The Church of the Transfiguration presents: The Burning Fiery Furnace by Benjamin Britten in Review

The Church of the Transfiguration presents: The Burning Fiery Furnace by Benjamin Britten in Review

The Burning Fiery Furnace by Benjamin Britten
The Transfiguration Boys Choir, Claudia Dumschat, director
The Church of the Transfiguration, New York, NY
March 28, 2014
 

The Church of the Transfiguration, also known as “The Little Church around the corner,” was the venue for a performance of the second of composer Benjamin Britten’s three Parables for Church Performance, the 1966 The Burning Fiery Furnace, Op. 77, on March 28, 2014. This work was preceded by a “curtain raiser,” the composer’s Missa Brevis in D, Op. 63, scored for three-part treble chorus and organ. Anyone expecting a simple euphonious work would have been quite disappointed. The Missa Brevis is a complex and demanding piece, full of polytonality, complicated meters (7/8 in the Gloria), and other twentieth century devices which would have challenged any adult chorus. The Transfiguration Boys Choir was fully up to the task, singing with note-perfect precision and flawless intonation. The unnamed soloists, drawn from the chorus, sang beautifully. The boys were rehearsed and conducted by the choir’s director Claudia Dumschat. Erik Birk was the skillful organist.

The performance of the Transfiguration Boys Choir set a very high bar for the adults performing the Burning Fiery Furnace. I am happy to report that they were all up to the challenge. Repeating a dramatic motif from The Church of the Transfiguration’s 2012 performance of the third Parable, The Prodigal Son (The Prodigal Son: NY Concert Review, March 9, 2012), the opening of The Burning Fiery Furnace featured chanting monks dressed in robes and cowls, proceeding down the center aisle. When they reached the front of the church, the monks’ Abbot addressed the audience/congregation. The soloist was bass-baritone Peter Ludwig, who with warm and persuasive singing drew us all into the drama and mystery which was to follow. The monks then took off their robes, revealing the costumes of the characters they were to play. Mr. Ludwig became the work’s villain, his dual roles allowing him to show his skills as a wonderful singing actor.

All of the vocal soloists were fine singing actors: Tenor Daniel Neer as Nebuchadnezzar; Nicolas Connolly as The Herald and Leader of the Courtiers; Bill Cross, Christopher Preston Thompson and David Baldwin as Shadrach, Meshach and Abednego, the three men who would be put in the fiery furnace. Masters Jeffrey Kishinevsky and Charles Rosario, members of The Transfiguration Boys Choir, stole the show with their jolly portrayal of the Boy Entertainers. Another high point was the beautiful singing of boy soprano Matthew Griffin as the Angel who protects the three men in the fiery furnace. Also memorable was the ethereal singing of the Angel Chorus made up of Alexis Cordero, Jeffrey Kishinevsky, Charles Rosario and Kennin Susana, and to be complete, mention must be made of the strong contribution made by the Chorus of Courtiers.

I described The Church of the Transfiguration’s March 9, 2012 production of The Prodigal Son as “a performance that succeeded in all aspects.” The same can be said of tonight’s production of The Burning Fiery Furnace. Praise again must go to Music Director Claudia Dumschat who led the fine chamber orchestra and performed the organ part. Under her leadership, the musical preparation and execution were exemplary. Mention should also be made of the evocative costumes by Costume Designer Terri Bush. The dramatic action, which was the responsibility of Dramaturg/Stage Manager Betty Howe and Stage Director Richard Olson was persuasive and melded seamlessly with the singing. All in all, it was another wonderful performance.

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by Harry Saltzman  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents: Defying Gravity: The Music of Stephen Schwartz and Eric Whitacre in Review

Distinguished Concerts International New York (DCINY) presents: Defying Gravity: The Music of Stephen Schwartz and Eric Whitacre in Review

Distinguished Concerts International New York (DCINY) presents: Defying Gravity: The Music of Stephen Schwartz and Eric Whitacre
Distinguished Concerts Singers International; Eric Whitacre, composer /conductor; Stephen Schwartz, special guest artists; Ashley Brown, Sara Jean Ford, special guest performers; Tali Tadmor, piano
Avery Fisher Hall, Lincoln Center; New York, NY
March 30, 2014

