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Korbinian Altenberger & Andrius Zlabys in Review

Korbinian Altenberger, violin

Andrius Zlabys, piano

Merkin Concert Hall

November 4, 2010

Korbinian Altenberger

Though these two young players have already performed in recital and with major orchestras world-wide, this concert marked their New York recital debut. They hold degrees from some of the most prestigious conservatories, and have won an astonishing number of international prizes, including the one offered by their presenters, Astral Artists.

Their program showed that they are not only excellent players, but also serious, genuine musicians. It consisted of four Beethoven Sonatas: Number 3 in E-flat major, Op.12, No.3; Number 4 in A minor, Op.23; Number 8 in G major, Op.30, No.3; and Number 10 in G major, Op.96. A more challenging calling card can hardly be imagined. Playing Beethoven really well requires as much virtuosity as the most dazzling fireworks, but only as a means for musical ends, not for external effect or to impress the audience.

Altenberger and Zlabys rose to these demands admirably. Their technique was brilliant, but so effortless and unobtrusive that one forgot about it. Altenberger’s tone, though not big, was pure and focused, and he could vary it with bow and vibrato. He seemed intent on preserving Beethoven’s original slurs, which, indicating phrasing rather than bowing, are often too long to be practical; this created problems of balance, especially in the slow movements. The transitions were poised, the phrasing was elegant, the rhythm steady but flexible. Dynamics were carefully observed, but accents, even in many soft passages, were often surprisingly explosive. Tempos were judicious; though both could generate plenty of speed, it was never in order to display their facility.

Of the program’s four Sonatas, the three early ones are youthfully vigorous, exuberant, and brilliant; the late one is among Beethoven’s most intimate, introspective works. The two players had obviously given much thought to these differences in character and found ways to bring them out. In the third Sonata, the writing is far more pianistic than violinistic. The first movement bristles with so many running passages that it has been called the “Zipper” Sonata: after chasing each other in imitation, the two instruments run together in thirds, a risky operation that came off perfectly. The eighth Sonata is another virtuoso piece for both instruments, but the writing is more democratic, requiring even closer teamwork as the instruments trade, take over and build on each other’s melodies. Beethoven is at his most humorous in the Finale, often described as a dance for a Russian bear; the players relished the fun.

In the fourth Sonata, which foreshadows the “Kreutzer” Sonata in its tonality and its drama, the players captured the driving tension of the corner movements and the whimsical charm of the Andante scherzoso.

In his final, tenth Sonata, Beethoven was in full command of the medium and had reached the sublime serenity of his later years. The texture is more transparent and complex, the interplay between the instruments more intricate, the moods more elusive and mercurial. The performers met this test in ensemble playing with sensitive give-and-take, unanimity of expression, and mutual supportiveness.

The recital’s only flaw was the balance between the instruments, though the players went to great pains to accommodate each other. Merkin Hall is well suited to intimate chamber music, but the piano is too big for the moderate space. Unfortunatly, Zablys, though a fine pianist and exemplary partner, kept it wide open, and his first chord in the first Sonata signaled that Altenberger, with his refined, inward style, would have to struggle to be heard. Nevertheless, this was one of the most impressive debuts of recent years.

by Edith Eisler for New York Concert Review; New York, NY

“Dance of the Stones” in Review

A Chamber Opera by Brian Schober

Libretto by Richard Olson

Theatre80, New York, NY

November 6, 2010

Dance of the Stones. Photo Credit : Auguste Olson

A large audience was in attendance for the premiere weekend of Brian Schober’s new chamber opera “Dance of the Stones,” a work inspired by Japanese Noh drama, but involving modern, everyday characters searching for meaning in life. Delving into universal themes of mind and body, teacher and student, the limitations of words, love, and aging, the opera’s scope seems to reach in inverse proportion to the size of the cast (four characters and a small chorus). The uncluttered quality of cast and staging combined with an evocative musical score to create illusions of space and time that far exceeded the intimate venue.

