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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.

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

Suzanna Klintcharova: La Belle Époque de la Harpe, Volume #1: CD in Review

Suzanna Klintcharova: La Belle Époque de la Harpe, Volume #1

Suzanna Klintcharova, harp

VMS Zappel Music: VMS 231

www.zappelmusic.com

The first of Suzanna Klintcharova’s trio of discs, La Belle Époque de la Harpe, is devoted exclusively to solo compositions for the harp by French composers, from the end of the 19^th century through the first decades of the 20^th. It is a twofold revelation to hear this intelligent artist at work, and to encounter the wealth of delights this specific repertoire offers.

The selections presented in this compilation cover a variety of compositional styles, chosen from a relatively short historical period. In them one can almost trace the development of both French music and of harp technique in this era. The Gallic fascination with Spanish rhythm, the use of ancient modes, and an adherence to triple meter are woven throughout these diverse works.

Ms. Klintcharova chose two giants of French music, Gabriel Fauré and Camille Saint-Saëns, to initiate this collection. Fauré’s voice is endearingly familiar, yet what makes his Impromptu, Op. 86, distinctive are the extreme contrasts in his writing. He exploits the full range of the instrument, ventures slightly off- center harmonically, and alternates between passages of great elegance and ones of stark drama. By comparison, Saint-Saëns’s Fantasie, Op. 95, is attractive, but tamer in overall scope. He was a gifted melodist, and in this piece there is a potpourri of beautiful tunes, from salon waltzes to troubadour chansons. Ms. Klintcharova’s keen attention to voicing and articulation are a great asset in both works. To round out the first part of this set, the harpist offers a charming interpretation of Gabriel Pierné’s Impromptu Caprice, Op. 9 ter, complete with musicalized birdcalls and a snappy bolero. This would make a terrific recital encore – neat and accessible with a strong bravura finish.

With Albert Roussel’s Impromptu, Op. 21, written for the great harpist Lily Laskine, the artist takes us further along the path into modernist territory. Roussel’s language is more dissonant and rhythmically driven, yet still maintains the hallmarks of French writing – modal melodies, Impressionistic harmonies, feathery glissandi. Again, the harpist’s pristine technique and infallible sense of time are well suited to Roussel’s writing. André Caplet’s Deux Divertissements, one in the French style and one in Spanish, reinforce my impression that Caplet is an underrated composer. Based on this performance, and the one of his Conte Fantastique in the second CD of this set, Ms. Klintcharova is making a great case for his renewed popularity. Caplet’s eccentric subtitles (i.e. ”with a graceful curve and well draped”) are worthy of Erik Satie. His coloristic effects, including mordant metallic chords and an impressively accurate imitation of guitar strumming, are rendered perfectly by the harpist.

Ms. Klintcharova, as much an historian as an artist, scores a coup with the inclusion of Marcel Tournier’s less well-known Sonatine No. 2, Op. 45. Tournier, a prolific performer, composer and educator, expands upon the traditions of French harp writing with fascinating results. The Sonatine calls for a player with great facility and imagination, as it ranges from the most delicate, exotic dances, to full-blown Romanticism and exacting passagework. Ms. Klintcharova has the stamina and talent to pull all this off. It would be difficult to find a better introduction to the “Belle Époque” than the one provided here in this very satisfying recording. I look forward to hearing more of Suzanna Klintcharova’s work in future ventures.

by David La Marche for New York Concert Review; New York, NY

Opus Two Presents the Music of George Gershwin in Review

Opus Two Presents the Music of George Gershwin

Opus Two: William Terwilliger, violin; Andrew Cooperstock, piano

Bruno Walter Auditorium, New York, NY

December 28, 2013

On an unusually warm December day, I made my way to the Bruno Walter Auditorium to hear a performance of the music of George Gershwin by the duo Opus Two. I was expecting a smaller crowd because of the holiday weekend and the early afternoon starting time. Imagine my surprise, upon arriving, at the sight of a long line of about seventy people all hoping to get in, even though the hall was already filled! Luckily, my place was reserved. A few other lucky people in this line gained entry and were treated to what was part concert, part lecture, and part sentimental retrospective.

Opus Two boasts the combined talents of William Terwilliger, violin, and Andrew Cooperstock, piano. This well-travelled duo with performances around the globe is especially renowned for championing American music and composers. What could be more American than the works of George Gershwin? Opening with Jascha Heifetz’s arrangement of “Summertime”, from Gershwin’s masterpiece Porgy and Bess, the duo gave the audience a taste of what was to follow. The performers then introduced themselves and alternated turns at the podium as they spoke of Gershwin. They included a few well-known anecdotes, including the oft-quoted one from Maurice Ravel (when Gershwin sought composition lessons from the French genius): “Why do you want to be a second-rate Ravel when you are already a first-rate Gershwin?” It was time for the concert proper to commence.

