Paulus Hook Music Foundation presents Wandering Melody: Qianci Liu and Friends in Review
Qianci Liu, cello
New York International Symphony Orchestra, Elias Miller, conductor
Zankel Hall at Carnegie Hall, New York, NY
October 15, 2023
Zankel Hall was the venue for a concert entitled Wandering Melody: Qianci Liu and Friends on October 15. 2023. Presented by the Paulus Hook Music Foundation , of which Qianci Liu is the founder and executive director, works by Chinese composers, composers of Chinese heritage, a Chinese “themed” work by a non-Chinese composer, and a Filipino-themed work formed the program.
Ms. Liu has many very talented friends – there were sixteen biographies (including Ms. Liu’s) in the promotional materials, far too many to give any one of them any special attention without this review turning into a voluminous book report. I will list them by name here: Qianci Liu, Wei Luo, Zhen Chen, Michael Dadap, Kayden Hansong, Weixiong Wang, Elias Miller, Yang Xu, Hong-Yu Hsien, Fang-Tao Jiang, Ricky Feng Nan, Andrew Hansong, Sherry Li, Yi Ru, Jacky Xu, and Shiqi Luo.
Similarly, with nineteen listed works, it is also beyond the scope of this review to comment about each work. I will limit myself to commenting on highlights of each composer. The works naturally tended include the cello (except for one piano solo work), with Qianci Liu being the cellist in ensembles including various combinations of piano, guitar, clarinet, vibraphone, handpan, a cello ensemble, and – after intermission – the New York International Symphony Orchestra. A large undertaking, this concert reflected an impressive level of dedication and organization, especially towards the nurturing and featuring young musicians.
This was not a conventional concert by most listeners’ standards (mine included). If one would enjoy nearly three hours of music that was unmistakably similar in style and conception, this would have been a delight from start to finish. Let there be no misunderstanding: the playing was excellent and some compositions projected poignant beauty, but work after work filled with nostalgic yearning, sorrow, and regret, in what could be best described as a “New Age soundtrack” style, grew wearing to this listener. The “spontaneous” addition of two works just prior to the final piece, announced as a “gift,” after two-and-a-half hours was surprisingly clumsy and heavy-handed.
Let’s give Ms. Liu her kudos – her cello tone was warm and ideally suited for the selected works. There were no pyrotechnics, histrionics, or other affectations, just complete devotion to the music. This is a quality that I much value in a performer, and regardless of my feelings about the works themselves, she has my admiration. As for Ms. Liu as a composer, I point to two highlights. First, Lily, To Mom, as played by Ms. Liu with nineteen of her students of all ages, from the young boy with the 1/8 sized cello all the way to adult, was enchanting – not so much from the musical standpoint, but from seeing the joy they projected. Second, Candy, the jazz-infused romp with the wailing clarinet of Weixiong Wang, might have been my favorite of the evening, possibly because it was the only piece that broke out of the formulaic shell that surrounded the program.
The New York International Symphony Orchestra, as led by conductor Elias Miller, was outstanding. Special mention to the (unnamed) trumpet player who managed his often high-register playing without overwhelming the orchestra and while maintaining good intonation – it’s not easy!
On to the other featured composers. Kimball Gallagher’s Aranya Prelude had an improvisatory feel in the hands of young pianist Hong-Yu Hsien. Though a slight hesitancy suggested a case of nerves, this player shows promise of achievements yet to come. Zhen Chen’s Jade had shimmering qualities that offered promise of breaking out of the sameness of most the other works without completely escaping. Michael Dadap’s Cavatina in E minor showed a deep, brooding quality. Unfortunately, much of that effect was marred by the feedback of a misbehaving amplifier, which loudly announced its presence several times. Sixteen-year-old Kayden Hansong’s Beyond Paradise followed, displaying a maturity far beyond this composer’s years. One looks forward to seeing what the future holds for this young man.
Wei Luo created the lion’s share of works on the program. Reading his biography, one learns of his extensive work as a soundtrack/television composer. There is little doubt of his ability in these forms, but I would have liked to have heard at least one of his works that had some differentiation. Yes, they were “easy on the ears,” but without hearing them in context (i.e., with the television show they came from) it all sounded a bit too much as if came from the same blueprint. Estranged had a Chopinesque quality that had moments of an unsettled feeling that most of his other works were lacking. His “Wait for Me” Suite: The Years & I Need to Find You was a showstopper – with twenty-three young singers in front of the stage, and three outstanding vocal soloists on stage, Fang-Tao Jiang, Ricky Feng Nan, Andrew Hansong. I still had enough “gas in the tank” to enjoy the emotionally charged performance that elicited the loud approval of the audience. Wei Luo’s Lullaby should have then sent everyone home on a peaceful note, but this was thwarted by an hawkward post-concert “announcement” verbally beckoning the artists back to the stage for more.
