules of musica ficta [which] dictate that leading tones in cadences are always sung a half step below the tonic, even when they appear otherwise in the printed score.”  I am sorry to say that they did not take this to heart and made the same error on tonight’s concert. Saddened might be a better word than sorry, for this is not a matter of interpretation, and is similar to singing the same wrong note each time a passage is repeated in the course of a composition.

The second half began with an exquisite performance of the motet “Ecclesie militantis” by the Early Renaissance composer Guillaume Dufay. The pure non-vibrato sound of the female singers, the perfect intonation, the rhythmic clarity, and the beautifully shaped polyphonic lines all made me wish I had heard their performance of the two Renaissance motets by Thomás Luis de Victoria which I missed on the first half. What is more, Nordic Voices did follow the rules of musica ficta during the Dufay motet, even singing the wild double-leading-tone cadence at the end. I wonder what did they do with the Victoria?

A series of contrasting works followed. First the ethereal simplicity of “Predicasti,” a Medieval chant. Then the fiendishly difficult “O Magnum mysterium” by Henrick Ødegaard, during which Nordic Voices “pulled out all the stops” and gave us a demonstration of extended vocal techniques which boggled the mind. One is just amazed that the human voice can create all those sounds. This serious work was followed by three movements from Goffredo Petrassi’s whimsical “Nonsense,” settings of limericks by Edward Lear. The lighthearted subject matter and matching theatrical performance tend to hide that fact that these also very difficult pieces which Nordic Singers performed with consummate skill and ease. During Maurice Ravel’s chanson “Trois beaux oiseaux du Paradis,” we all could luxuriate in Nordic Voices’ beautiful sound.

A work by Frank Havrøy, Nordic Voices’ baritone, concluded the concert. “Bysjan, bysjan lite bån” (“Hush, hush, little child”) showcases two qualities which make Nordic Voices a unique ensemble – their skill with extended vocal techniques and their beautiful ensemble sound.  Without spoken comment, the singers moved off the stage, the women to the aisle on the audience’s left, the men to the aisle on the right. The work’s long, soft wordless opening featured extended vocal techniques. It was followed by a most beautiful setting of what I took to be a Norwegian folk song and another beautiful folksong setting served as the concert’s gentle encore.

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by Harry Saltzman  for New York Concert Review; New York, NY
International Performing Artists presents Xiayin Wang, Piano in Review

International Performing Artists presents Xiayin Wang, Piano in Review

International Performing Artists presents Xiayin Wang, Piano
Escher Quartet: Adam Barnett-Hart and Aaron Boyd, violin; Pierre Lapointe, viola; Dane Johansen, cello
Merkin Concert Hall, Kaufman Music Center; New York, NY
January 27, 2014

 

In a concert presented by International Performing Artists, pianist Xiayin Wang joined with the Escher Quartet in works by Fauré, Piazzolla, and Schumann. Both Ms. Wang and the Escher Quartet are much in-demand performers who have appeared in venues around the world and enjoy countless accolades. This pairing of highly accomplished artists had the promise of being an evening filled with masterful music making.

The Piano Quartet No. 1 in C minor, Op. 15 by Gabriel Fauré (a last minute change from the scheduled Piano Quartet No.2 in G minor, Op. 45 by the same composer) opened the program. There were intonation issues at the beginning of the Allegro molto moderato that got things off to a problematic start, especially in contrast to the pristine piano work. Eventually, this all came under control.  The excellent solos from the string players were highlights of the opening movement.  The Scherzo sparkled, and the sorrowful Adagio was beautifully played. It is said this movement was influenced by Fauré’s heartache about his broken engagement to Marieanne Viardot, and one can feel it.  The ending impression was mixed – the notes were there, and the playing (other than the intonation issues) was polished, but the feeling of a true ensemble was not altogether present. It did seem like a case of three plus one, instead of a true quartet. Ms. Wang is a fine pianist, and her playing in this demanding work was truly exceptional, but her laser-like focus on the virtuosic aspects of her part gave the impression of a mini-concerto performance as opposed to chamber music.  One can speculate why this was – perhaps the last minute change of program? In any case, it was a solid, if less than completely satisfying, performance.

Three works from Astor Piazzolla, Otono Porteño, Oblivion, and Libertango, in arrangements by the composer-pianist Clint Edwards, followed the Fauré.  Mr. Edwards captured the essence of these pieces in his effective arrangements.  From the pizzicato opening of Otono Porteño, through the poignant laments of Oblivion, and finally the tease of a lugubrious opening of the Libertango that finally burst into the saucy tango style that Piazzolla was so famous for, it was played with a perfect mix of spice and substance. It was an enjoyable end to the first half that showed both Ms. Wang and the Escher to great advantage.