First up came Selections from Porgy and Bess as arranged by Jascha Heifetz. The renowned Heifetz had been quick to recognize the appeal of Gershwin’s music and was savvy enough to capitalize on that demand by making arrangements that highlighted his own virtuosic talents. Porgy and Bess is the best known of these arrangements and continues to delight listeners to this day. The playing from Opus Two was assured, from the restless “Summertime” (yes, again), to the laments of “My Man’s Gone Now”, to the joyous “Bess, You is My Woman Now’, to the biting irony of “It Ain’t Necessarily So”. Images by African-American period photographer, Richard Samuel Roberts, were projected on a large screen behind the performers and were a perfect visual accompaniment to the music. It reminded me of the style of Ken Burns in his various documentaries and was an inspired touch. This was the sort of imaginative conception that one hopes for, even expects, when two exceptional musicians who really are of the same mind and spirit join together. Opus Two fulfilled this expectation throughout the concert.

Short Story, for Violin and Piano, was the only work originally written for this combination by Gershwin himself. The violinist Samuel Dushkin, a friend of Gershwin and a renowned performer in his own right (Stravinsky wrote his Violin Concerto for Dushkin in 1931), offered technical advice on the violin part. Gershwin and Dushkin premiered this three-minute work, which has all the hallmarks of Gershwin’s style- rhythmic vitality and catchy tunes (in this case laced with the blues and ragtime). But, for whatever reason, it never caught on with other performers and disappeared in oblivion. While admittedly not up to the standards of his later mature works, it is still worthy of attention, and the fine performance from the duo made that point clear. Kudos to Opus Two, for both their sophisticated reading and for sharing this little-known gem, which should gladden the heart of any Gershwin fan.

The Three Preludes for Piano, also arranged for violin and piano by Heifetz, followed and were played with stylish assurance. While I prefer the original, this arrangement was highly effective.

Excerpts from An American in Paris, which were partially arranged by Heifetz and later expanded by Ayke Agus in 2005, were introduced by a short talk and video selection from the movie featuring Gene Kelly and Leslie Caron dancing a pas de deux (as choreographed by Kelly) to set the mood. The players’ casual commentary included the remark, “They don’t make them like that anymore!” No, they sure don’t! Violinist William Terwilliger joked about how he would be simulating the sounds of car horns with his violin. This work shows the ever-maturing Gershwin’s progress from song plugger to “serious” composer, with French influences (Debussy and Ravel), yet in his own highly characteristic voice. Opus Two played with appropriate elegance and wit in yet another winning performance.

Composer Eric Stern continued the Heifetz tradition with his own arrangement of Selections from Girl Crazy, written especially for Opus Two. Another video, this time Judy Garland singing “Bidin’ My Time” from the movie version of Girl Crazy, was played and brought smiles to all as a reminder of a golden age. Returning to their performance, Opus Two presented Stern’s arrangement with panache. Including the unforgettable classics, “Embraceable You” and “I Got Rhythm”, this transcription was destined to be a crowd pleaser. The same energy and commitment with which the duo started the concert were still very much in effect, in even more refined playing. The lazy drawl of “Bidin’ My Time”, the enchanting “Embraceable You”, and an electric “I Got Rhythm” ended the piece and the concert in triumph. The audience demanded more, so for an encore, Opus Two offered a favorite from another one of America’s most loved composers, Aaron Copland, “Hoedown” from Rodeo. Played with brio, it was a fitting close to a most enjoyable concert.

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

USA-Japan Goodwill Mission Concert in Review

USA-Japan Goodwill Mission Concert

New York Festival Orchestra, Beethoven Memorial Chorus

Hideaki Hirai, Music Director and Conductor; Hideyuki Tsuji, Choral Conductor

Naomi Satake, soprano; Francesca Lunghi, alto; Paul Williamson, tenor; Katsuji Miura, bass-baritone

Stern Auditorium at Carnegie Hall, New York, NY

December 26, 2013

In order to raise money for the victims of Typhoon Haiyan in the Philippines, a benefit concert entitled “USA-Japan Goodwill Mission Concert” was held at Stern Auditorium at Carnegie Hall on the evening of December 26, 2013. Raising money for a good cause is always a welcome activity, and I commend the organizers for this. It is thus with reluctance that I take issue with the chosen program. It seemed that there were two concerts slapped together to be one, without any thought as to the appropriateness of having Beethoven’s Symphony No. 9 in D minor, Op. 125, the Choral, paired with a motley assortment of popular songs.