Central to the story, in a libretto by Richard Olson, is the relationship between a frustrated philosophy professor, Thom (sung by bass-baritone Peter Ludwig), and a young infatuated student Abby (sung by soprano Sara Paar). They travel towards enlightenment and towards Thom’s own revered teacher Tara (sung by contralto Christina Ascher), aided by a guide named Go (tenor Kenneth Harmon). Appropriately subtitled “A Journey beyond Words,” much of the opera’s emotional story is conveyed through dance, pantomime, and choral interludes that draw upon a rich range of what is described as “multi-textured music of shifting modalities.” There are indeed words as well, sung very conversationally by the four main characters (and peppered humorously with some slang), but the instrumental and choral music, lighting, and staging seem best to express the heart of the characters, the subtext of their lines, and their journeys toward truth. A chorus with handbells plus an ensemble of violin, cello, flutes, piccolo, clarinet, piano, synthesizer, harp and percussion convey alternately a sense of frustration, wonder, anxiety, love, calm, and sleep.

Mr. Schober, an American composer and organist who studied in France with Olivier Messiaen (as well as in the US), seems to have some of Messiaen’s mark on his musical style, although his wide-ranging textures and timbres are so sensitively connected to his opera’s drama and libretto that what emerges is something altogether unique.

The composition is fascinating all by itself, though non-musicians would enjoy the production for its theatrical values alone, including skillful choreography (Lynn Neumann) and lighting (Stephen Petrilli). All was held together seamlessly by the skillful conducting of Claudia Dumschat. In the performance I heard, the singing and acting were commendable, although occasionally some recitative parts were a tad stilted. The initially fusty Thom metamorphosed wonderfully as the role progressed, and some humorous moments stole the show for the spunky Abby, also offering much-needed comic relief from the rather ambitious subject matter. I never thought I would hear the word “dude” sung in a classical opera setting, but there is a first for everything!

Special mention should be made also of the chorus’s soprano soloist, Lesley Zlabinger, who had some of the most beautifully lyrical parts, and of considerable difficulty. Considering the obvious difficulty in all of the vocal parts (and in coordination with the ensemble parts), it was a remarkable and impressive premiere. All involved are to be congratulated.

One can easily imagine this chamber opera receiving repeat performances or touring the university circuit (despite some derogatory references in the text to “ivory towers”). Its small cast and simple staging should make it quite mobile, and college audiences should find it provocative. There may also be something of a renewed interest in Noh-inspired opera, as a new production of one by Alexander Goehr was just presented in London. There are also notable early examples by Benjamin Britten, in his “Curlew River,” “The Fiery Burning Furnace,” and “The Prodigal Son,” but there is certainly room for more.

by Rorianne Schrade for New York Concert Review; New York, NY

David Kadouch, piano in Review

David Kadouch, piano

Grace Rainey Rogers Auditorium, The Metropolitan Museum of Art, New York, NY

October 30, 2010

David Kadouch

Laureate of the 2009 Leeds International Pianoforte Competition and the 2005 Beethoven Competition in Bonn, David Kadouch is poised for a healthy career that already includes many concerts in the coming year. Having heard his highly auspicious New York recital debut this weekend, I was happy to discover that he is an artist of distinct individuality, not at all a typical contest prizewinner, but an engaging musician.

The first point that struck this reviewer as unusual was the programming, including works that are not heard often in recital (with the exceptions of the much-loved opening Haydn F minor Variations, Hob XVII: 6 and closing Debussy Préludes). The second point was a style of playing that showed not a trace of the thundering bombast that is so common among the twenty-something crowd vying for a chance to be heard.

