Distinguished Concerts International New York (DCINY) presents “Seven Last Words” in Review

Distinguished Concerts International New York (DCINY) presents “Seven Last Words” in Review

Catherine Sailer, Guest Conductor; Larry Bach, Guest Conductor

Lauren Lestage, soprano; Mark Winston, baritone; Zerek Dodson, piano; Joshua Tompkins, piano

Distinguished Concerts Singers International

Wu Tsai Theater-David Geffen Hall at Lincoln Center, New York, NY

March 26, 2023

A beautiful, sunny, mild late-March afternoon, and my first visit to the recently revamped David Geffen Hall at Lincoln Center. What could be better? Just a brief observation about the hall- it is indeed much more people-friendly in the lobby, and the auditorium seating makes one feel much more intimacy with the performers.

This DCINY concert featured music by a single composer, Michael John Trotta. The massed choirs were domestic this time, not international (California, Colorado, Florida, Kansas, Minnesota, New Jersey, and New York). A moderate-sized group was used in the Seven Last Words, then a much larger choir in the Te Deum and Gloria. Both conductors, Catherine Sailer (Seven Last Words) and Larry Bach (Te Deum and Gloria) achieved beautiful results in what must have been a short rehearsal period. An esteemed colleague informs me that Trotta’s music is much more popular with school groups (high school and college) than church choirs. I can understand the difficult logistics of one church choir rehearsal per week, versus a whole semester or even a whole year of preparation available in a school setting.

My principal reservation: the performances were better than the music itself. I shall try to explain. Trotta’s music doesn’t take long to “get” – there is an easy-to-take-in quality to it that reminds one as though there had been a “school” of Andrew Lloyd-Weber (thank goodness there isn’t). There is an over-reliance on 2-1, 7-6, and 9-8 suspensions, and lots of clichés. Even where he turned to an overtly imitative texture as in the Baroque pastiche of the Kyrie inserted into the Seven Last Words, it isn’t truly imitative, after the subject is introduced there isn’t any further fugal device. This also happened at the end of the Gloria (Cum Sancto Spiritu). All works were cyclic as well, a popular device but perhaps overused.

All three works were heard with piano accompaniment, and both pianists, Zerek Dodson and Joshua Tompkins, rendered with admirable stoicism parts that were not very pianistic. I don’t know if these were orchestral reductions, but perhaps the works would have gained from the orchestra, sounding less like Broadway cabaret extracts. (Apparently, DCINY’s labor issues with its pick-up orchestra continue, there was some protesting at the stage door.)

There were two soloists to note in the Seven Last Words, Lauren Lestage, soprano, and Mark Winston, baritone, both of whom projected beautifully with a lovely sound that is only present in the most youthful voices.

The Seven Last Words should more properly be called the Seven Last Phrases, and with Trotta’s penchant for text repetition, they became even longer. There were also numerous melismas that did nothing (for me) to heighten the expressivity of the words they were attached to: one egregious example will suffice- the soprano solo “Bee-ee-ee-hoh-old Your Son”. One of my favorite moments in Trotta’s Seven Last Words was the hushed sense of awe he brought to the It Is Finished moment. Aha! I thought, he really got that! Then he ruined it by loudly repeating it over and over. He might well have demanded more of his listeners and left us with a sense of unanswerable mystery.

When I think of Haydn’s wordless rendition of the same seven last words, for string quartet, well I suppose comparisons of that sort are not only odious but pointless. Catherine Sailer’s choir was staged in a traditional women on the left, men on the right formation; but when Larry Bach took the stage with the much larger group (after a brief pause), he had his men arrayed all across the back of the risers, with the women in front, and there was a noticeable difference to the sound.

The Te Deum and Gloria, each of whose texts have been set countless times, were well sung, but after one gets the “gist” of Trotta’s musical vocabulary, it seems that the music doesn’t “tell” us very much about the words it underlies—even when he changes to an up-tempo more energetic, motoric feel. Once one surrenders to it, however, then one can appreciate the devotion these singers and their conductors brought to it. One last observation, Mr. Trotta, after you say “Amen” (the end of the Gloria) please, please do not place any text after that word (such as another Gloria in excelsis Deo). Amen is final! I understand why he did it- to provide a more fitting sense of arrival/conclusion.

No matter, the beautiful afternoon still awaited outside, the concert (for DCINY) was not overly long, and I’m sure all the groups participating will go home with a deep sense of satisfaction, as they should.