 

A concert featuring the music of the legendary Broadway composer Stephen Schwartz paired with the music of the wildly popular and dynamic Eric Whitacre was destined to be a sure-fire winner.  Distinguished Concerts International New York (DCINY) brought this concept to Avery Fisher Hall on March 30, 2014 in a concert entitled “Defying Gravity” (a reference to a song from Stephen Schwartz’s smash Broadway hit Wicked). Eric Whitacre was to conduct his own works and those of Stephen Schwartz, with Tali Tadmor at the piano. Special guests Ashley Brown and Sara Jean Ford were also to have featured roles. The full hall was buzzing with excitement as family members looked for their “star”, hoping to get onstage photographs.  These young (and not so young) performers were ready to be part of something special that each one would treasure forever. I have witnessed this excitement countless times, but it still delights me.  DCINY “defies gravity” each concert they give, lending wings to the musical dreams of countless persons from around the world.

The first half chorus consisted of High School ensembles from China, Georgia, New Jersey, California, Pennsylvania, Colorado, “and individuals from around the globe,” as the program notes state. Eric Whitacre bounded onto the stage to launch the afternoon by leading an energetic and engaging performance of Mr. Schwartz’s Defying Gravity. One could see joy in the faces of so many of these young performers, setting the tone for the rest of the concert.  Next up was Mr. Whitacre’s Lux Aurumque, one of his earlier works (used for the initial “performance” of Whitacre’s famous Virtual Choir: Eric Whitacre’s Virtual Choir- Lux Aurumque).  The chorus handled well the challenges of the close harmonies and the divisions of voices.  It was a bit top-heavy at times, not at all surprising considering the young women outnumbered the young men in a ratio of about three to one, but was the net effect was still beautiful. The next work, Mr. Whitacre’s the city and the sea, part of the DCINY Premiere Project, uses the texts of five poems by E.E. Cummings. Three selections, the jaunty No.1 i walked the boulevard, the nostalgia-tinged No. 3 maggie and milly and molly and may, and the furiously hectic No.5, little man in a hurry were given strong characterizations. Mr. Whitacre told the humorous story behind the next work, Seal Lullaby, with text from Rudyard Kipling, originally intended for a DreamWorks project that was abandoned in favor of Kung Fu Panda. Mr. Whitacre’s setting would have been DreamWorks gold if the project moved forward. The tune is simple, yet very moving, and the timbre of young voices was simply perfect in a touching performance. What If, from Mr. Whitacre’s upcoming musical (on which he has been working on for more than a decade) Paradise Lost: Shadows and Wings, followed. My enjoyment of this work was affected by both the missing lyrics in the program and the accompanying pre-recorded track, which overwhelmed the chorus. If over two hundred singers were not able to overcome this track, then it was WAY too loud, and it should have been dialed back a notch or four.

After this, Mr. Whitacre introduced Stephen Schwartz, who took over at the piano for his own works.  The first song, Testimony, was inspired by the “It Gets Better” project, which was created by Dan Savage to give hope to bullied LGBT youth around the world. Testimony takes words from actual interviews of those who lived through the pain and the horrors of being bullied. Moving from despair to hope to acceptance to celebration, the message is clear: hang on, it will get better, and life is full of wonders waiting to be found.  It is a powerful message, and the music reflected this in an inspired performance that had many audience members in tears.  For the last two songs of the first half, Spark of Creation and Ain’t It Good, from Children of Eden, Broadway superstar Ashley Brown unleashed a passion-filled performance that closed the half with a bang, bringing the audience to its feet.

After intermission singers from Michigan, Connecticut, Canada, Italy, “and individuals from around the globe” took the stage. With the exception of a few very young performers, this chorus was composed of college-age and older singers. Mr. Whitacre returned to the stage and told the story behind his Sleep, which opened the second half. Originally written using Robert Frost’s Stopping by Woods on a Snowy Evening, Mr. Whitacre was denied permission by the Frost estate to use the text in any form, including performance, until 2038 (when the work would enter the public domain), and was threatened with legal action.  Luckily for Mr. Whitacre, his friend Charles Silvestri was able to provide him with a metrically identical poem, for which Mr. Whitacre was able to use the already written music. It was a given a winning performance.