I am not a music snob. I love the popular music of the 1980s and can probably identify within a few seconds any song from that era that received airplay. I love music of all genres and eras. I also love the 9^th Symphony of Beethoven. As one who does, I find the idea of “Meet the Flintstones“ on the same program as the Beethoven to be bizarre in the extreme. The clashing of Schiller’s “Götterfunken!” with Hanna-Barbera’s “Wilmaaaaaa!” is still filling my ears with horror, as the ghost of Kafka smiles with a knowing nod. “O Freunde, nicht diese Töne!” To have any work follow this monument of the Western music canon shows a lack of respect to the sheer magnitude of this masterpiece, but to follow it with show tunes, popular music performed in a style strongly akin to a Glee episode, and Barbershop with slapstick, was the musical equivalent of Marcel Duchamp’s treatment of La Gioconda in his L.H.O.O.Q. I would have been perfectly content with either half standing alone, but NEVER paired together.

My programming objection in no way is meant to disparage the performers in the second half, as they were all very entertaining and gave energetic, crowd-pleasing and wholly committed performances. The No Borders Youth Chorus, an all-male a cappella chorus with young men from the United States, Canada, and China, led by Joe Cerutti, was delightful, and the barbershop quartet, Lunch Break, was hilarious in their set. It was just a shame that the net effect of each mismatched half was to nullify the value of the other through the pairing.

The program did not list the movements of the Beethoven, nor include the text of the Ode to Joy. If there was an assumption of familiarity as a reason for the omission, it proved to be completely unfounded. Applause between the movements and ear-shattering yelling from the audience from the start of the Alla Marcia section in the finale (for a good ten seconds), were proof enough of not only a lack of familiarity with the work, but a lack of familiarity with how to behave at a classical concert. Enthusiasm is good, but yelling loudly is never appropriate. To his credit, conductor Hideaki Hirai endured these interruptions with grace and did not allow them to distract him or the orchestra.

The New York Festival Orchestra, consisting of players from throughout the United States, was specially formed for this concert. Usually one expects some roughness from groups of this nature, and while there were a few instances of this, the playing overall was polished and the ensemble remarkably unified, as if they had been together for a long period of time. From the tremolos that open the work, to the timpani bursts in the Scherzo, the sublime Adagio in the third movement, to the Prestissimo of the final bars of the epic last movement, it was a highly satisfying performance.

The Beethoven Memorial Chorus was made up of singers from Japan and the United States, all with extensive experience performing the 9^th Symphony. This experience showed in their rock-solid performance. Bass-Baritone soloist Katsuji Miura projected with a powerful voice that easily filled the hall with its bold resonance. Soprano Naomi Satake’s voice soared with passion, while Tenor Paul Williamson and Alto Francesca Lunghi enriched the textures with their considerable talents.

Maestro Hirai was especially impressive. Conducting from memory, he demonstrated his deep knowledge of the score with unflagging energy and intense concentration. He was dynamic, confident, and completely engaged for the entire 75 minutes. It was especially interesting to me that he “sang” along with the chorus with evident joy on his face. It was among the best of the live performances I have heard of this work and justly deserving of the standing ovation it was accorded. Bravo to all!

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

Gil Sullivan, Pianist in Review

Gil Sullivan, Piano

MidAmerica Productions Presents: Gil Sullivan, piano

Weill Hall at Carnegie Hall, New York, NY

December 16, 2013

Gil Sullivan and Julian Cochran

In a program presented by MidAmerica productions, Australian pianist Gil Sullivan offered a program of Mozart, Brahms, and works by his compatriot, Julian Cochran. The globetrotting Mr. Sullivan sports an impressive resume, with appearances in many of the world’s most renowned halls.

Opening with Mozart’s Sonata in F major, K. 533/494, the double Köchel number referring to the Rondo finale being composed well before the first two movements, Mr. Sullivan gave ample proof that his sterling reputation as a interpreter of Mozart is well deserved. He offered a performance that explored the depths of one of Mozart’s most profound piano works with restrained, careful rendering and especial attention to matters of tone and phrasing. After the Mozart, Mr. Sullivan played four works (with a break for intermission after the first two) by fellow Australian Julian Cochran.

Julian Cochran (b. 1974) was born in Cambridge, England, but immigrated to Australia in 1978. Mr. Cochran is a mathematician specializing in Pure Mathematics, but has dedicated his talents more fully now towards music, as both a pianist and a composer. When one hears mathematician and composer in the same sentence, it is not at all unreasonable to think of names like Babbitt and Xenakis, and to expect a similarity of style with a mathematical base. Such was not the case. The multi-talented Mr. Cochran is a throwback to the Romantic and Impressionistic traditions of the piano, using the musical language of Chopin, Liszt, Debussy, and Ravel, amongst others, in a highly individualistic, non-derivative manner. On the program were two Preludes and two Mazurkas from his pen.