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Distinguished Concerts International New York (DCINY) Presents “Mozart’s Messiah” in Review

Distinguished Concerts International New York (DCINY) Presents “Mozart’s Messiah” in Review

Jonathan Griffith, DCINY Artistic Director and Principal Conductor 

Penelope Shumate, Soprano; Veronica Pollicino, Mezzo-Soprano;

John McVeigh, Tenor; Christopher Job, Bass-Baritone

Stern Auditorium/Perelman Stage, Carnegie Hall, New York, NY

November 27, 2022

Distinguished Concerts International New York (DCINY) kicked off the holiday season in style once again Sunday with their annual presentation of Handel’s Messiah at Carnegie Hall, and it was as grand as one always hopes, a moving return to tradition after the massive disruptions of the pandemic.

For those who may have been confused by DCINY’s billing of it as “Mozart’s Messiah,” never fear that you are confused about your music history – this was indeed Handel’s Messiah – simply re-orchestrated by Mozart. It is hard to review this work without unraveling some of its history, so the less interested reader may want to skip ahead. To sum things up, there are several versions of this masterpiece that have been regularly heard since its tremendously successful premiere in Dublin in 1742 (including the various revisions Handel himself made), and DCINY has done it several of these ways, including the much later Eugene Goossens version, which they recorded in 2019.

To add to the fun, I was especially interested this year to see that DCINY had chosen Mozart’s version, reset as Der Messias (KV572) in 1789, because I assumed (incorrectly) that it would be sung in German as Mozart had set it –  which would seem quite a challenge for the many choruses that DCINY assembles from all over this country (and some other countries). After all, one of the distinguishing features of Mozart’s version (first presented in 1789) is the fact that it employs a text translated to German (by Christoph Daniel Ebeling in 1775) from Handel’s original English, the Charles Jennens collection of Bible passages. Aside from the use of German, the most remarkable changes that Mozart made include the addition of winds – pairs of clarinets, horns, flutes, oboes, and bassoons. To my surprise, given the billing as “Mozart’s Messiah,” DCINY presented this Mozart version in English. The result was arguably the best of all possible worlds – fuller in texture and color than Handel’s version,  via the orchestral genius of Mozart (yet more intimate than the full-blown Goossens version) and directly communicative in its original language of English, making it more accessible to much of the audience.

With a knack for what is accessible and assimilable, DCINY also limited the performance to what has become known as the “Christmas portions” of the work (Part I with the  “Hallelujah” chorus from Part II as its finale), even promising a special appearance by Santa Claus (who could be seen by those looking upward towards the balcony during the standing Hallelujah).

On to the performance, the orchestra and choruses were as ever in good hands under the direction of DCINY Principal Conductor and Artistic Director Jonathan Griffith. He led the orchestra in a taut opening Sinfonia and held the reins well from there through to the rockier moments of “The yoke is easy” (which ironically is not easy) and onto the triumphant closing Hallelujah, for which he gestured to the audience to stand (in the traditional homage established by the awestruck King George II of England in 1743).

Meanwhile, there were numerous highlights among Recitatives and Airs by the four outstanding soloists, some of whom this reviewer has enjoyed hearing on prior occasions. All of them were exceptional for clarity of diction, a notable achievement, as even with an English text one cannot always discern exactly what’s being said – one could in this performance. One did not need even to consult the printed program to follow, and that undoubtedly helped many to enjoy the music’s message.

Jonathan Griffith, DCINY Artistic Director and Principal Conductor 

Tenor John McVeigh was the first soloist, impressing this listener most with his emotional intensity in his “Comfort ye my people.” His “Ev’ry valley shall be exalted” was excellent as well, assured and uplifting.

Bass-baritone Christopher Job struck one immediately with his powerful resonance and true pitch in “Thus saith the Lord.” Even in rapid melismatic passages, where singing can often devolve into a kind of unfocused percussive breathing, he took the time to make each pitch truly sing. His “But who may abide the day of his coming?” was equally masterful.

The choral sopranos had some challenges, particularly with some tricky high notes, but their combined tonal quality seemed to work especially well for “And he shall purify.” It was awe-inspiring to see the convergence of all of these separately rehearsed choruses (DCINY estimates their usual combined numbers as between 100 and 500 singers, though I did not count). Kudos go to all of the individual conductors who worked with them for months, as well as to Maestro Griffith who blends them here in New York. The choruses were listed as the American International School Of Vienna High School Choir (Austria), Chesapeake Messiah Chorus (VA), L.A. Daiku Association, Inc. (CA), The Lakeshore Singers (PA),  Richmond Choral Society & The Arcadian Chorale, Shanghai Voices International Choir (China), Sing Napa Valley (CA), Treasure Coast Chamber Singers (FL), Trinity Episcopal Church Choir, St., Mary’s City (MD), Warrenton Chorale (VA), and individual singers from around the globe.

Back to soloists, mezzo-soprano Veronica Pollicino did beautifully with “Behold, a virgin shall conceive” and “O thou that tellest good tidings to Zion.” She especially impressed this listener with her refinement. Mezzos can easily emerge as overly dominant in this piece, but not so here. Her voice was ample to project through the hall, but without being overbearing.