Mr. Whitacre’s Animal Crackers, Vols. 1 and 2, followed, and had the audience howling with laughter. The composer used Ogden Nash’s hilarious animal poems (Volume 1- The Panther, The Cow, and The Firefly: Volume 2- The Canary, The Eel, and The Kangaroo) in ways that were every bit as witty as Nash himself. Mr. Whitacre read each poem before it was performed by the chorus. The “mooooooo” in a slow yodel during The Cow, the “ew!” building in intensity to a soft, staccato “yuck! for The Eel, the incessant repetition of “never varies” in The Canary, and the Tchaikovsky B-flat minor Piano Concerto/ O Christmas tree mashup in The Kangaroo, had this listener laughing every bit as loudly as the audience.  These five or six minutes were the highlight of the afternoon to this listener.  A Boy and Girl, with text from Octavio Paz followed this merriment, and the shift of gears was handled seamlessly in another satisfying performance. It is always amazing that these ensembles are able to put forth such polished readings with such short rehearsal time. Sara Jean Ford, Broadway star and no stranger to DCINY events, came to the stage to sing Fly to Paradise, which was the selection for the fourth performance of the Virtual Choir.  Her voice truly soared in a dynamic performance.  Once again, a pre-recorded electronic track was added to the mix, and once again it was too loud. Ms. Ford was able to triumph over the decibel levels by virtue of her strong voice and the use of a microphone. The chorus was more audible as well.  Even Mr. Whitacre made a joke about the volume, saying, “Choral music is LOUD!”

Stephen Schwartz returned to the stage and took the piano again to close the half and the concert with three of his works. The first, Keramos, is a setting of a portion of Henry Wadsworth Longfellow’s poem of the same name.  The chorus took the audience on a moving life journey through Mr. Schwartz’s musically adept setting. The second song, Forgiveness’ Embrace, was sung and played by Mr. Schwartz himself as if he were telling the story of his own life journey. The last selection, For Good (from Wicked) combined the vocal talents of Ashley Brown, Mr. Schwartz, and the chorus. Ms. Brown, as the professional that she is, deftly handled a microphone malfunction by grabbing another microphone without missing a beat. The energy was electrifying in a terrific performance that brought this highly enjoyable concert to a close. The audience responded with an extended ovation. Congratulations to all!

While all the performers are to be congratulated, it was Eric Whitacre who was the star of the day. Mr. Whitacre is a one-of-a-kind talent. His music has mass appeal to an audience that normally would shun “classical” music. He is young and energetic, an ideal ambassador for the “cause”, and is one of the most charismatic individuals I have seen or heard in any field. He is a “rock star” in a decidedly non-rock world!  One could go on and on, but I will limit myself to a comment I overheard in the hall- “I would listen to Eric Whitacre read the phone book.” Any further comments would be superfluous.

 

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents: a cappella NEXT: An Evening Dedicated to Contemporary Choral Music in Review

Distinguished Concerts International New York (DCINY) presents: a cappella NEXT: An Evening Dedicated to Contemporary Choral Music in Review

a cappella NEXT: An Evening Dedicated to Contemporary Choral Music
Ad Astra Singers, John Paul Johnson, director; NOTUS: IU Contemporary Vocal Ensemble, Dominick DiOrio, director; UC Berkeley Chamber Chorus, Marika Kuzma, director
Weill Recital Hall at Carnegie Hall, New York, NY
March 21, 2014 

Distinguished Concerts International New York (DCINY) is well known for their large concert productions featuring many hundreds of performers from around the globe.  What might be not as well known is that DCINY also presents smaller concerts in much more intimate venues. Such was the case with “a cappella NEXT,” a concert focusing on contemporary choral music showcasing the talents of three outstanding a cappella ensembles in Weill Recital Hall on March 21, 2014.