The first half, while including Schumann, centered on this composer’s relatively seldom played Sonata in F Minor, Op. 14 (“Concert sans Orchestre”), an intriguing work with a patchwork history of revisions and performances. Mr. Kadouch played it with a wonderful sense of Schumann’s quicksilver temperament. This pianist has an outstanding gift for delicacy, both in lyrical phrases and in rapid passagework. Incidentally, he chose to play the Scherzo originally removed by the composer (the “Allegro Vivacissimo,” not the Scherzo “Molto Commodo” that is more often used), a choice that favored his natural lightness of touch. There were times (especially in the Schumann, but also in the Haydn) when I wanted a bit more melodic fullness and sustaining of the energy of phrases to the very end (especially when the harmonic intensity invited it), but these were personal quibbles.

Liszt’s Spinning Chorus from Wagner’s The Flying Dutchman opened the second half in a jaunty interpretation that again emphasized the pianist’s more delicate, playful side. Mr. Kadouch truly seemed to be enjoying himself here. Following were fifteen of Shostakovich’s 24 Preludes, Op. 34 (which the pianist recently recorded), again not exactly a typical firebrand offering, though highly demanding in subtle interpretive ways. Kadouch reflected genuine feeling for each choice, showing plenty of wit, a kaleidoscope of colors, and a flexibility of phrasing that felt almost balletic. He played a slightly different arrangement of the Preludes than listed on the program, opting for a mix of 1- 2, 5-6, 9-11, 13-16, 19-21, and 24, and it worked well. He ended with number 5, leaving a well-punctuated feeling and whetting this listener’s appetite to hear his recording of all of them.

Two Debussy Préludes, “Les Fées sont d’exquises danseuses” and “Ce qu’a vu le vent d’ouest” closed. As stated before, the Debussy Préludes were not such an unusual choice, but their placement as the final works was. One grows accustomed to big pyrotechnics at a debut’s close, and this was definitely not the case. Mr. Kadouch has a subtlety that will be an acquired taste for many, but it will undoubtedly be worth acquiring, especially in similar repertoire. His encore of Chopin’s posthumous C-sharp minor Nocturne brought the evening to a gentle close.

by Rorianne Schrade for New York Concert Review; New York, NY

New York Repertory Orchestra in Review

New York Repertory Orchestra

David Leibowitz, Music Director/Conductor

Olivier Fluchaire, violin

Church of St. Mary the Virgin, New York, NY

October 23, 2010

Olivier Fluchaire

Described as New York’s leading community orchestra, the New York Repertory Orchestra consists of professional and amateur musicians. They come together for the joy of making music, which they share by performing “provocative programs” at the highest possible level. And they certainly have a lot of fans: at this concert, the church was filled with appreciative, enthusiastic, obviously regular listeners, who greeted one another, and the players, like old friends.

The Orchestra was founded in 1991 by its Music Director, David Leibowitz, who has conducted operas, ballets and concerts world-wide; he also teaches at various prestigious colleges, universities and summer institutes. As he proved on this occasion, he is not only an excellent conductor, but also an inspiring leader.

The program was adventurous and ambitious, and consisted of rarely played works – a wise choice in a city so full of concerts. It opened with the Concerto for Small Orchestra Op. 34 by Albert Roussel (1869-1937), written in 1927. The first movement is lively, energetic, and quite dissonant; the second is slow, somber and languid, featuring long, sustained chords in the woodwinds; the third is a marathon run of fast notes in perpetual motion. The orchestration is colorful and inventive.

The Roussel was followed by Astor Piazzolla’s “Four Seasons of Buenos Aires,” arranged by Leonid Desyatnikov and Gidon Kremer for violin and string orchestra, with the French-born violinist Olivier Fluchaire as soloist. After winning his first competition at age eleven, Fluchaire studied with Yehudi Menuhin at his London School and concertized throughout Europe; he came to New York, where he now lives, in 1992, and studied with Daniel Phillips and Patinka Kopec. He is active as soloist and chamber musician, and also teaches at several colleges, including Hunter College and the City University. A spectacular virtuoso, he played with effortless brilliance, unbridled passion, and a remarkable flair for Piazzolla’s rhythmic and melodic idiom. Due to the acoustics, the orchestra sometimes covered him, but the pieces’ many unaccompanied cadenzas showed his sonorous, intense, variable tone to fine advantage. He warmly acknowledged Principal Cellist Shanda Wooley, who stood out in a substantial solo.

