Korea Music Foundation presents Allant Piano Trio in Review

Korea Music Foundation presents Allant Piano Trio in Review

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

 

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

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

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

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

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

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

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

An Evening of Contemporary Music in Review

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

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

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

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

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

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

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

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

Musica de Camara in Review

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

International Performing Artists presents Xiayin Wang, Piano in Review

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

 

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

Share
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: 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 19th century through the first decades of the 20th.  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.

Share
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 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.

 

 

Share
by Jeffrey Williams  for New York Concert Review; New York, NY
USA-Japan Goodwill Mission Concert in Review

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 9th 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 9th 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!

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