Prelude No.7 (2010) is a work that has a theme that with a distinctly Romanian-inspired folk feeling. Variations on this theme are done in a similar folk style, building to a powerful climax with bell-like sounds that slowly fade into silence. In his notes about Prelude No. 8 (2010), the composer makes reference to the nature of the ocean and the swirling opening subject. I was reminded of Ondine from Gaspard de la Nuit, but with the additional twists hearkening back to motifs of Liszt, Debussy, and even Rachmaninoff. It is a work that is alternately serene and unsettled, glistening and turbulent. It builds to a brilliant climax, and then recedes into a quiet ending. Much like Ondine, this work requires a formidable technique, which Mr. Sullivan possesses. It was an outstanding performance of a striking work and a fine ending to the first half.

After intermission, next up were Mazurkas Nos.4 and 5. Mazurka No. 4 (2009) is a work that could be called Chopin’s Nightmare. It has the qualities of an unsettled dream with the harmonic language almost mockingly omitting the fifth tone of the minor scale at all turns, while augmenting the fourth and diminishing the sixth. This Mazurka becomes a wild, dervish-like dance bordering on the grotesque before returning to the original theme. About Mazurka No. 5 (2009, revised 2010), the composer writes that this work “may remind us of Ravel”. Indeed, one can detect hints of Ravel’s La Valse in this work. The writing is highly virtuosic, and in the hands of Mr. Sullivan it was given a masterful performance that accentuated its brilliance. Mr. Cochran was in attendance and joined Mr. Sullivan for bows on stage. This is a composer who has learned his lessons well from the old masters while leaving his own distinctive mark. I would like to hear more from Mr. Cochran in the future.

Ending the program with Brahms’s Sonata No. 2 in F-sharp minor, Op.2, Mr. Sullivan showed himself to be as comfortable in this massive structure as he was in the sparseness of the Mozart. This work of a young Brahms is packed with bold ideas, virtuosic demands, and symphonic qualities that owe much to Robert Schumann’s influence. It is brash and designed to impress, and in this respect Mr. Sullivan delivered a power-packed performance. It was an exciting close to the concert by a pianist possessed of intelligence and technical prowess in equal measure.

As an encore, Mr. Sullivan offered the A-flat Polonaise, Op. 53 of Chopin, the Heroic, which he played in an exciting and highly individualistic manner (with liberties and additions to the score). The full-house audience loved it and roared their collective approval in a raucous ovation.

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

The Second Coming in Review

The Second Coming

Ensemble du Monde, Marlon Daniel, Music Director and Conductor

Gwendolyn Howard, violin

Special guest: Hampson Sisler, composer

Society for Ethical Culture, New York, NY

December 14, 2013

World Premiere of the Oratorio The Second Coming by H. Sisler

In a concert to celebrate the release of the CD recording of The Second Coming by Hampson Sisler (b. 1932) on the MSR Classics label (MSR 1489: www.msrcd.com), Ensemble du Monde, with forces fifty strong under the direction of Marlon Daniel, gave a promotional performance of this new work. Those hearty souls who braved a snowstorm to get to the Ethical Culture concert hall were rewarded with not only the concert, but a reception afterwards to meet the performers.

Gwendolyn Howard, violin and Ensemble du Monde

Also on the program was Max Bruch’s Scottish Fantasy, featuring fifteen-year-old violin soloist Gwendolyn Howard, First Prize winner of the Ensemble du Monde Young Artists Concerto Competition. The modest and self-effacing Ms. Howard shyly took to the stage, giving no hint to the miraculous transformation that was about to take place. Once the music began, Ms. Howard reflected the assurance of the professional that she is. She plays with a beautiful tone and pairs that with the technique to toss off virtuosic passages with the greatest of ease. Make no mistake: this young lady is a force to be reckoned with! It was winning from start to finish.

Gwendolyn Howard, violin, Marlond Daniel, conductor and Ensemble du Monde

Clocking in at nearly one hour, the three-part oratorio The Second Coming is a music depiction of both the foreshadowing of Judgment Day (freely quoting the New International Version Bible: Matthew 24: 1-51), and the Apocalypse, as written in the Book of Revelation (freely quoting the NIV Bible: Revelation 6:1-17, 7: 6-13, and 16: 2-21). The three parts are entitled Prologue, The Seven Seals, and Bowls of Wrath. The composer was inspired by a conversation with Marlon Daniel about what was expected by some to be the Second Coming on October 20, 2012, along with Mayan prophecy’s End of Days, December 21,2012. *Spoiler alert*- Both dates were wrong.