The program concluded with the Symphony No. 4, Op. 29 by the Danish composer Carl Nielsen (1865-1931). Written in 1914, it reflects his horror at the outbreak of World War I, and expresses his belief that “even if all things were destroyed or dead, nature would begin to breed new life again.” He called it “The Inextinguishable” because “music is life, and like life, inextinguishable.” The Symphony has four contrasting, connected movements; the music fluctuates between outbursts of chaotic frenzy played by full orchestra, and serene, almost cheerful melodies played by groups of solo instruments; at times it disintegrates, then revives with renewed energy; it ends in triumphant affirmation.

The Church of St. Mary the Virgin is spacious and beautiful, but, like many large churches, has extremely reverberant acoustics; as a result, it was impossible to hear separate strands of melody or changes of harmony. (The players, too, must have had trouble hearing themselves and each other.) Only the wind instruments’ different timbres could be easily distinguished. The echoes also acted as amplification, especially when the music was loud. For example, Nielsen employs two sets of timpani, one on each side; at full throttle, they sounded ear-splitting and obliterated everything else.

These circumstances made it very difficult to get a sense of the quality of the Orchestra’s sound and ensemble, though the solo wind players were clearly outstanding. But there was never a doubt of the participants’ enthusiasm and total commitment both to the music and the joint enterprise. The heart-warming air of good fellowship and mutual supportiveness contributed mightily to the success of the concert and the bond between performers and listeners.

by Edith Eisler for New York Concert Review; New York, NY

American Fine Arts Festival and Pianist Victor Maslov in Review

Weill Recital Hall at Carnegie Hall; New York, NY

October 23, 2010

The American Fine Arts Festival is certainly an ambitious organization, embracing singers, string players, and pianists of a large age range (from six and up) in its various competitions, courses, and concerts, including their recent “Fall Gala Concert and Golden Voices of America,” to which New York Concert Review was invited. Directed to their website (www.afafestival.org), I was overwhelmed just trying to assimilate their long list of winners in multiple categories within each contest, but the concert program introduced still more players as guest soloists and ensembles, added to the twenty-four performing winners! There would not be room to detail the performances of each participant, and as one would expect, there were varying levels of development, but that point becomes moot, as we were asked to review primarily pianist Victor Maslov.

Victor Maslov (b. 1997) is a pianist of significant accomplishment for one his age, and he shows tremendous potential for a strong future in music. Tchaikovsky’s “Dumka” (Op. 59) was given a sensitive, if understated, performance. In the middle of an afternoon that stressed the dramatic, through costumes and projection of operatic characters, it was refreshing to hear this young player let the music speak for itself, with little physical motion or hyperbole. In a change of the printed program’s order, he followed with Schumann’s Abegg Variations, Op. 1. Here, haste seemed to cause some blurring, and one lost some of the work’s wonderful details, but it had excitement and held together nonetheless.

After intermission, Maslov played the Schumann-Liszt transcription, “Widmung” in a performance that showed a good balance between the pure vocal line and all the arpeggiation. For me it was again a bit fast, with some ensuing inaccuracies including some not firmly grasped rolled chords, but this happens even to the most experienced pianists. Following it was Liszt’s Tarantella, which had some astonishingly brilliant parts. I have every confidence that, with patience, this young pianist will make his mark.

Speaking of patience, one wanted a bit more of that quality throughout the afternoon, both in the tempi chosen and in the choice of repertoire (perhaps an issue to take up with the teachers). A number of these young players played and sang works that take a lifetime to mature and to be polished, but I personally would prefer to hear a simple miniature performed with finesse rather than attempts to interpret works beyond a child’s present physical and emotional reach. Mr. Maslov was one who came close to all-around mastery of his repertoire.