Rare moments of darkness in this uplifting program came in “For behold, darkness shall cover the earth” and “The people that walked in darkness” – but delivered via Mr. Job’s glorious instrument over pulsing strings, one might opt for more darkness! We then enjoyed “For unto us a child is born” with its remarkable imitative choral textures – and the pastoral instrumental “Pifa.”

Following the “Pifa” came the first entrance of soprano soloist Penelope Shumate, a musician who has been favorably reviewed in New York Concert Review several times. She did not disappoint. After her three excellent recitatives, she was simply exultant in the “Rejoice greatly, O daughter of Zion.” She handled some of its seemingly endless phrases without any apparent need to breathe, showing simply supernatural ease. She also excelled in the subsequent sections (“Then shall the eyes of the blind” and “He shall feed his flock”), which she handled solo, despite the program listing these as mezzo and soprano.

The Hallelujah Chorus then worked its magic, and it is safe to say that this music never wears thin. Supplemental choristers joined from the balcony, and it was a powerful and moving finale, followed by much loud applause and cheering – a brilliant start to the holiday season!

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Camerata Notturna in Review

Camerata Notturna in Review

Camerata Notturna

David Chan, Music Director

Meigui Zhang, soprano; Siphokazi Molteno, mezzo-soprano; Alexander McKissick, tenor; Matthew Rose, bass-baritone

Downtown Voices: Stephen Sands, director

The Church of St. Paul and St. Andrew, New York, NY

April 30, 2022

Sometimes you need a miracle. Less often do you actually get one. I got my miracle at Saturday night’s performance by Camerata Notturna. The talent pool in New York is so huge that there are numerous mostly “amateur” orchestras in virtually every neighborhood. These so-called amateurs may in fact be young conservatory graduates of professional quality. When they are helmed by one of the leading violinists in town, David Chan (concertmaster of the famed Metropolitan Opera orchestra), the results are, well, miraculous. His conducting star is rising internationally.

The Beethoven anniversary in 2020 (250 years since his birth) was seriously disrupted worldwide, as we know, and it’s not like Beethoven needs a publicist or anything. These touchstones however, have become essential nutrition for listeners everywhere and many conductors like to measure themselves against these works.

The program began with the brief subito con forza by Unsuk Chin, composed as an anniversary tribute. It is definitely not pastiche, though fragmented quotes of typical Beethoven gestures float and slash through it. Rather, as its title indicates, it portrays the sudden changes and contrasts typical of the composer’s music and spirit. The masked orchestra (except for the winds of course) played it very well, the sound mellow in the vaults of the church.

Now to the hoped-for miracle. How would a performance of the radical “Choral” symphony hold up? It is a work full of treacherous traps for any conductor, orchestra, and its punishing demands on the choral sopranos and the four soloists are legendary.

Maestro Chan rendered every part of the score with transparency and utter clarity, even in the potentially muddling acoustics of the church. The tempi were fleet when indicated, ritardandi, also when indicated, were never exaggerated. The numerous metrical modulations were handled expertly and without strain. He allowed me to hear the structure of the work clearly. Mr. Chan is not a flamboyant conductor: I almost wished he would allow his body gestures to ‘expand’ more, to indicate the arching lines. But even as I say that, I must congratulate him on the obvious details of what we as an audience don’t witness: the rehearsal process, so crucial to success.

There is no ‘weak spot’ in Camerata Notturna. With some community orchestras the strings are more developed, with some the winds are superb but the strings less confident. Everything was top-notch here. Perhaps in a different acoustic certain balances may have emerged or been more refined, but I could hear ‘beyond’ that.

Thus the first three movements passed along their emotional arc from coalescing music out of silence, to tempestuous anger, unbridled energy, even humor, in the scherzo, and a heart full of song in the adagio. After all that, what could possibly be added? The human voice of course, the ultimate instrument, the only one that resides inside the human body.

For this, the wonderful Downtown Voices provided the chorus. They had a difficult mission, since the space in the church didn’t permit them to be located behind the orchestra, but on the sides of the sanctuary, women on the left, men on the right. Somehow they overcame that and provided an unexpectedly thrilling sound, one with no strain at all, even as the soprano decrescendo on an impossibly long high G (lieber Vater wohnen). They were obviously trained well by Stephen Sands, their conductor.

None of this would have been possible without the four excellent vocal soloists, drawn from the Metropolitan Opera (soprano Meigui Zhang, bass-baritone Matthew Rose), or its Young Artist Development Program (mezzo-soprano Siphokazi Molteno), and the Washington Nation Opera (tenor Alexander McKissick).