World Premiere of the Oratorio The Second Coming by H. Sisler (the composer is congratulating the conductor)

All joking aside, the subject matter is powerful and worthy of musical depiction. Mr. Sisler originally composed an orchestral work based on The Four Horseman of the Apocalypse. He took further inspiration from the subject matter and not only expanded the original work to include all seven seals, but also added the Prologue and Bowls of Wrath, both which include chorus, to form the complete oratorio. Mr. Sisler, having conceived the work in a modular fashion, has made it possible for the work to be performed in a number of different ways. The program notes make reference to five possibilities, increasing performance opportunities depending on the available forces. The modular aspect of the work, on the other hand, has the net effect of leaving uneven quality between the sections. It is natural to expect some of that in a work of this magnitude, but I did feel that the sections added later were more compelling and stronger in their conception than the earlier part. The addition of the chorus was partly responsible.

Hampson Sisler and the conductor Maron Daniel after the performance

In terms of style, one would expect a work using such terrifying imagery to be full of fire and brimstone – the Verdi Requiem comes to mind as an example. Even the artwork on the CD cover, with the Four Horsemen of the Apocalypse and the opening of the Heavens, suggests terror. Mr. Sisler has a different interpretation, that while he incorporates moments of strife, his rendering is largely a philosophical examination of the causes and effects of events rather than a dramatic rendering of the events themselves. While I did not find this approach to be immediately compelling, it was nonetheless an interesting conception that did give one pause to reflect.

World Premiere of the Oratorio The Second Coming by H. Sisler (The Cake for the party!)

The writing is highly chromatic, and while there are moments of stridency and dissonance, it is always tonally accessible. The choral writing is simple in form, with large amounts of recitativo throughout. The first section, Prologue, has stylistic similarities to Copland (especially Lincoln Portrait) and in my opinion is the strongest section of the work. My objections are strictly on stylistic preference; Mr. Sisler is a composer of skill and craftsmanship, whose music appeals to a wide audience.

Hampson Sisler is signing CDs after the World Premiere of the Oratorio The Second Coming .

Conductor Marlon Daniel was an attentive and steady guiding force. The Ensemble du Monde, with the exception of a few mishaps, most notably some cracked notes in the brass, gave The Second Coming an excellent performance. The composer joined the performers at the end for well-deserved congratulations.

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

Distinguished Concerts International New York (DCINY) in Review

“Messiah…Refreshed!”

Distinguished Concerts International New York (DCINY): Distinguished Concerts Orchestra, Distinguished Concerts Singers International;Jonathan Griffith, Music Director; Laura Strickling, soprano; Teresa Buchholz, mezzo-soprano; John McVeigh, tenor; Christopher Job, bass

Avery Fisher Hall; Lincoln Center, New York, NY

December 1, 2013

Distinguished Concerts International New York (DCINY); Photo credit: Nan Melville

Two years ago, I wrote a review for this publication (“MESSIAH…REFRESHED!” November 27, 2011) of a DCINY performance of Handel’s Messiah, which used a re-orchestration of the original score for full symphony orchestra. This massive orchestration (full woodwinds and brass, large percussion battery, and two harps) by Eugene Goossens was written upon a commission from the English conductor Sir Thomas Beecham. In that review I used my two favorite “Beecham stories” which, of course, I can’t use again. Interested readers can refer back to the November 27, 2011 review by clicking here- Messiah Refreshed review 2011.

Hearing Maestro Griffith conduct this work for a second time, I can see how he is trying to balance his innate musicianship, which is of the highest level, with his desire to perform this work as stipulated in Goossens’s score and Beecham’s 1959 recording. It is an interesting problem that has many solutions. By omitting some movements, mostly in Part III, Goossens’s score transformed Handel’s three-part oratorio into a two-part work with a single intermission. He also omitted the “b” section, and therefore the da capo, of two quite long arias, “He was despised,” and “The trumpet shall sound.” Maestro Griffith omitted what Goossens omitted, but he did not take the ponderously slow tempi one hears on the 1959 Beecham recording. But what does one do with ornamentation? There is none in either the Goossens score or the Beecham recording. While this afternoon’s vocal soloists added many ornaments to their vocal lines, none appeared at cadences. For this listener one either follows the non-ornamented Goossens score to the letter or incorporates all we have learned about baroque music since 1959. It seems that Maestro Griffith has pondered this question long and hard, and his feelings are evolving. I admire that and look forward to the results of his ongoing thinking.