After intermission, the Piano Quintet in E-flat major, Op. 44 from Robert Schumann was the only work on the second half. Written for and dedicated to Schumann’s wife, Clara, during a period when the composer had finally won his battle to marry his beloved, this work is the product of a musician at the height of his powers and with seemingly limitless creative energy. The history of this 1842 work is highly interesting in many ways. The idea of combining a piano part with a standard string quartet had never be done prior to this work; the excellent program notes state that this was the first piano quintet written, but that is technically not entirely accurate, because other composers, notably Schubert in the Trout Quintet, wrote for quintet using the double bass in place of the second violin. In any case, one must credit Schumann with the invention of a new form of chamber music. Incidentally, during a private performance prior to the public premiere, Clara was too ill to play, so Felix Mendelssohn stepped in and sight-read the piano part! Mendelssohn also suggested an addition of a second trio in the scherzo, which Schumann added.

Whatever reservations I had about the interaction of Ms. Wang with the Escher were not an issue during the Schumann.  Ms. Wang was fully engaged with her partners at all times in a performance that was worthy of this great composition. Ms. Wang made short work of the difficult piano part with ease, as one would expect from a player of her caliber, but with the added dimension of a true collaborator instead of soloist in an ad hoc role. This was the synthesis of dynamic forces that I had been hoping for earlier. It was “all-for-one, and one-for-all” playing that I would normally associate with players who have an extensive history together.  The end result was a performance that was well conceived in its bold, joyful, and optimistic outlook. I am still basking in its afterglow.

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents: The Music of Karl Jenkins 70th Birthday Celebration

Distinguished Concerts International New York (DCINY) presents: The Music of Karl Jenkins 70th Birthday Celebration

Distinguished Concerts International New York (DCINY) presents: The Music of Karl Jenkins 70th Birthday Celebration
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Jonathan Griffith, conductor; Rhys Meirion, tenor; Darik Knutsen, baritone; Charlotte Daw Paulsen mezzo-soprano; Samuel Smith, bass-baritone; Belinda Sykes, ethnic vocals and mey; Karl Jenkins, composer-in-residence/conductor
Stern Auditorium, Carnegie Hall, New York, NY
January 20, 2014

In what has become a tradition on the celebration of Martin Luther King, Jr. Day, Distinguished Concerts International New York (DCINY) presented a concert featuring the music of Karl Jenkins. This year’s event had the added dimension of being a 70th birthday celebration for the Welsh composer. Arguably one of the most popular living composers and indisputably one of the most frequently performed, Karl Jenkins and DCINY have a special relationship. DCINY has given countless premieres of his newest compositions and continues to give top-notch performances of his works to enormous public response.  As one watched the singers fill the back of the stage, overflowing onto the right wing, one could not help sharing in the eager anticipation. The program included The Bards of Wales (United States Premiere), the Benedictus from The Armed Man: A Mass for Peace, and the Stabat Mater. With performers from California, Georgia, Minnesota, North Carolina, Argentina, Canada, France, Hungary, New Zealand, The Netherlands, and “individuals from around the globe” (the program listing 579 singers!), the stage was set for what was to be a spectacular evening.

The concert opened with the cantata, The Bards of Wales. What could be more natural for a Welsh composer than to use as a text than a poem entitled “The Bards of Wales”? Interestingly enough, this poem was not written by a Welshman, but by the Hungarian poet Janós Arany (1817-1882). Asked to write a poem of praise for the occasion of a visit to Budapest by Emperor Franz Joseph (only eight years after the Hapsburg empire crushed Hungary’s War of Independence), Arany chose to compose a ballad based on the ancient Welsh legend of how King Edward I of England had 500 Welsh bards executed for failing to sing his praises at a banquet in 1277. The message was unmistakable: the truth must be told, at whatever sacrifice.  The Bards of Wales is a nine-movement work scored for orchestra, chorus, and tenor, baritone, bass-baritone, and mezzo-soprano soloists that can be sung in Hungarian, Welsh, or English. On this occasion, the English version, as translated by Peter Zollman (1931-2013), was used. Tenor Rhys Meirion was cast as King Edward I. Baritone Darik Knutsen had a double role as a minstrel and bard, while bass-baritone Samuel Smith and mezzo-soprano Charlotte Daw Paulsen also took roles as bards.

 

What strikes the experienced Jenkins listener as singular about The Bards of Wales is the complete absence of any of the multi-ethnic influences that Karl Jenkins is so well known for using in his works (answering any naysayers who carp about so-called multicultural “gimmicks” for effect).  The sound is uniquely his own, and I would easily know this is a Jenkins work without being told. That is not to say that there is anything formulaic in it, as only fragments resembled earlier compositions (the movement “His Men went forth” resembling a hybrid of material from L’homme Armé or Charge! movements of The Armed Man).