Mr. Rose’s O Freunde, nich diese Töne! was truly terrifying, and appropriate. I thought about the audience in 1824 and how startled they must have been to hear a voice interrupting a symphony. The four soloists worked beautifully together, finding their own quartet balance at all times, the perfect ornament to this stunning finale.

Maestro Chan, bravo! And thank you for the miracle.

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Distinguished Concerts International New York (DCINY) presents Loralee Songer in Review

Distinguished Concerts International New York (DCINY) presents Loralee Songer in Review

LORALEE SONGER, MEZZO-SOPRANO; PERRY MEARS, PIANO
WEILL RECITAL HALL AT CARNEGIE HALL, NEW YORK, NY
OCTOBER 19, 2019

This recital by mezzo-soprano Loralee Songer featured individual songs and song cycles by six living female composers, set to texts by nine female poets. The styles of the songs varied from pop to somewhat dissonant 20th century norms. The skillful accompanist was Perry Mears. The printed program had one unusual feature, in that after each song title its duration was written. I can therefore state that there was thirty minutes of music on the first half and twenty-eight minutes after intermission.

The program began with two short songs, music by Lucy Simon and text by Marsha Norman, from their 1989 adaptation of Frances Hodgsen Burnett’s The Secret Garden. If I describe these songs as pop music, I am not using “pop” as a pejorative term. For me it describes music that is, amongst other things, undemanding and uncomplicated. Although it certainly was attention grabbing, I wonder why Ms. Songer chose to make her first sounds a scooping cry and not regular pitches. I listened to other renditions of If I Had a Fine White Horse and all singers began with recognizable pitches. As the audience applauded after the song’s conclusion, I worried that there would be applause after every song. Although I have nothing against an audience showing their enthusiastic appreciation, I would suggest that in future recitals Ms. Songer include in the printed program a request that the audience withhold their applause until the end of each set.

The performers then left the stage, something that is often done after the first set to allow latecomers to be seated. What I found unusual was that the performers left the stage between all of the (mostly short) sets. They returned to perform Lori Laitman’s setting of three poems by Emily Dickinson. The accompaniments of these works were slightly more dissonant than those of the previous set. Ms. Songer has a very bright voice which doesn’t sound very mezzo-like, and when she did sing in the lower register, it was quite weak.

Libby Larsen, whose music we heard next, was the only one of the six composers on the program whose name I recognized. Her song cycle, Love After 1950, was written in 2000 for the mezzo-soprano Susan Mentzer. I wondered what “after 1950” meant. Could it have referred to the year of Ms. Larsen’s birth?  It was the first of two cycles on this program whose texts dealt with woman’s difficulties in the “battlefield of love.” The music of each of the six songs was written in a different musical style including blues, cocktail piano, honky-tonk, and tango. Yes, I know that’s only five styles – Ms. Larsen’s website didn’t give a musical style for the last song.

The first half ended with One Perfect Rose, a short three-minute song with music by Emma Lou Diemer and words by Dorothy Parker. This was one of the works on the recital which had, as the program notes stated, a simple yet varied accompaniment that allows the words to shine. However, many of the other works had very complicated accompaniments, which pianist Perry Mears played with clarity and ease.

The second half began with the U.S. premiere of Godiva, music by Juliana Hall, text by Caitlin Vincent. While the first half of tonight’s recital was performed by memory, this and the following work were performed on book. For the first time in the evening I had trouble understanding the words. This was anomalous in that Ms. Songer’s diction during the first half was clarity personified, made obvious by the audience’s laughter at the comical portions of the text.

The recital concluded with the world premiere of tonight’s longest work, Little Black Book, with music by Susan LaBarr and text by Caitlin Vincent, which is described in the program notes as one that “highlights the struggle to find love in the digital age.”  Directly below the work’s title in the program proper was printed “a song cycle that fails the Bechdel Test.” As the program notes did not explain anything about the Bechdel Test, I went to the internet and found on Wikipedia: “The Bechdel Test is a measure of the representation of women in fiction. It asks whether a work features at least two women who talk to each other about something other than a man.” I also found that it is most often used in analyzing the portrayal of women in movies. And yes, as the program notes stated that these songs dealt with both Ms. Songer’s and Ms. Vincent’s romantic histories, the terms of the Bechdel test were certainly not met. The audience found many of the six songs very funny.

Throughout the concert, Ms. Songer sang with commitment, fine diction, and stylistic awareness. The audience agreed and, at the recital’s conclusion, showered Ms. Songer and Mr. Mears with tumultuous applause and the vociferous “woo-woo” sound which seems to have replaced “bravo” with contemporary audiences.