Opening the concert was the University of California at Berkeley (UC Berkeley) Chamber Chorus. They began with a solid and well delivered selection entitled, “Let Everything that hath breath praise the Lord” from Requiem: A Dramatic Dialogue by Randall Thompson (1899-1984), who taught at UC Berkeley in the 1930s. The ensemble segued from this work into Ashes from alumni Trevor Weston (b. 1967). This work is a meditation on 9/11. The word “ashes” refers both to Psalm 102 and to the debris from the aftermath of the attack.  The program notes make reference to an aural depiction of the fall of the twin towers, an effect this listener found to be far too glib at best, especially in contrast with the actual event, still very much burned into one’s consciousness. This very large reservation notwithstanding, the work at other moments was hauntingly moving and was given a beautiful performance overall.  Awit sa Panginoon, by another alumnus, Robin Estrada (b. 1970), followed. This work uses the text of Psalm 30:1-6, set in the folk style of the composer’s native Philippines and employing extended vocal techniques. The placement of the two singers casually sitting on the stage ledge lent a certain charm to their duet and suggested an offhandedness belying the work’s challenges. It was delightful. The remaining works, Excerpts from Sephardisms II by Jorge Liderman (1957-2008),”Winter” from The Seasons by Richard Feliciano (b. 1930), and “Vesna” from Pory Roku by Lesia Dychko (b. 1939), were all given highly polished performances. The desolation and sparseness of “Winter” gave way to the joyous optimism of Spring in “Vesna”, which brought the last of the UC Berkeley Chamber Chorus’ selections to a happy close.  The energetic and personable Marika Kuzma led her ensemble through this varied program with precise attention to detail. As she wrote in her program notes about her ensemble’s eclectic selections, “it’s all good.” Not only was it “all good,” but it was all given an excellent performance.

After a short break, NOTUS, the Indiana University (IU) Contemporary Vocal Ensemble took to the stage.  They opened with the World Premiere of To The Roaring Wind from Zachary Wadsworth (b. 1983), which uses the Wallace Stevens two-line poem of the same name for the text. It is a dramatic and highly effective work that should find a place in the a cappella repertoire. NOTUS gave this work a top-notch performance, with excellent uses of extended vocal techniques, and great clarity of sound. Another World Premiere followed, Virginia: The West, by composer Aaron Travers (b. 1975). Using the poem of the same name from Walt Whitman’s Drum Taps, it was given a nuanced performance that captured Whitman’s powerful imagery. The “Passacaglia” from the 2013 Pulitzer Prize winning Partita for 8 Voices by Caroline Shaw (b. 1982) came next. NOTUS showed how prepared they were in a rendition that was at all turns simply astonishing. They tackled the multi-layered complexities with ease and delivered a performance to remember. O Virtus Sapientiae by Dominick DiOrio (b. 1984) proved that Mr. DiOrio is not only an outstanding director, but a talented composer as well. His ingenious setting of Hildegard von Bingen’s original chant was breathtaking. It was a slight disappointment that the three soloists were not positioned in the North, South, and West directions as indicated in the program notes, probably because of the limited space, but this is a small quibble that in no way detracted from the performance. NOTUS ended their portion of the program with Zephyr Rounds by Robert Vuichard (b. 1986). This clever work used the text of John 3:8. With its unconventional meter (13/8), Zephyr Rounds has a feeling of continuous, bustling motion. It was given a joyous and energy-packed performance. Dominick DiOrio led NOTUS with ebullience, weaving a tapestry of golden sounds. He is also to be commended for crediting the fine soloists from the stage, a nice gesture that this listener very much appreciated.

After another short break, the last ensemble on the program, the Ad Astra Singers, took the stage. Hailing from Wichita, Kansas, the Ad Astra singers take their name from the state motto Ad Astra per aspera (“To the stars through difficulties”). One can say with confidence that this fine ensemble did not show any indications of “aspera”! The World Premiere of Four Haikus by Aleksander Sternfeld-Dunn opened their program. The text for these haikus was inexplicably omitted from the program notes, which struck this listener as careless, but the work was compelling. Ad Astra showed right from the start that they are the “real deal” in a performance filled with charm and wit. Two works from Jean Belmont Ford (b. 1939) followed, “Draba” from A Sand Country Almanac, and the World Premiere of Love Song. Both are works of a highly skilled composer and both exploited the talents of Ad Astra in compelling fashion. The close harmonies were executed to perfection, and the balance of voices was superb throughout. O Magnum Mysterium from Wayne Oquin (b. 1977) was next, and the pattern of excellence continued in a precise and radiant performance.  Ending with Cantus Gloriosus by Polish composer Józef Świder (b. 1930) was a good choice, as it was yet another example of the rich voice blending and balance in which Ad Astra excels. It was a glorious end to a glorious program. One must tip one’s hat to the fine work of director John Paul Johnson, who led Ad Astra with the steady hand of a master.