Some highlights of other performers included a highly expressive rendition by Latvian singer Oksana Lepska (b. 1995), of Andrew Lloyd Webber’s “I Don’t Know How to Love Him,” and Madison McIntosh’s “Deh, Vieni, Non tardar” from “Le Nozze di Figaro” of Mozart. Also quite good were Prokoviev’s “Harp” Prelude, Op. 12, No. 7, played by Connie Jiang (b. 2000), and an enjoyable “Duetto Buffo di Due Gatti” (attributed to Rossini) sung by the “Lucky Ten” Girls Ensemble from Massachusetts.

Some spirited ensemble singing closed both halves, but the obvious humorous intent was somewhat thwarted by the audience’s lack of a printed translation from the Russian (or an explanation). The audience, presumably including many of the performers’ family members, appeared to enjoy it all the same.

by Rorianne Schrade for New York Concert Review; New York, NY

“Crossing Waves”

Keziah Thomas, Harpist in Review

Weill Recital Hall at Carnegie Hall, New York, NY

October 16, 2010

Keziah Thomas

English harpist Keziah Thomas, who divides her time between London and New York City, devised the project ‘Crossing Waves’ in order to use her transatlantic connections to promote the harp repertoire of British and American composers. She commissioned a new work by British composer Andy Scott especially for this project. Taking Thomas’ project title as the title for his commission, Scott’s “Crossing Waves” was given its world premiere at the Forge, London on September 26, 2010. The piece is inspired by the exploits of Roz Savage, who rowed solo across the Atlantic Ocean in 2005. Savage was present at the concert and spoke a bit to the audience, which brought us additional insight. The music breaks down into three main sections: the first reflects the uneasiness of the journey’s beginning, the second section represents the serenity of the ocean waters mid-way, and the final section transmits the tremendous optimism and excitement regarding the outcome of the journey. Ms. Thomas’ journey in commissioning the work, as well as Mr. Scott’s experience writing this piece has had a most successful outcome as well, as “Crossing Waves” is a most stupendous work for solo harp. The work is very idiomatic for the instrument and constructed perfectly, and the innovation is remarkable—while at the same time, the melodic strands and rhythms are catchy and memorable.

Keziah Thomas’ journey to Carnegie Hall has also been successful. The idea of pairing British and American composers is a most natural one for her. Her program was well thought-out and varied; for example, her opening work—the Suite for Harp by Britten—was followed by the remarkably exotic “The Pearl Divers” by the American Douglas Gibson, who was born in 1976, the year of Britten’s death. Thomas played with a Kyoto-like delicacy in the latter work. Elie Siegmeister’s “American Harp” has a bit too much of Copland’s “El Salon Mexico” and the Bernstein influence to be called original, but it was nonetheless entertaining in the hands of Ms. Thomas. Thomas speaks most eloquently to the audience when introducing the works, and her other selections also brought joy to the audience, but the highlight of the evening was clearly Mr. Scott’s “Crossing Waves”, a totally original and engaging composition which should be performed on many future harp recitals—in this country and across the ocean.

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

The Gemini Piano Trio in Review

The Gemini Piano Trio

Hsiu-Hui Wang, piano, Sheng-Tsung Wang, violin, Benjamin Myers, cello

Weill Recital Hall at Carnegie Hall, New York, NY

October 16, 2010

The Gemini Trio

This group is a true family affair: the pianist is the sister of the violinist and the wife of the cellist. No wonder they have achieved such a high level of unanimity and rapport. But of course, though personal kinship can help, it also requires hard work and dedication to forge a fine ensemble and make it sound totally natural.

The Gemini Trio is on the faculty of Maryland’s Goucher College in Baltimore and Howard Community College in Columbia. The members are all active, successful soloists; individually, they hold degrees from the Hartt School of Music, the University of Maryland, Peabody Conservatory, and the New England Conservatory. As a group, they have taken top prizes in many prestigious competitions, performed on several continents, and released two CDs of trios by Brahms, Ravel, Ives, and Shostakovich. This concert marked the Trio’s New York debut.