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Edward Auer and Junghwa Moon Auer: Schumann CD in Review

Edward Auer and Junghwa Moon Auer: Schumann CD in Review

Edward Auer and Junghwa Moon Auer: Schumann CD in Review
Schumann: Fantasiestücke, Op. 12 – Junghwa Moon Auer, Piano
Schumann: Fantasie, Op. 17 – Edward Auer, Piano
Producers: Edward Auer and Junghwa Moon Auer
Culture/Demain Recordings (no catalog mumber)
Total timing: 59:27

Edward Auer is a Juilliard graduate who serves on the faculty of the Jacobs School of Music at Indiana University. Junghwa Moon Auer, his wife, a graduate of Yeonsei University in Korea and the New England Conservatory, is coordinator of the Edward Auer Piano Workshop at the Jacobs School, and a member of the artist faculty at Roosevelt University.

This new CD shows the Auers to be pianists of polish and refinement who both understand the idiom of Schumann’s music. The piano sound is good, and both pianists play with marvelous tone throughout.

Junghwa Moon Auer’s performance of Des Abends, the first piece in the Fantasiestücke, has a lovely calm, and subtle use of rubato. In Aufschwung, she brings out the contrasting moods of the different sections, such as the stately part in B-flat major, as opposed to the threatening buildup which leads to the return of the dramatic first  theme.

Warum? is, perhaps, a bit slow, but has some beautiful soft playing, and an intriguing interplay of the voices. Grillen is slightly understated, yet jocular. (The marking does say Mit Humor!)

The night can be scary, and Ms. Auer shows this in In der Nacht, though, with her sensitivity to different colors, the F major middle section is a wonderful  “escape” from the tension and tumult of the rest of the movement. Fabel, another piece of contrasts, is very effectively played. Traumes Wirren, which in some performances throws sparks all around, strikes this listener as light-hearted, but a bit sedate. The last movement, Ende vom Lied, is very fine, with a strong beginning, an energetic middle section in B-flat major, and a peaceful end.

After the loud, swirling beginning of the first movement of the Fantasie, Edward Auer plays a bit slower than one might expect, but everything “works.” The F major theme is eloquent, and the syncopated section which follows sounds appropriately improvisatory. There is a natural sounding emotional underpinning to everything he does in this movement. The last section, in C major, is slow, expressive, and deep.

The second movement is played at a strong, moderate tempo. Parts of the middle do seem a bit slow. The coda is certainly well-played, though some pianists take a more daring tempo.

Mr. Auer’s playing of the last movement is a spacious and calm unfolding of the material. In addition to the dynamic contrasts, which are effectively brought out, there is a sensitivity to coloristic possibilities as the work modulates. There is a very fine buildup in the last section, and then Mr. Auer goes “back down the other side of the mountain” to a beautiful, soft conclusion.

Donald Isler for New York Concert Review; New York, NY

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Christoph Denoth in Review

Christoph Denoth in Review

Christoph Denoth, guitar
SubCulture, New York, NY
June 10, 2019

 

In celebration of his newest CD release Tanguero: Music from South America (Signum Classics SIGCD 538), guitarist Christoph Denoth appeared in recital at SubCulture on June 10, 2019. With works by Villa-Lobos, Brouwer, Piazzolla, and Matos Rodriguez, it was an opportunity for one to hear not only the work of a outstanding musician, but also his thoughts about composers and their works as he spoke to the audience.

The basement confines of SubCulture are ideally suited to this type of event. It has the intimate feeling that is characteristic of smaller venues, but also comfortable seating and ample room to move about. One could enjoy a wine or other beverage at the bar before the concert. The one oddity was the almost subliminal level music being piped in prior to the performance, which might be okay for a more casual concert, but really was distracting for this kind of program, which benefits from some silence beforehand.

Mr. Denoth opened with the Villa-Lobos Cinq Préludes, one of the staples of the guitar repertoire. They pay homage to the varied peoples of Brazil, from peasants and urbanites to the indigenous, with a tribute to J.S. Bach as well. They are filled with Villa-Lobos’s characteristic folk idiom as well as a Romantic spirit. Mr. Denoth captured the flavor of this music in highly nuanced performances. He followed with the Villa-Lobos Etude No, 11 (Paris 1929), another example of both the composer’s highly idiomatic guitar writing and the fine playing of Mr. Denoth.

Leo Brouwer’s 1990 Sonata (for Julian Bream) followed the Villa-Lobos works. Each movement is influenced by a different epoch. The first movement, Fandangos y Boleros was humorous, an almost self-deprecating example of Spanish styles, with occasional “wrong notes” popping up. The second movement, Sarabande de Scriabin was a look at the Russian before his “Mystic” transformation. The final movement, Toccata de Pasquini was a moto perpetuo with a “cuckoo” call. Mr. Denoth played with unflagging energy as the music simmered, but he was always well under control. The Brouwer was this listener’s favorite work of the evening.