Rhys Meirion sang and acted his role with gusto in a performance that bespoke the haughty arrogance of Edward, his vanity, cruelty, and in the end, his torment. He definitely has charisma in spades! Not to be overlooked, Darik Knutsen, Samuel Smith, and Charlotte Daw Paulsen projected the brave stand of the bards with great skill, the defiant tone coming to the fore with strength and dignity. Conductor Jonathan Griffith led the huge forces with his customary skill.  The Bards of Wales is filled with dramatic effect, from the cannon shots of the first movement to the martyrdom of the fallen bards in the last. This is a work I very much wish to hear again, and I am hoping it will be recorded (in English, that is  – there is already a recording in Hungarian on CMI Records). Are you listening, Deutsche Grammophon? I will be the first to buy it!

After the last notes were sounded, the audience leapt to their feet in appreciation. Mr. Jenkins came to the front of the stage to accept the standing ovation. After the applause died away, he took to the podium to conduct the Benedictus from his work The Armed Man: A Mass for Peace. The seven-and-a-half minute twelfth movement of The Armed Man, the Benedictus is often played as a stand-alone piece and has been arranged for numerous combinations of instruments (notably a version with the brilliant euphonium player David Childs). Here it was given in its original form with orchestra and chorus.  The Benedictus is a beatific work, extremely moving in its simplicity. One holds one’s breath as an ethereal cello solo floats over hushed orchestral accompaniment before the chorus seamlessly enters, leading to an ecstatic explosion of percussion to the words Hosanna in excelsis – a supremely moving inspiration. I wish I knew the name of the solo cellist; her playing was quite beautiful and she deserves mention. Mr. Jenkins is an able conductor and his understated approach was perfect. It was a magical end to the first half.

After intermission, Mr. Jenkins was brought to the stage before the performance of the Stabat Mater. A letter of congratulations and birthday greetings from New York City mayor Bill de Blasio was read. Jonathan Griffith led the audience in singing “Happy Birthday” (for the purists, Jenkins’ actual birthday is February 17). A jumbo-sized card that was signed by hundreds of people was presented to Mr. Jenkins. A bashful-looking Jenkins nodded his thanks to all before leaving the stage.

Maestro Griffith then took to the podium to conduct the Stabat Mater. I have something of a special relationship with this work. I was in attendance when DCINY gave the US Premiere on January 19, 2009 at Avery Fisher Hall. I confess that I was initially reluctant to attend, as my impression of Karl Jenkins and his music was based solely on a DeBeers diamond advertising campaign that I absolutely despised! After hearing the Stabat Mater, I realized how shortsighted and wrong that preconception was. I was moved in a way that I have rarely experienced on the first hearing of a musical work. I went from skeptic to believer in the space of the twelve movements of this piece and rushed out the next day to purchase the recording. My musical life was changed, as I became a great admirer of Karl Jenkins and his works.  It has been a mounting source of irritation to me that snobbish musical circles often look askance at a composer because he is “popular” and his work is “tonal”. It is not a zero-sum proposition: one can love the music of Karl Jenkins and still love the most ultra-modern works without having to apologize for either.

Now, back to the Stabat Mater.  This twelve-movement work uses the text of the 13th century poem Stabat Mater Dolorosa for six of the movements. The other movements uses material from the Epic of Gilgamesh, lines from the 13th century Persian poet, Rumi, and original materials in a variety of languages, including  English, Arabic, Hebrew, Greek, Aramaic, and of course Latin. Scored for orchestra, including Middle Eastern percussion, chorus, mezzo-soprano and “ethnic vocals” soloists, this hour-long work is a powerful and profound piece that still continues to move me, even after countless hearings.

Mezzo-soprano Charlotte Daw Paulsen was radiant in the achingly beautiful Lament and the despairing Are you lost out in darkness?  Special mention must be made of the incredible Belinda Sykes. Her playing of the double-reed mey and her amazing passion-filled vocals floored me in 2009 (especially in the Incantations and Are you lost out in darkness? movements), and they did so again in 2014. I simply cannot imagine any other performer in her role in this work! Highlights are too numerous to list individually, but I will mention the Cantus lacrimosus, Sancta Mater, and And the Mother did weep as personal favorites for the night.