The program demonstrated the players’ stylistic versatility, featuring masterpieces from three periods: Beethoven’s Trio Op.1 No.1, Shostakovich’s Trio No.2 and Mendelssohn’s Trio No.2. The Beethoven was a model of classical elegance and restraint; phrasing, articulation and dynamics were carefully observed, balance and interplay between the instruments were exemplary. In the Shostakovich, the players allowed themselves more dynamic and emotional abandon without lapsing into excess; the Scherzo was very fast and impetuous but always controlled; the slow movement was heart-breaking. The Mendelssohn was unabashedly romantic: quite free, intense, and ardent. The corner movements were stormy and passionate, the Scherzo was spooky but almost too fast and whispery for human ears to follow, the slow movement was serene and poetic. The phrasing sometimes seemed a bit overdone and lopsided, and there was perhaps an over-abundance of slides. But the playing was always honestly felt and very expressive.

Best of all, the players were concerned only with the music, and used their technical command and tonal variety entirely in its service. They did nothing for effect, never exaggerated, never called attention to themselves, never showed off. The pianist’s pedal technique was remarkable: she seemed to change pedal with every note even in the fastest passages. Moreover, except for the most massive chords, she kept her left foot on the soft pedal, even in her solo passages, so there was no break in the sound quality. As a result, the piano, though wide open, never covered the strings; indeed, it was often too subdued. Altogether, this was a most enjoyable evening of true, unaffected music-making.

Though the printed program requested that the applause be held until after the final movement of each work, the sell-out audience could not restrain itself and showed its enthusiasm after every movement, causing the players to look startled at first, then to smile with amused resignation. To remove the temptation for an outburst after the ghostly Mendelssohn Scherzo, they plunged right into the last movement. After the final ovation, they responded with an encore: a trio arrangement of Elgar’s “Chant d’amour.”

by Edith Eisler for New York Concert Review; New York, NY

The Park Avenue Chamber Symphony in Review

David Bernard, conductor

Pedro Diaz, oboe

Beethoven Symphony No. 6 (“Pastorale”)

Cimarosa/Benjamin Oboe Concerto

Copland “Appalachian Spring” Suite

All Saints Church; New York, NY

October 17, 2010

The Park Avenue Chamber Symphony led by David Bernard

David Bernard has a very impressive memory, as he conducted the entire program—including the concerto and a fairly difficult Copland work—without a score. Beethoven’s sixth symphony was a fitting choice since they did the fifth last year. Is the seventh on the horizon for next season? Most of the movements’ tempos were a bit too slow for my taste and the winds sometimes got out of sync.—the horn also cracked several times—but the exciting storm movement sounded terrific; even the second violin section’s famously treacherous eighth-note passage (simulated rain drops) was polished to excellence.

Copland’s notoriously difficult “Appalachian Spring” Suite needs and seemed to have gotten plenty of rehearsal time, and it paid off; the orchestra played it very well. My only peeves were brass playing that was behind the strings in the first big orchestral passage (do they have enough rehearsal time in the church to get used to the distant surroundings and the time lag, etc.?), and a famously tricky 2/4 and 5/8 section involving piano, double basses and syncopated trombones that became unhinged. But most difficult moments went very smoothly. This time–opposed to the Beethoven—the tempos were atypically fast, but they correlated with each other well. The opening A’s were unusually and nicely poised, the closing chorale section was phrased beautifully, and the last three glockenspiel and harp notes were perfect.

Pedro Diaz, the solo English horn player at the MET, performed elegantly and exquisitely on the oboe in Cimarosa’s Oboe Concerto. Purity and sweetness of tone plus precise articulation were in evidence. Bernard and the orchestra performed sensitively and were with Diaz all the way.