Over the years I have thought that the Distinguished Concerts Orchestra was made of freelance musicians brought together just for a specific concert. I have just learned that they are a permanent group, the in-house orchestra of DCINY, and a fine group they are. The fleet-of-foot-tempi chosen by Maestro Griffith might have taxed even a small baroque band, but this massive orchestra performed them with ease and clarity. Except for the booming timpani, the balances were perfect. The wind solos, especially the trumpet in “The trumpet shall sound,” were beautifully played.

The four vocal soloists were all first-rate, making it hard to pick out the high points, but here are a few: Soprano Laura Strickling’s thrilling coloratura in “Rejoice greatly” – the fast tempo allowed her to sing the inhumanly long vocal lines in one breath. Mezzo-soprano Teresa Buchholz’s delivered a most moving rendition of “He was despised” – her voice is beautiful in all parts of her register. I especially loved the plummy low notes. I do wish that Goossens had scored the entire aria. Tenor John McVeigh was a last minute substitution for the scheduled tenor, but one would not have thought so from his assured performance. He sang his opening recitative, “Comport ye,” with beautiful floating tone, and his “Thou shalt break them” had great dramatic fire. Bass Christopher Job was my favorite soloist, although he and Mr. McVeigh tended to rush a bit during their coloratura passages. His voice is thrilling from top to bottom, and his performance of “But who may abide” and “The trumpet shall sound” were, for this listener, the concert’s most memorable moments.

The personnel of The Distinguished Concerts Singers International changes for each performance. This afternoon there were 243 singers on the stage. During the “Hallelujah” and “Worthy is the lamb” they were joined by another 220 singers seated in the first and second tiers of the hall nearest the stage. That makes a total of 463 singers! And a mighty sound it was! Most were members of twelve choruses from the United States, Canada, Australia and China. Also singing were music teachers from the New York City public schools and, as the program stated, “individuals from around the globe.” The chordal sections of the choruses were beautifully sung with a thrilling sound, but many of the polyphonic passages were a different matter, exposing problems of pitch and ensemble.

The excitement in the hall, even before the music began, was palpable. At the end of the “Hallelujah Chorus,” the audience members could hardly contain themselves. Most thrilling, however, was the explosion of applause and bravos which followed hard on the completion of the final “Amen.” And it was justified. The audience of Messiah lovers, friends, neighbors, and family members of the chorus did not have matters of baroque performance practice on their minds. They had just experienced a heartfelt performance of a beloved masterpiece under the direction of a fine conductor. What a fine way to celebrate the beginning of another holiday season!

by Harry Saltzman for New York Concert Review; New York, NY

The 20th Century Concerto Grosso CD in Review

The 20th Century Concerto Grosso

Chandos Records: CHAN 10791

www.chandos.net

Academy of St. Martin in the Fields, Sir Neville Marriner, conductor

Maria Prinz, piano; Karl-Heinz Schutz, flute; Christoph Koncz, violin; Robert Nagy, cello

Maria Prinz with Sir Neville Marriner and musicians ((Flute, Violin and Cello) from the Vienna Philharmonic

An extraordinary recording entitled The 20th Century Concerto Grosso has been released on the Chandos label, and it is a must for all those who treasure brilliant playing and rarely heard compositions of high craftsmanship and originality. Quite a bit of the music here even reaches “catchy” status and should be included on one’s playlist for perennial listening. With today’s technological trends in music streaming, featuring many options such as Spotify, Pandora and ITunes, the memorability factor is what general audiences care about most. In other words, will they listen to it again and again or only once?

Although these lesser known works aren’t officially given the Baroque title ”Concerto Grosso” by their composers, like Bloch did with his famous Concerto Grosso No. 1 of 1925 of the same period, they serve the same purpose as the Concerto Grosso musical form did by producing an engaging dialogue between an intimate solo group with a larger ensemble. These works were all written in the 1920’s by three talented Europeans- Czech composer Erwin Schulhoff, Austrian Ernst Krenek, and French composer Vincent D’Indy. These composers have more than a time period and a musical conception in common; they were all unfortunately affected by the Third Reich or anti-Semitism. Schulhoff perished in the Wülzburg concentration camp in 1942. Krenek was frequently labeled as Jewish by the Nazis and his work branded as Entartete Musik. He immigrated to the United States in 1938 after the Anschluss. D’Indy, on the other hand, was a confirmed anti-Semite who actively promoted Richard Wagner’s ideology.