A final thought – while it was good to have the English translations to the texts to most of the works, it was a glaring oversight to omit the original texts in the language in which they were written (and sung). The reason to include texts is to allow listeners to follow along, even if they do not understand the language. Connecting the strains of foreign languages to the printed English did not enhance the otherwise musically enjoyable experience.

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by Jeffrey Williams  for New York Concert Review; New York, NY
music: LX presents Claudia Galli and Grégory Moulin in Review

music: LX presents Claudia Galli and Grégory Moulin in Review

Richard Strauss–des racines et des ailes
Claudia Galli, soprano; Grégory Moulin, piano
Weill Recital Hall at Carnegie Hall; New York, NY
March 11, 2014

 

In a recital presented by music:LX and the Consulate General of the Grand Duchy of Luxembourg, soprano Claudia Galli and pianist Gregory Moulin had the intriguing idea of an all-German Lieder recital showing the “roots” of Richard Strauss’ song writing and the “wings” of influence he may have cast on successors. This program so rich in promise, both in theory and on paper, didn’t achieve its potential, due to flaws in both programming and execution.

The pair didn’t stray far enough from Strauss’ Op. 10, his first published song opus, which admittedly contains many of his “greatest hits,” but is not necessarily indicative of the theme. They did include one from Op. 19, two from Op. 27 and two from Op. 68, but there are dozens more to choose from. I personally would have preferred to hear some early Schoenberg (Op. 2 or  Op.6) and Korngold Lieder, which truly show the expansion of late-Romantic tonality and the “influence” of Richard Strauss. Neither Schumann nor Brahms made a really convincing case for being a “predecessor” except chronologically.

Lieder is an extremely subtle art form, and is heavily detail oriented, with much of that centering on revelation of the word, first in its musical interpretation by the composer, then by the perfection and nuance of idiomatic diction coupled with good singing by the performer (supported, of course, by an equally fine pianist).

For the first recital in a major US tour, taking place in one of the premiere New York small recital halls, Ms. Galli had a music stand and did not have the music memorized: strike number one. She made many rather histrionic gestures that didn’t suit the words being sung and she had an annoying habit of fiddling with her hair, even during one of the pianist’s postludes, which suggested that she was unconcerned with what came after her part was over. The song isn’t “done” until the last note of the piano part.

Her voice was large, somewhat over-darkened, and suffered from placement issues and lack of subtle control. The word Einerlei for instance, emerged as “oy-nur-loy,” and so on. She sounded well at times, but not often enough. The song selections themselves seemed to be for many different voice types, from lighter to more dramatic, a range too broad for Ms. Galli’s ability at present.

I thought the pianist would be the special element here. Mr. Moulin played with lyricism and support. But then he botched the rapt introductory measures to Wolf’s Anakreons Grab, which was also played too quickly to create the proper mood of wistful reflection. Later, Mr. Moulin became simply messy (over pedaled) and a bit too loud throughout.

The words to all the songs were not attended to with the specific myriad details that are found in the finest Lieder recitals. Ms. Galli’s technical limitations, and perhaps a propensity to a “bigger” operatic style, would not permit it. For me, the surprising successes were two songs that I had expected to be not so good: Strauss’ Ruhe meine Seele (Op. 27, No 1) and his An die Nacht from the late Op. 68 set. Both are conceived for a large voice, and here Ms. Galli sounded at least comfortable. But the other Op. 68 song she did, Ich wollt ein Sträusslein binden was labored, with the garlands of melismas way too heavy, depriving the message of charm.

All music lovers need to be grateful when any young persons show an interest in this refined musical genre, but the performers need to make sure they are really making the best possible case for it.