Four Piazzolla pieces followed, Chiquilín de Bachin, Verano Porteño, Oblivion, and Triunfal. When one thinks tango, one thinks Piazzolla, such is the power of the composer’s mastery of the style. Mr. Denoth did not disappoint- the soulful laments, the fiery passions, and the infectious rhythmic vitality were all on full display.

Gerardo Matos Rodriguez’s La Cumparsita ended the program. It’s the tango everyone knows, even if they don’t know the name or the composer. Heaven knows how many cartoonish renderings have been done, complete with the rose-in-mouth, but thankfully there was none of that here. Mr. Denoth played it straight, which revealed subtleties often lost in the hammy performances.

Mr. Denoth does not rely on his formidable technique alone. The fast runs, the harmonics, and the cascades of sound that made it seem if there were multiple players were all there, but one never was overwhelmed by these qualities to the detriment of the music itself. Mr. Denoth is like a skilled painter carefully creating a masterpiece – each note and phrase is given the right “color.” The pacing is never hurried, but the rubato used is never excessive either, and the expressive aspect is always the priority. Even though it was obvious that Mr. Denoth had thought out every note carefully, the end result was still completely natural in sound and execution.

Mr. Denoth offered Joaquin Malats’s Serenata Española as an encore, to the delight of the appreciative audience.

 

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Star Concert Productions presents Carine Gutlerner in Review

Star Concert Productions presents Carine Gutlerner in Review

Star Concert Productions presents Carine Gutlerner
Carine Gutlerner, piano
Weill Recital Hall at Carnegie Hall, New York, NY
October 27, 2016

 

A sizeable crowd picked its way through the chilly autumn drizzle, spirits undampened, to hear the recital by Belgian/French pianist Carine Gutlerner. Ms. Gutlerner is multi-talented not only as a pianist, but also as choral conductor, composer, and visual artist (her published book of drawings was on view in the lounge adjacent to the recital hall).

As a pianist, her recital presented many paradoxes. It is always refreshing to hear someone with a distinct, vivid, even controversial point of view, as opposed to someone comfortable in a “musical straitjacket.” However, some of Ms. Gutlerner’s virtues quickly became mannered, even working against her.

The concert opened with Ms. Gutlerner’s own composition: the American premiere of excerpts from her film music for Ann Frank’s Diary (an animated presentation aimed at children primarily). It is always risky to turn tragic events into music, as one risks merely trivializing them. That was not the case here, although the unrelieved gloom of the sections chosen shows more about our post-Holocaust response than it does about the often-optimistic teen spirit of the heroine.

After this, the program turned quite standard, with three large-scale works. The first of these was Brahms’ Third Piano Sonata in F minor, Op. 5. When Brahms arrived on the Schumanns’ doorstep in 1853, he was a slender, blond twenty-year-old with a satchel full of compositions, and both Schumanns promptly fell in love with him and his music. His celebrated belly and beard came much later. It seemed that Ms. Gutlerner was relating much more to the wild, untamed passionate outpouring of youth that this work can represent. If you like your Brahms autumnal or more sober, this was not the version for you. Fiery and impetuous would be the two adjectives to reach for in characterizing her interpretation. The beautiful Andante with its poetic preface from Sternau was played much too quickly—it didn’t sound like the two hearts were united in love under the moonlight, rather that they were hurrying to catch the last tram down the mountain. The Scherzo lacked the lilting references to the Viennese waltz that underlie its demonic energy (though the Trio section was lovely), and overall it was messy. The unusual fourth movement, titled Rückblick (A Look Back), was too angry for my taste, though a case could be made for one of the former lovers from the second movement having precisely that emotion. The Finale was anything but moderato.

If Ms. Gutlerner could slightly tame her inner “wild animal” perhaps her brain would follow suit, for every work was marred by major memory issues, from which she recovered however. After all, it’s not so much what happens as how one continues. She also needs to find some tie-backs for her ample hair, which had to be continually brushed back with one of her hands. It even got in her mouth. One final complaint: the hands-in-the-air drama at the end of nearly every piece gets old fast—one per recital, please? (If that.)

After intermission, the first work was Chopin’s Second Ballade, Op. 38 in F major (though it ends in A minor). This was a sloppy performance, though the lyrical opening had great potential. Ms. Gutlerner had every reason to be rattled, because yes, a STUPID cellphone went off several times, including during the final pregnant pause before the last two chords. People who are reading this: DISCONNECT while at live performances, and tell your friends to as well. No matter how many announcements are made, it always seems to happen.

