Wa Concert Series presents Wind Miniatures in Review
Carrie Koffman, saxophone
Charles Neidich, clarinet
Ayako Oshima, clarinet
Mohamed Shams, piano
Tenri Cultural Institute, New York, NY
March 9, 2025
There was an electric energy in the room before this afternoon’s concert at the Tenri Cultural Institute. I presume it was the anticipation of the return of the Wa Concert Series after a hiatus. As stated by Charles Neidich in his charming opening speech, they had a return last year, and today’s event is a taste of what is in store for this intrepid organization. At first glance, the programming seemed a bit scattered, but as the concert went on, more connections began to emerge, and this reviewer was fascinated by the thoughtful curation of the afternoon’s music.
The first piece on the program was Sarabande et thème varié for clarinet and piano (1903) by Reynaldo Hahn (1874-1947). Hahn, a Venezuelan-born composer, moved to Paris as a child and inherited the French tradition. This work, with nods to the Baroque era, couldn’t be more steeped in the French simplicity of the time, a reaction to the late romanticism of Wagner and the Impressionism of Ravel and Debussy. His most well-known works are songs, and this work is replete with beautiful melodies throughout. The clarinetist Ayako Oshima enchanted the audience with a seductive tone. The triumphant ending was full of joy and was met with a roaring applause from the audience. It was a beautiful start to the concert.
A contrasting work by Elinor Armer (b. 1939) followed called Double Sonnet for Two Clarinets (2003) performed by Mr. Neidich and Ms. Oshima. The duo delivered a confident and compelling interpretation of this dynamic piece, skillfully highlighting its intricate, sinuous lines with flair. Their decisive articulation enhanced textural clarity, resulting in a vibrant and immersive sonic experience. The button to end the work was particularly delightful. Line Drawings by Richard Wilson (b. 1941) is in four movements. Each of these brief movements encapsulated a distinct, self-contained world. The first communicated serenity; the second a pointillistic approach; the third an earthiness, and the fourth was spacious and lean. It was a great compliment to the Armer piece.
The final piece on the first half was the Clarinet Sonata by Aaron Copland (1900-1990). This clarinet and piano work immediately captivated the audience, drawing them in from the very first chords. Mr. Shams delivered these chords with a nuanced understanding of the style’s tonal demands. The opening evoked a unique blend of solitude and happiness—an emotional duality that perhaps only Copland could achieve. The complex rhythms of the first movement were handled expertly by both duo members of which the climax was particularly exciting. This made the heart-wrenching end to the first movement particularly beautiful. Another duality emerged in the second movement—the contrast between warm and cold sonorities. This poignant movement had an understated intimacy and clarity, and when themes from the first movement reappeared, they were cast in an entirely new light. The last movement provided a much-needed relief from heavy feelings. The crisp articulations from Mr. Neidich were not only impressive to hear but also full of joy and elation. The unexpected rhythms seemed to jump off the page communicating the mixed meters and an additive approach as well as a sound inspired by American folk. This energetic movement was a great choice to unify the works of the first half of the program.
After a brief, intermission, the audience was hungry for more – and they were in for a treat. A set of works for chamber and solo saxophone commenced. hush for solo Alto Saxophone (2018) by Gilda Lyons (b. 1975) was the most adventurous piece on today’s recital. In the words of the composer: “ [hush] is fueled by the need to explore, unpack, and reexamine the ways a women’s voice can be informed by received gendered language over the course of a lifetime. Reflecting on my own experience, I honed-in on specific phrases that evolved in meaning for me and set them as spoken words within the context of contrasting musical lines…while exploring percussive, often breath-driven sounds that point to, among other things, pulse and heartbeat, and that contrast the recurring, sustained shush gesture that evolves over the course of the piece.” And what an effective performance this was. From the very first “shhhh” the saxophonist Carrie Koffman arrested the audience’s attention. As the piece developed, the intention of the composer was clear without being too obvious or patronizing and the seemingly humorous spoken words became more meaningful, leaving the listener in thought.
The next work by Ellen Taaffe Zwilich (b. 1939) was Remembrance (Lullaby and Lament) (2024) for alto saxophone and piano. Ms. Koffman spoke about how the composer, a fellow adoptee, wrote this piece to spark awareness of the many hurdles adopted individuals have attaining their original birth certificates. The work had a jazzy undertone and even quoted the famous Brahms’ Lullaby, and, if this reviewer is not mistaken, also the Schubert Ständchen towards the end.
Gabriela Ortiz (b. 1964), the celebrated Mexican composer, was next on the program with a work she wrote for the musicians in today’s program. Carrie Koffman and Ayako Oshima performed Las Dolly Sisters for Clarinet and Alto Saxophone (2021) about two vaudeville twins. This entertaining work was had a very sexy dance feel; however this reviewer feels the performers could have exploited the supple and syncopated Latin pulse more. It felt as though the work wasn’t completely integrated yet; nonetheless it was an admirable introduction to this interesting work!
The closing work was the Clarinet Sonata, Op. 167 (1921), by Camille Saint-Saëns (1835-1921). This sonata, composed during the last year of his life, is a romantic work at heart. The first movement felt like a love poem to the instrument, exploiting all its facets and capabilities. The lightness of the second movement was executed expertly by Mr. Neidich and Mr. Shams, whose collaboration throughout the program was top notch to say the least! The funereal third movement was full of pathos and featured the instruments deep and guttural tones only to contrast it with moments on the other extreme of the instrument, angelic and high. With an attacca fourth movement, the work comes full circle as was typical in many romantic pieces with a nostalgic stating of the theme from the first movement.
The entire group came back for a short encore by the French composer Germaine Tailleferre (1892-1983) – Allegretto for Three Clarinets (but this time with on part on saxophone). It was the perfect sorbet after a concert of demanding and interesting repertoire.
The Wa Concert Series plans to continue their programming this year and we look forward to another concert full of surprising and decadent music! Ms. Oshima reminded the audience of her love of cooking and graciously provided a reception for the audience to greet the performers. Perhaps there’s a concert pairing repertoire with specific dishes in the future of the group?