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by Frank Daykin  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents Lust & La Femme Mystique: Carmina Burana and Music in Celebration of International Women’s Day in Review

Distinguished Concerts International New York (DCINY) presents Lust & La Femme Mystique: Carmina Burana and Music in Celebration of International Women’s Day in Review

Lust & La Femme Mystique: Carmina Burana and Music in Celebration of International Women’s Day
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Hilary Apfelstadt, conductor; Vance George, Conductor Laureate
Penelope Shumate, soprano; Dillon McCartney; tenor; Keith Harris, baritone
Avery Fisher Hall, Lincoln Center; New York, NY
March 10, 2014
 

International Women’s Day was celebrated by Distinguished Concerts International New York (DCINY) with a concert in Avery Fisher Hall employing four hundred sixty-nine choral singers, sixty-three instrumentalists, and three vocal soloists. The first half was a pleasing selection of contemporary pieces for and about women sung by the combined forces of ten choirs from all over the world. And what fine choirs they were! Beautiful sounds, with excellent diction, and near perfect intonation. Clearly these women and their conductors were dedicated to this music, and the music was worthy of their labors. The first piece was Guy Forbesʼ gorgeous Ave Maria. Written for a cappella women’s chorus, this piece should become a classic. It is immediately accessible without being in any way predictable or saccharine. It was followed by another lovely song praising the Virgin Mary, Eleanor Daley’s I Sing of a Maiden, also an a cappella composition. Like all the music on the first half, it was tonal but contained interesting harmonic twists and turns. For the next two songs we were transported south of the border. The Brazilian composer Eduardo Lakschevitzʼs jaunty Travessura was followed by Cancion de los Tsáchilas which is a compilation of four folk songs, cleverly arranged by Michael Sample. The energetic performances of these two works were, unfortunately marred by the loud footsteps of a very large group of audience members who incomprehensibly were allowed to enter while the music was going on. A violin and a cello joined the singers and pianist for two pieces depicting women in moments of reflection, Joan Szymkoʼs Always Coming Home and Jocelyn Hagen’s In the Lavender Stillness of Dawn. Nancy Telferʼs The Blue Eye of God employed breath sounds and whispers. Joy by John Muehleisen brought the first half to a happy conclusion. The ten choir directors are to be applauded for their fine work in preparing their choirs, and kudos to conductor Hilary Apfelstadt for pulling it all together in what must have been a short rehearsal time.

 
DCINY Carmina Burana

DCINY Carmina Burana

 

The second half was devoted to one of the biggest crowd-pleasers in the choral repertoire, Carl Orff’s Carmina Burana. Once more the large chorus was the star. It was comprised of two hundred seventy-two singers from seven international choruses, none of whom sang on the first half. The biggest challenge in singing this music is learning the words, which are in Latin and an ancient form of German, and which often must be articulated in rapid fire manner. It takes hours of drill. It was obvious that these choruses and their directors had done their job well. They performed with commitment, confidence, tonal beauty and fine intonation. The large group was alternatively sensitive and powerful. The difficult men’s sextet “Si, Puer cum Puella,” written for solo voices, was wisely performed by all the men. This resolved the intonation and tessitura problems so often encountered in this piece. The women sang the lovely, tender middle section of “Floret silva nobilis” with delicacy and perfect ensemble. I was especially impressed by the splendid Brooklyn Youth Chorus. They sang as one, in perfect tune with beautiful sound. Undaunted by language difficulties, they performed by memory. How wonderful it is to hear the young people of our city demonstrate such musical accomplishment! Their conductor, Dianne Berkun, is surely one of our city’s treasures.

Unfortunately the soloists did not attain the high level set by the choruses. Baritone Keith Harris has a very beautiful voice, but often it wasn’t loud enough to cut through the orchestra. He also tended to sing flat in the soft passages. Soprano Penelope Shumate looked stunning in her strapless red gown as she sauntered provocatively across the stage. However, her high soprano voice was not ideally suited for “In Trutina.” This beautiful, simple, expressive song lies in the low register where her voice isn’t at its best. She was better suited for the high “Dulcissime,” where her tones rang out loud and clear. Before the concert began an announcement was made that the tenor soloist was sick but would nevertheless do his best. As New York City is full of singers, one would think that a healthy high tenor could have been found to serve as his replacement. Fortunately he has only one song, “Cignus ustus cantat” (“The roast swan”) He attempted to compensate for his vocal problems by hamming it up, pretending to conduct, and interacting with the chorus, When his singing voice gave out, he spoke his lines. He did manage to get out a few notes which showed what a lovely instrument is at his disposal on a better day. The forgiving audience applauded his effort.