D’Indy, like Wagner, was a despicable person whose music transcends the man. Even though D’Indy’s character makes him the odd man out here, his music belongs with the other concerti on this album. His Concert, Op. 89 (1926), for Piano, Flute and Cello with String Orchestra is not only unique and of a high compositional level, but its Neo-Baroque strands are very accessible to those who want tunes to linger in the musical memory, as it pays more homage to the 18th century form than the other two composers on this recording. Stravinsky’s earlier Pulcinella (1920) or Respighi’s Ancient Airs and Dances (1917 and 1923) immediately come to mind. The music’s humor is palpable, and one walks away humming the tunes with real joy. This composition belongs in the standard repertory alongside the famous Stravinsky and Respighi works. The second most memorable composition here is Schulhoff’s Concerto doppio, WV 89 (1927), for Flute, Piano and String Orchestra with two horns. There is more 20th century dissonance here a la Stravinsky, Bartók, Bloch and Prokofiev. The work is at times danceable and consists of greatly contrasting moods. One can’t help ponder about what might have been had his life not been tragically cut short.

Ernst Krenek is not unknown in the music world. His popular opera Jonny Spielt Auf, which premiered in 1927, made him a star in Europe. It is most inspiring and original, employing jazz elements and multi-cultural influences. His Concertino, Op. 27, written in 1924, is most original in its use of harmony, phrase and rhythm, but has angular, expressionist melodic material that sometimes feels random and uninspired. There are still elements to enjoy, such as the energetic interplay between soloists and orchestra, and the high quality of the playing here.

The Academy of St. Martin in the Fields under Sir Neville Marriner is amazingly polished and energetic in this unknown, difficult material. Pianist Maria Prinz plays virtuosically, devotedly and poetically in all three works. Flutist Karl-Heinz Schutz plays with remarkable beauty and precision, and violinist Christoph Koncz and cellist Robert Nagy play with extraordinary passion and refinement. The acoustic sound of this recording is first rate-natural and brilliant at the same time. One feels as if they are present in the hall with the players.

Kudos to Ms. Prinz and Sir Neville for bringing this music, and the links regarding these three composers, to our attention.

by Anthony Aibel for New York Concert Review; New York, NY

Suzanna Klintcharova: La Belle Époque de la Harpe, Volume #2 and 3: CD in Review

Suzanna Klintcharova: La Belle Époque de la Harpe, Volume #2 and 3

Suzanna Klintcharova, harp; Sofia Soloists Chamber Orchestra

VMS Zappel Music: VMS 241

www.zappelmusic.com

In her recently released CD set La Belle Époque de la Harpe, Volume #2 and 3, the fine harpist Suzanna Klintcharova features four French composers. They are the acknowledged masters, Debussy and Ravel, André Caplet, the brilliant orchestrator of several of Debussy’s works, and a venturesome creator in his own right, and Albert Roussel, renowned composer and teacher of Edgard Varèse and Bohuslav Martinů.

Conte Fantastique, a musical realization of Edgar Allan Poe’s “The Masque of the Red Death”, is a vivid representation of Caplet’s gifts. Both the harp and string writing employ non-traditional techniques and a harmonic language that projects further into the twentieth century. Ms. Klintcharova’s technical facility in this, as in everything, is beyond reproach. Her rhythm is infallible, and her tone is clean and resonant. In addition, the stringent demands made on the strings are handled quite well, which is no mean feat.

Ravel’s Introduction et Allegro and Debussy’s Danses Sacrée et Profane are two cornerstones of the French repertory and both are given excellent treatment here by Ms. Klintcharova and the Sofia Soloists Chamber Orchestra. While both works contain extended solo passages and some meaty challenges for the harp, the Ravel is more intricate and interwoven amongst the players, while the Debussy, by its nature, is a more blended, harmonious composition. Though I found the interpretation in the Ravel somewhat on the conservative side, the playing was distinctive, most especially from the flutist Gueorgui Spassov. Ms. Klintcharova, a generous and intelligent collaborator, chooses her partners well.

These impressions of unity in musicality and expression amongst the players were only strengthened in the final disc of the recording. In Debussy’s Sonata No.2 for Flute, Viola, and Harp, I was particularly impressed by the violist Ognyan Konstantinov, whose beautiful tone quality and intonation were a pleasure to hear. Both Ms. Klintcharova and flutist Andrash Adorjan an employed a wide color palette to produce some magical effects. The players’ approach did not work quite so well, however, in Carlos Salzedo’s arrangement of the Ravel Sonatine for Piano, renamed Sonatine en Trio, for flute, cello and harp. This may be attributable to the inherent difficulties of transferring piano literature to chamber music. I missed the pristine delicacy of the original, and found that in some passages, choices in articulation and dynamic did not reflect the spirit of piano version. In general, it suffered from over interpretation.