The Park Avenue Chamber Symphony titled their varied and immensely enjoyable program “Springtime Serenade”, and that brings up a subject for debate: the necessity of program titles. Many Orchestras try to find a gimmick such as headliners or catch-phrases to make the concert more inviting, but is a contrived title the right gimmick? In this case, we are well into autumn and the orchestra’s delightfully contrasting program consisting of Beethoven’s “Pastorale Symphony”, Cimarosa’s Oboe Concerto, and Copland’s “Appalachian Spring” has one third of its program entrenched in spring, but is not worthy of a program title devoted to it. I see Vivaldi’s “Seasons” coming up on a December PACS program (I look forward to that); if the Spring Concerto had been previewed here, you have a bigger reason to hint at spring in a title—maybe. Beethoven’s “Pastorale” could be about fall as much as spring or summer; in his description, Beethoven talks about feelings upon arriving in the country, etc., but is non-specific with regards to a season. Concert program titles tend to be limiting, especially when the programming is as varied and innovative as Mr. Bernard’s. The title: ‘Beethoven’s Pastorale, Copland’s Appalachian Spring and MET soloist Pedro Diaz’ would sell lots of tickets without any added gloss.

On a program page listing future concerts, ‘Jazzy Classics’ is the title of a terrific program that features Shostakovich’s 6^th Symphony, Gershwin’s “Rhapsody in Blue” and a recent Jazz composition by Ted Rosenthal, but one of their website pages avoids the label ‘Jazzy Classics’, which is good. After all, the excellent and immensely enjoyable Shostakovich 6th symphony is not jazzy nor widely considered a classic, and Ted Rosenthal’s world premiere piece entitled “Jazz Fantasy” is not a classic—yet. But it is great that the orchestra is performing those works and I hope many people attend. I certainly look forward to it.

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

Tureck International Bach Competition for Young Pianists: Winners’ Gala Concert

2nd Tureck International Bach Competition for Young Pianists: Winners’ Gala Concert

The Rose Studio at Lincoln Center, New York, NY

October 11, 2010

The legacy of Rosalyn Tureck is alive and well, not only through her treasured recordings, but through sustained efforts of devoted students, notably those of Golda Vainberg-Tatz, director of the Tureck International Bach Competition for Young Pianists. Held this year for the second time, the competition drew highly gifted and accomplished pianists (eligible from ages six through nineteen), playing in eight categories including the Short Preludes and Fugues, Inventions, Well-Tempered Clavier, Suites, Partitas, and various large works including the Concerti and Goldberg Variations. While no one won a prize in the Goldberg Variation category this time, it is impressive that there were several young entrants playing this large, demanding work. I sadly did not get to hear them, but what I did hear at the winners’ recital was excellent: all eight pianists were extremely well prepared and professional, and some were much more than that.

The printed program made no mention of ages (a refreshing change from circus-like prodigy-fests), so each player, whether pint-sized or college-aged, was presented in a professional context. Opening the program was the winner in the concerto category, Andrew Sung, playing the Concerto in F minor, BWV 1056. Self-assured, and showing admirable control and focus, he played in fine collaboration with his “orchestra” (a second piano, played by Damon Denton). His slow movement was fluid and graceful.

Natasha Hou Wu followed suit with a poised and precise Prelude and Fughetta in G Major, BWV 902. Evenness of touch and a firm intellectual grasp were much in evidence. One guesses that there must be some dedicated, unsung teachers behind such polish, along with Ms. Wu’s own gifts. The same may be said for the other players, including Sibo Wang, who played the Duet in G Major, BWV 804 with considerable intelligence and clear demarcations of phrasing. His polish was impressive too, though listeners were getting quite accustomed to that quality by this point!

The next winner, Zitong Wang, stood out as sensitive and lyrical in the Sinfonia in D minor, BWV 799. Going beyond intellectual and technical grasp, she seemed to probe the piece emotionally, especially towards its close.