The conductor, George Vance, held his huge forces together admirably, and the orchestra supported the singers with conviction and fine ensemble. This was a well-paced and exciting performance, which the large audience obviously loved. They leapt to their feet as soon as the lasts notes of the final “O Fortuna” had finished resounding.

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by Barrett Cobb  for New York Concert Review; New York, NY
MidAmerica Productions presents: Romance: German and French Romantic Music for Flute and Piano in Review

MidAmerica Productions presents: Romance: German and French Romantic Music for Flute and Piano in Review

Romance: German and French Romantic Music for Flute and Piano
Patrick Gallois, flute; Maria Prinz, piano
Weill Recital Hall at Carnegie Hall, New York, NY
March 6, 2014
 

MidAmerica Productions is one of the busiest concert presenters in New York, indeed worldwide. In my experience, their concerts are always on a high level and their audiences substantial. Weill Hall was almost full for this recital, no small accomplishment for an instrumental recital in which the performers are not household names. The concert focused on that most beloved musical era, the Romantic period. The first half was focused on German music and the second half, French. The stated goal, according to the program notes, was to “bring listeners to explore another atmosphere in another world.”

First we heard Three Romances, Op. 94, by Robert Schumann. Originally written for oboe, Mr. Gallois, needed to change only a few notes to make them work for the flute. These pieces were presented by Robert to his wife Clara in 1849 as a Christmas present. These lovely “songs without words” no doubt made a hit with their recipient. As we are reminded in the distinctly romantic program notes written by Ms. Prinz, Robert and Clara Schumann’s relationship was ”one of the most famous love stories in music history.” These exquisite, tuneful pieces remind one of Robert Schumannʼs Lieder and could probably be successfully performed on any treble instrument. The second, in the major mode, is especially beautiful. All three were given a sensitive and shapely performance.

The remainder of the first half was devoted to Carl Reineckeʼs Undine Sonata, Op. 167. In addition to being unquestionably “romantic” in style, this piece is distinctly programmatic. Undine was a water spirit who fell in love with a human, was betrayed by him, gave him a fatal kiss and then returned to the water. In the first movement the waves and undulations of the water were clearly depicted in the flute line, played with limpid fluidity by Mr. Gallois, and by the arpeggiated chords in the piano, sensitively executed by Ms. Prinz. The sparkling second movement begins with rapid staccato notes in the flute (Undine is getting excited!) followed by dotted rhythm of the piano (the knight has arrived!) The third movement is a beautiful love duet, played with great feeling by Mr. Gallois and Ms. Prinz. Then, in the fourth movement, the Sturm und Drang of betrayal and retribution are portrayed in rapid scale passages and diminished seventh chords. At the end of the piece we return to the rocking 6/8 meter of the first movement as, like a good Rhine maiden, Undine returns to her original home.

After intermission we heard a lovely Romance, Op. 37, by Camille Saint-Saëns. The flute’s tender melody was played beautifully, and its rapid scales and octave passages were tossed off with aplomb. Next we heard Charles-Marie Widorʼs Suite, Op. 34. The beautiful third movement, entitled Romance, was captivating, and the technical challenges of the finale were deftly managed by both performers. Its second movement is evidently a most effective Scherzo, as it elicited delighted chuckles from the audience.

The last piece on the program was Gabriel Piernéʼs Sonata, Op. 36. Originally this piece was written for violin, however it is often performed on the flute. Indeed, the original sheet music mentions that it can be played by either instrument. During this work, the flute was sometimes overbalanced by the piano, especially towards the end. Perhaps this problem would have been alleviated if the lid of the piano had been moved to the short stick. The lid was fully open for the entire program, but there were no balance problems in previous works.