Then came the immense challenge of Mussorgsky’s Pictures At An Exhibition. I thought that Ms. Gutlerner’s outsized temperament would be an asset in this sprawling and fiercely difficult work, and at times that was the case, but too often her technique was just not up to the demands of the music. Two sections that were absolutely perfect, however, were: the Promenade between Bydlo and the Ballet of the Unhatched Chicks, and then the Con Mortuis in Lingua Mortua (not “Latina,” as the program stated). Otherwise, the left hand was overbearing, even bangy, an issue that threatened the earlier works on the program as well. Loud does not equal Russian authenticity. The Great Gate of Kiev was unduly hurried, lacking the majesty it needs, and her troubles seemed to multiply until she just ended the work with a few perfunctory chords.

She played another mournful section of Anne Frank as an encore.

Ms. Gutlerner could become quite a formidable interpreter if she learns to balance her natural fire with more control, even quietude—it will make the fire stand out that much more.

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The Clarion Orchestra And Mario Chang, Tenor; Steven Fox, Conductor

The Clarion Orchestra And Mario Chang, Tenor; Steven Fox, Conductor

THE CLARION ORCHESTRA AND MARIO CHANG

Rossini – Overture and Arias from Il barbiere di siviglia
Donizetti – Arias and Duets from Le duc d’Albe, L’elisir d’amore and Lucia di Lammermoor 

Mario Chang, tenor
The Clarion Orchestra
Steven Fox, conductor

Rising star and ‘born bel canto tenor’ [The New York Times] Mario Chang joins The Clarion Orchestra and Steven Fox for an evening of sparkling Rossini and Donizetti overtures and arias from the Romantic age of opera.

This concert is a Landmarks50 Alliance event, commemorating the 50th Anniversary of the passage of the NYC Landmarks law.

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Tempo Trapezio CD in Review

Tempo Trapezio CD in Review

Tempo Trapezio CD
Misha Quint, cello
Svetlana Gorokhovich, piano
Blue Griffin Recordings BGR323 (also available on iTunes)

 

Misha Quint has recorded a wonderfully diverse array of works on his new CD, Tempo Trapezio. His pianist, Svetlana Gorokhovich, provides much more than accompaniment, as she interweaves her intermittent solo passages with subtlety and—when called for—real virtuosity. Together, they make an impressive pair; the notes are all there, and they play with a solid unity throughout. Yet, more than just excellent ensemble-work, they seem to identify with each composer on this disc in a personal way.

Thomas Fortmann’s Sonata for Quintcello, premiered at Weill Recital Hall at Carnegie Hall in 2014, is a funny play on words, with the cellist’s name obviously inserted, but also indicating the work’s prevalent usage of the perfect fifth interval. What would the title be if arranged for string quintet? No matter; the work is terrific writing in its own right. Clever and comical, the work’s eclecticism includes hints from the rock era—a simulation of guitar open fifths—plus music that points to Schoenberg and the twelve-tone school in the slow movement. Mr. Quint handles all the technical demands with ease.

Krzysztof Penderecki’s Per Slava—a Rostropovich dedication (for those who are unaware of the legend’s nickname) is also a demanding piece which deserves more performances and is well-interpreted here. The first notes depict Bach’s name: B—A—C—H (Bb-A-C-B♮), and this permeates the six minutes of music. One might therefore expect some Bach to be included on this disc, but one will have to wait for Mr. Quint’s next album. And it would be interesting to hear the Penderecki paired next to a Bach Suite in recital (no doubt, Mr. Quint has already done that or thought of the idea.)

Also included on this uniquely-selected program is Richard Strauss’s early Cello Sonata in F major, Op. 6 (1880-1883). Like Brahms’ Op. 99 (1886), F major has proven to be a winning key for a cello sonata. Brahms must have been impressed with this early cello sonata—to the point of writing one in the same key three years later? Brahms and Strauss still engaged artistically during this period, and Brahms was somewhat of a mentor before Strauss became a deep-seeded Wagnerite and anti-Brahmsian. What a wonderful work this Strauss is- this is not by any means a student work. It makes great demands on the cellist and pianist. One can hear the charm and devilish nature of his future Til Eulenspiegel in its strands, but more importantly, it is easy to notice that this work shows the hand of a young master. Both Mr. Quint and Ms. Gorokhovich play with passion and elegance here. The tempos and transitions are paced and timed admirably—the phrasing always engaging; not a note goes by without meaning or an arrival-point in mind.

Schubert’s Impromptu is recorded well and is exquisitely shaped. Works by Stravinsky: the Pas de Deux from Divertimento and the Chanson Russe are stellar additions to this disc. They are presented with a vast range of dynamics and color; at times humorous and graceful—at other times, wild and bombastic. If purchasing on iTunes, I would have to recommend getting the album and not just the individual selections—since the Sonata for Quintcello is only available with an album-only purchase. If purchasing individually, I would recommend the Strauss and Stravinsky works as absolute must-haves on your playlist. You will want to enjoy listening back and forth, again and again.