 

The final movement, the Paradisi Gloria, starts as a smoldering flame that bursts into a full-blown inferno, bringing this work to a close. I was slightly disappointed that there were no chorus members in the balcony as there were in 2009, but nonetheless it was a powerful conclusion to a first-rate performance. Maestro Griffith is simply masterful at how he handles such gargantuan forces with such apparent ease. The Distinguished Concerts Orchestra and the Distinguished Concerts Singers International must be congratulated for their excellent work as well. The thunderous ovation was every bit deserved.

Pen-blwydd Hapus, Karl Jenkins!  May your next seventy years be filled with good health so you can continue to write more wonderful music for the world to enjoy!

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents: Of Life and Liberty in Review

Distinguished Concerts International New York (DCINY) presents: Of Life and Liberty in Review

Distinguished Concerts International New York (DCINY) presents: Of Life and Liberty
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Matt Oltman, conductor; James M. Meaders, conductor; Viola Dacus, mezzo-soprano
Stern Auditorium, Carnegie Hall, New York, NY
January 19, 2014

A Distinguished Concerts International New York (DCINY) concert is always a memorable experience. As I ran the gauntlet of massed chorus members from Mississippi assembled in the back area as I went to pick up my tickets, I was reminded of what the DCINY experience is all about. The excitement and nervousness of men and women of all ages in what was likely the thrill of a lifetime filled that very cramped space in such a way as to overwhelm me with a similar feeling. Any irritation I might have felt at that moment washed away when a smiling chorus member offered to sing the program if I were unable to retrieve my tickets! At last, the way was cleared, and I wished them all the best of luck.

The World Premiere of The Gettysburg Address in a new arrangement for men’s voices from Mark Hayes (b. 1953) opened the concert.  In my review in this journal from May 27, 2013 (“Requiems for the Brave”), when this work was performed in its original version for mixed voices and orchestra, I wrote the following:

“About The Gettysburg Address [the music], Mr. Hayes in his program notes writes, ‘…the challenge of creating something musically profound was overwhelming.’ These ten sentences [the address itself] are filled with sadness, hope, challenge, and triumph in what is probably the most famous speech in American History. Mr. Hayes’ conception captures all of these elements, from the bold opening, played with a brash exuberance, to the somber colors of the sorrows of war, to the final build-up in a martial style culminating with repeated declarations of “for the people” from the chorus.  It is a powerful work that does justice to Lincoln’s immortal words.”

In this revised version I find my initial thoughts to be unchanged. If anything, the effect is deepened by the use of men’s voices alone.  The Testament of Freedom, from underappreciated composer Randall Thompson (1899-1984), followed. Commissioned in 1943 to celebrate the bicentennial of the birth of Thomas Jefferson, this work has become a favorite for men’s choruses. When one hears the work, it is easy to see why this is the case: hymn-like melodies, stirring text, and expert vocal writing.  Thompson used the writings of Jefferson for the text of the four movements, with a strong focus on Jefferson’s unwavering belief in the unalienable rights of man. The chorus, consisting of members from Minnesota, Illinois, Idaho, Indiana, South Carolina, Florida, Massachusetts, and Alberta, Canada sang with strength, clear diction, and fine balance throughout. The third movement, “We fight not for glory,” was the highlight to this listener, but the whole performance was excellent. The animated Matt Oltman was a dynamic conductor who coaxed every last ounce of dramatic energy from both the chorus and the Distinguished Concerts Orchestra in both works.

The second half consisted of the New York premiere of Requiem for the Living from composer Dan Forrest (b. 1978). About the title Mr. Forrest writes, “the five movements form a narrative just as much for the living, and their own struggle with pain and sorrow, as for the dead.” Mr. Forrest freely used the standard mass as a model, with the substitution of a movement he entitled Vanitas Vanitatum (quoting from the Book of Job and Ecclesiastes) in place of the Dies Irae. This work is by no means complex in the vocal writing or the harmonic language, but the net effect is one of great import. Requiem for the Living is one of the most moving works I have heard in a very long while. It is truly a case of the maximum effect from the minimum of means, the mark of a highly skilled composer. It was a performance to remember, from the quiet opening of the Introit and Kyrie, the driving energy of the sinister Vanitas Vanitatum, and the serene Agnus Dei, to the celestial influenced magic of the Sanctus and hauntingly beautiful Lux Aeterna, which slowly faded away to nothing. In the Agnus Dei and Lux Aeterna, Mezzo-soprano soloist Viola Dacus sang with a pure, radiant voice that captured the essence of child-like innocence. Conductor James M. Meaders led the Distinguished Concerts Orchestra and the chorus with meticulous restraint and close attention to detail. When he lowered his baton after the sound died away, the audience erupted into a prolonged ovation. Congratulations, my new friends from Mississippi, you were all stars today.

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