Hilda Huang, co-winner with Jennifer Campbell in the Well-Tempered Clavier category, offered the A minor pairing from Book I and the A-flat Major one from Book II. With extreme rhythmic intensity, she brought out the conversational elements of the fugues with commendable skill.

Victoria Frances Young, winner in the Suites and Partitas category, played the French Suite in G Major, BWV 816, with brilliance and vigor. Some very fast tempi may have approached breathlessness, but there was an engaging ebullience to it all. With strong physical reactions to each crescendo (almost sending her off the bench), her involvement and commitment were clear.

Playing the Toccata in G Minor, BWV 915, was winner Jesslyn Julia Gunawan. Reflecting a sure sense of style, she also showed a genuine awareness of the more interesting harmonic twists and turns. The fugue had an infectious spirit, almost dance-like in quality.

Possessing perhaps the most maturity and artistry of all was Jennifer Nicole Campbell, who played David Auldon Brown’s Sonata No. 1, as winner of an additional contemporary music prize. (In addition to the Bach works, each contestant played a freely chosen contemporary work, post-1950.) A sensitive colorist and intelligent musician, Ms. Campbell reflected total immersion in her music. She is already a full-fledged artist, and she brought the evening to a fitting close.

Endorsements, greetings, and a prize sent from Evgeny Kissin (and flowers sent by his father) added to the sense that these young musicians are being inducted into a rare and special group; in fact, they are.

by Rorianne Schrade for New York Concert Review; New York, NY

Sahan Arzruni, Pianist in Review

With Cihat Askin, violinist

Zankel Hall at Carnegie Hall; New York, NY

October 7, 2010

Sahan Arzruni - Photo Credit: 2010 FrontRowPhotos.

In a most unusual presentation of music from the Middle East—specifically that of Turkey and Armenia—pianist Sahan Arzruni performed admirably for a full-house crowd at Carnegie’s Zankel Hall. The concert was presented by the Turkish Consulate General in New York. Despite the hall’s somewhat dry acoustics, Arzruni’s playing was riveting from start to finish. He has complete command of the instrument and exudes a quality that lets his audience know that he is a deeply probing musician. Also insightful was his programming, which ties together rarely heard music by Turkish and Armenian composers. Much of the traditional music by Turks and Armenians are rooted in their respective regional dialects, and this concert music reflected the different ways the dialects are spoken—with their varying accents and stresses of phrase.

Some of the composers were familiar names, such as Aram Khachaturian, who was born in Tbilisi. His Poem and Toccata are lovely, as is Komitas’ nicely contrasting Piano Dances. H. Ferid Alnar’s Piano Pieces are evocative, with titles such as “On the Hillside” and “East Winds at the Seashore”, and naturally concludes with a tuneful Folk Dance. Arzruni captured both the traditional and forward-looking qualities in the music.

Sahan Arzruni, pianist and Cihat Askin, violinist - Photo Credit: 2010 FrontRowPhotos.

Guest violinist Cihat Askin made a good impression as well. He performed a work called “Crane” by Aslamazyan, music based on the music of Komitas, which made good programming sense, since we heard a work by Komitas earlier in the evening. Askin played with elegant phrasing and an enthralling spirit. In “Salacak Sarkisi” by Askin himself, he beguiled the audience with his superb technique. He returned with a more familiar composer in Khachaturian’s “Chant-Poeme” and Saygun’s more virtuosic “Demet Suite”. Both artists had great chemistry and consistently impressed the audience with committed, engaging performances. I only wish Askin’s sound resonated in the hall more. Arzruni was masterful and insightful with his performances of Hovhaness’ “Achtamar” and “Lake of Van” Sonata, in addition to his excellent playing in Koptagel’s “Tamzara” and Toccata.

Sahan Arzruni presented a program that can be perceived as an effort to bring the people of Turkey and Armenia closer together artistically. There are many common traits…and unique differences as well.

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