The audience was obviously enchanted with everything Mr. Gallois and Ms. Prinz did and rewarded them with fulsome applause. The encore was Maurice Ravelʼs “Kaddisch,” from the composer’s Deux Mélodies hébraïques. Originally written for voice and piano, the voice part was transcribed for flute by Mr. Gallois.

 

 

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by Barrett Cobb  for New York Concert Review; New York, NY
New York Concert Artists and Associates presents Viviana Lasaracina, pianist in Review

New York Concert Artists and Associates presents Viviana Lasaracina, pianist in Review

Winner of 2013 Carnegie Debut Recital-Viviana Lasaracina, piano
Weill Recital Hall at Carnegie Hall; New York, NY
March 5, 2014
 

Viviana Lasaracina, a young Italian pianist currently studying in London, made an auspicious debut on March 5 in Weill Recital at Carnegie Hall in a program of works by Clara Schumann, Robert Schumann, Scriabin, and Rachmaninoff. Ms. Lasaracina was presented by the New York Concert Artists and Associates as a winner of their 2013 competition.

From the first velvety chord of the first Romance by Clara Schumann, I knew the music and the audience were in good hands. Let me enumerate the admirable qualities in Ms. Lasaracina’s playing: beautiful liquid tone, never a harsh or unmusical sound, exquisite phrasing and phrase shape, generous breathing, a personal sense of poetry and exploration, color and superb pedaling mixtures, contrapuntal awareness, and ability to clarify even the most dense textures and still respond passionately to the music. That’s quite a list of virtues. Ms. Lasaracina did well to open with the Three Romances, Op. 21, by Clara Schumann. They were among her last published compositions, written shortly after the death of her husband Robert. Clara endured the grueling life of a traveling virtuoso in the mid-nineteenth century as breadwinner for her family, which contained eight children as well as her manic-depressive, albeit genius, husband. She would outlive her husband for forty years, a pioneering female in the “boys club” of the virtuosi. The first Romance is truly the gem of the set. Brahms, who played solo piano infrequently, was said to have programmed it. It is imbued with a seriousness that the rest of Clara Schumann’s output often avoids. As rendered by Ms. Lasaracina, one heard the elegiac strains, sounding almost like pointers to the heavier Russian sentiments she would explore on the second half of the program. She followed with the complete Fantasiestücke, Op. 12, by Robert Schumann. They are often heard excerpted, but here the set gained by its integrality. Ms. Lasaracina lived each of the frequent mercurial mood shifts completely, making us feel as though the music was emanating directly from her and composed on the spot, which was no small achievement. The middle section of the fifth Fantasy “In der Nacht” was absolutely heartbreaking in its songful simplicity, a result that concealed the great art behind it. Also wonderful was the “question” piece “Warum?” and the conclusion “Ende vom Lied.”

After intermission, she began with Two Poèmes, Op. 32, by Alexander Scriabin, the Russian mystical composer who many believe had synesthesia, a mixing of sensory input that caused him to hear sounds as colors. These two pieces stand on the cusp of his post-Chopin manner and his outright mystical explorations that many listeners did not understand, and that are still being mined for their content. If there was anything negative I could say, it would be that in the second of the Poems, Ms. Lasaracina did not quite “take flight” to the ecstatic manic degree that truly makes Scriabin work.

She finished with the entire set of Six Moments musicaux by Sergei Rachmaninoff. The title indicates the spiritual inheritance of Schubert, who also wrote a set of six same-titled pieces, but the scale and virtuosity of these leave Schubert far, far behind. Needless to say, Ms. Lasaracina had every bit of the virtuosity required to negotiate this richly ornamented score, but what was even more remarkable was that the line, the musical thought itself, was never obscured or lost amid the welter of flying notes. She has played in a master class by Lazar Berman, the great Russian pianist who was the first I ever heard play these works, so she spoke the idiom very well. For this listener, the fifth, the somewhat more introspective D-flat major Adagio Sostenuto, was the absolute pinnacle of the set. The colors and intimacy were breathtaking.

Ms. Lasaracina favored her enthusiastic and large audience with an encore: the Étude-Tableau Op. 39, No. 1, by Rachmaninoff, dispatched with clarity and ferocity.

A word to the presenters: The lack of a printed program and program notes is quite inexcusable in a major New York concert hall.

 

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