The finale of the third disc, Roussel’s Sérénade for Flute, String Trio and Harp, Op. 30, was a revelation, and a rollicking finish to this recording. By far the most modernistic composition of the group, it has a rhythmic drive and metric complexity that proved exhilarating. Quoting freely from French folk song, and incorporating the flavor of early jazz, this chamber work occupies an unusual niche in the French repertory. Once again, Ms. Klintcharova and her partners were at the top of their game. This CD set is a consistently rewarding addition to the catalogue of French harp music.

by David La Marche for New York Concert Review; New York, NY

Aleyson Scopel, Pianist in Review

MidAmerica Productions Presents: Aleyson Scopel, piano

Weill Hall at Carnegie Hall, New York, NY

November 23, 2013

MidAmerica Productions has a long history of presenting talented artists in venues around the globe. The honor of the 1200^th concert worldwide was given to the Brazilian pianist Aleyson Scopel in a program featuring Mozart, Schubert, and his countryman, Almeida Prado. Mr. Scopel dedicated his performance “To Alys Terrien-Queen, the first to believe in me.” Terrien-Queen may have been the first believer, but after this performance, he added countless others, including this listener, as those “in the know.”

Opening with Mozart’s Rondo in A minor, K. 511, Mr. Scopel demonstrated his mature understanding of this highly introspective and melancholy work. He played with refinement and sensitivity, but without superficiality or glibness that lesser players sometimes display in Mozart. His control was excellent, the voicing clear, and contrasts rendered decisively. His was the playing of an artist, pure and simple.

The world premiere of Cartes Celestes XV (Celestial Charts XV) by Almeida Prado followed the Mozart. José Antônio Rezende de Almeida Prado (1943-2010) composed eighteen sets of pieces he called Cartes Celestes , works depicting the sky and universe, using a harmonic language the composer called “transtonality.” Cartes Celestes XV was finished in 2009 and dedicated to Aleyson Scopel. Subtitled “The Expanding Universe”, it is divided into six movements. The opening GRB090423, a musical depiction of a supernova 13 billion light years from the earth, was played by Mr. Scopel with harrowing effect, from the rumbling of the unstable stars to the brilliant explosion of light. The other movements (Eskimo Nebula, Pictor Constellation and Extrasolar Planet, The Bird of Paradise Constellation, Planetary Nebula NCG 3195, and Solar Wind) were further examples of the genius of this composer and his visionary conceptions. Almeida Prado pays tribute to his teacher Messiaen in Bird of Paradise. One can also detect some intergalactic Debussy (imagine La cathédrale engloutie in outer space!). The use of tonality without a tonal center, which the composer called his “pilgrim harmony”, was highly effective. Mr. Scopel took the listener on a tour of the stars in a spellbinding performance full of power, passion, and lyricism. After he had finished, Mr Scopel pointed to the sky in tribute to the composer. It was a touching gesture, and I am confident that Almeida Prado was listening with joy from somewhere in the vast universe he loved so much. Given that Mr. Scopel has recorded other of the Cartas Celestes, it is a reasonable hope that he will, at the very least, add this set to the mix, but I would very much like to see him record all eighteen Cartas Celestes. It would do honor to both Mr. Scopel and Almeida Prado.

After intermission, Mr. Scopel offered Schubert’s Sonata in A major, D. 959. This Sonata, completed only months before Schubert’s death, is a monumental work that is majestic, pathos filled, and nostalgic (especially in the finale’s look back to a theme from his Sonata in A minor, D. 537). Mr. Scopel continued to share his artistry with a well-considered and executed performance of this massive work. His playing was crisp and accurate. The contrasting moods were dynamically realized, the laments were moving in their simplicity, and the finale had unflagging energy. One must also contend with the virtuosic elements throughout, and Mr. Scopel was more than capable of dealing with those as well, which he did in an unpretentious and understated way. This was fine Schubert playing, and would have served as an excellent example to students on what constitutes a reference performance.

Aleyson Scopel is a first-rate pianist. Anyone who values substance over style should make it a point to hear him in performance. I look forward to hearing him again.

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

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Category: Reviews

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

Suzanna Klintcharova: La Belle Époque de la Harpe, Volume #1: CD in Review

Opus Two Presents the Music of George Gershwin in Review

USA-Japan Goodwill Mission Concert in Review

Gil Sullivan, Pianist in Review

The Second Coming in Review

Distinguished Concerts International New York (DCINY) in Review

The 20th Century Concerto Grosso CD in Review

Suzanna Klintcharova: La Belle Époque de la Harpe, Volume #2 and 3: CD in Review

Aleyson Scopel, Pianist in Review