 

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Manhattan Concert Productions presents Masterworks Festival Chorus and New York City Chamber Orchestra in Review

Manhattan Concert Productions presents Masterworks Festival Chorus and New York City Chamber Orchestra in Review

Manhattan Concert Productions presents Masterworks Festival Chorus and New York City Chamber Orchestra
Masterworks Festival Chorus
San Jose State University Choraliers
The Phoenix Symphony Chorus
New York City Chamber Orchestra
Jeffrey Benson and Thomas Bookhout, conductors
Layna Chianakis, mezzo-soprano; Jessica Sandidge, soprano; Michael Scarcelle, bass; Marguerite Krull, soprano; Amy Maude Helfer, mezzo-soprano; Nathan Munson, tenor; Paul An, bass
Stern Auditorium at Carnegie Hall, New York, NY
April 27, 2015

 

Manhattan Concert Productions gives community choruses great opportunities to perform in leading concert halls across America, including Carnegie Hall. Their umbrella reaches from children’s choirs to high-school, collegiate, and community and symphony choruses. These groups then travel to New York and work with the permanent instrumental ensemble known as the New York City Chamber Orchestra. The evening of April 27, 2015, on the main stage of Stern Auditorium at Carnegie Hall, a wonderful range of talent and music was on display.

The program began with the San Jose State University Choraliers, who indeed proved that they have “choral ears,” in fine renditions of Finzi and Elder. Finzi’s music deserves to be much more widely known. Their diction in his My Spirit Sang All Day was exemplary, as was the feeling of tenderness, which followed into Elder’s Willow-Wood, conducted by their own Jeffrey Benson. They were then joined by the extraordinary mezzo-soprano Layna Chianakis in two spirituals. If my pitch-sense isn’t failing me, I could swear she did an effortless high D near the end of This Little Light of Mine, a light which shone brightly indeed.

The main business of the first half was Fauré’s Requiem, Op. 48. This work is comforting, austerely sensuous, and serene in its appeal, unlike the melodramatic/operatic settings of Verdi or Berlioz that emphasize damnation. It was composed in 1888 in memory of Fauré’s recently deceased father. The Requiem, which was modified by Fauré three complete times over many years, has the unusual scoring of omitting the “first violin” sound, thus giving it a darker coloration and symbolizing absence perfectly. Then when the angelic solo violin of concertmaster Robert Zubrycki entered in the Sanctus, the effect was stunning. Again, the conductor was Mr. Benson, from whose group (a massed choir of people from California, Michigan, and New York) I could have used a greater dynamic range, especially in the pianissimi. Their sound was exciting in the louder dynamics, but I missed the great emotional power of a large number of people all singing extremely softy, held-in. I was also sorry to hear some choral diphthongs, especially on the open “e” vowels, which made the church Latin sound so American. The range of instrumental dynamics was not wide enough, from the very first note, a fortissimo D that is supposed to decline to a pianissimo choral entry. This resulted in a “smooth” performance, but one that didn’t maximize contrast. The sound of the electronic organ, the only type Carnegie and other New York halls have at their disposal (with the exception of Alice Tully Hall), was unfortunate and crude, though well-played by the uncredited organist. This is a shame that New York really needs to address if such works are to be presented. The two soloists handled their work admirably, with the soprano Jessica Sandidge wisely not scaling her lovely voice into anything “boy”-sounding in the Pie Jesu, even though the premiere was by a boy soprano. Michael Scarcelle sang the Offertoire and Libera me, Domine with power and intimacy by turns.

After intermission, the Phoenix Symphony Chorus, conducted by Thomas Bookhout, sang a beautiful work by Stephen Paulus, The Pilgrims’ Hymn, excerpted from his opera The Three Hermits, and a less-original but still heartfelt Psalm of Ascension by Dan Forrest. This group, of considerably more mature singers than had been heard in the first half, delivered all the contrasts of text and tone that one could wish for.

They were then joined by choirs from Arizona, New Jersey, and Wisconsin (and apparently some free-lance individuals from New Jersey) for a rousing performance of Haydn’s well-known “Lord Nelson” Mass, originally titled Missa in Angustiis (Mass for Troubled Times). The tempi were moderate, allowing the grandeur of the music to breathe, while articulation, dynamics, and transparency all reflected some of the advances in historically-informed playing that one expects in this repertoire (And again that electronic pseudo-organ). All four soloists were excellent, but I must single (or double) out the soprano Marguerite Krull and the tenor Nathan Munson for the clarity of their tone, its brilliance, and forward placement. Bass Paul An, an accomplished Juilliard graduate, sang well but should nevertheless be advised not to try to sound too “old” or vocally dark before his time, even though he is a bass, because this will eventually wear out the voice. This chorus achieved that magical hush in the final Dona nobis pacem (Grant us peace), a fitting end to a well-done evening of choral music.

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