Distinguished Concerts International New York

DISTINGUISHED CONCERTS INTERNATIONAL NEW YORK: DCINY
THE MUSIC OF KARL JENKINS
Stern Auditorium at Carnegie Hall
January 16, 2012

A full house greeted the Distinguished Concerts Orchestra and Jonathan Griffith, Artistic Director, on Martin Luther King Day. The opening work of the program was Jenkins’ “The Wooing of Etain” in its United States premiere. The piece is unusually scored for soloists that include soprano saxophone, electric bass and uilleann pipes. Despite the unconventional use of  instrumentation, the work is sweetly tonal, warm and embracing. It was performed with affection and commitment, although some of the individual playing was slightly off pitch. The soloists: Rob Derke, Carlo de Rosa and Joseph Mulvanerty, performed and improvised with technical brilliance.

Jenkins’ “Sarikiz”, a violin concerto given its Carnegie Hall premiere, won the audience over instantly with its Carl Orff-like primitive energy and minimalistic repetition. Apart from the occasional reference to Kazakh folk themes, Jenkins uses two Kazakh indigenous percussion instruments, the dabel (hand drum) and the kepshek (tambourine). Like Orff’s beloved “Carmina Burana”, for example, very little counterpoint is used, the simplest of chords were often employed, and the percussion–while effective–is sometimes used a bit too often (here, they also covered the violin soloist at times). The idiomatic, virtuosic violin scoring holds the audience’s attention in this appealing work–especially with the right soloist. Jorge Avila did an outstanding job with the violin part, and his charismatic stage presence helped keep a diverse audience riveted.

Carol Barratt’s Fantasy Preludes for piano was given a solid performance by Danny Evans and receiving its United States premiere, was composed with an original touch–even though there were many reminders of 20th century modern and impressionistic influences. Nine preludes in all, there was a good deal of counterpoint–which was a refreshing change–and interesting harmonic variety as well. Melodic writing was sometimes chromatic, sometimes more spacial–but almost always lyrical. I would have placed the violin concerto after this work, as the solo piano looked and sounded anti-climactic after witnessing the orchestra.

A diverse audience was to be expected, as it was Martin Luther King Day, and Jenkins’ world premiere, “The Peacemakers”, included quotations from many important leaders or texts.

Those that were quoted include Gandhi, Mother Teresa of Calcutta, St. Francis of Assisi, Nelson Mandela, and Anne Frank (a touching, special addition to this list). Of course, there was also a Martin Luther King tribute. The excellent performers included soprano Antoni Mendezona, flutist Kara Deraad Santos, the return of saxophonist Rob Derke and electric bassist Carlo de Rosa, Benny Koonyevsky on ethnic percussion, and Joseph Mulvanerty on uilleann pipes.

Jenkins’ “The Peacemakers” is poignant, resonant, and meaningful. The music accompanies the corresponding texts with devotion. The instrumentation chosen always suited the origin or culture of the text; for example, the bansuri (Indian flute) with the Gandhi text, and the African percussion with the Mandela text worked perfectly. Martin Luther King’s tribute included an incredibly inventive mix of the Blues and Robert Schumann’s “Traumerei” (“Dreaming”).

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

Kotaro Fukuma, Pianist in Review

Kotaro Fukuma, Pianist in Review
Weill Recital Hall at Carnegie Hall
December 6, 2011
Kotaro Fukuma

Kotaro Fukuma

 

In a Weill Hall recital presented by New York Concert Artists and Associates, Kotaro Fukuma, who was born in Tokyo but now resides in Berlin, performed a beautifully varied program for a full house audience. The first half consisted of selections from Bach’s “Art of the Fugue” plus a work that was inspired by them: the Sonata No. 31 in A-flat Major, Op. 110 by Beethoven. The Beethoven has a fugal movement of its own, and Mr. Fukuma performed it–like the Bach–with great clarity of rhythmical articulation. Indeed, his technique is superb. I would have preferred a little more delineation of the fugal entrances—i.e. more dynamic contrast between the entrance and subsidiary counterpoint. There could also have been better phrasing in terms of showing the direction of the melodic line; for example, phrases beginning with a softer, lighter touch and ending with fuller climaxes.

In the second half, Fukuma confirmed his stellar technique with Liszt transcriptions. “Ab Irato” from “Grande Etude de Perfectionnement” was fantastic. “La Campanella” could have had more Romantic-period exaggeration of dynamics; like in earlier pieces, he needed to play with a more varying touch and bring more shape (crescendo and diminuendo phrasing) to the musical lines. He ended it brazenly and powerfully, however, with polished octaves that were as clean as a whistle. One became riveted by the music’s concluding dramatic intensity.

In Ligeti’s Book I Etudes (selections), Fukuma played with a wonderfully articulate left hand, and excellent all-around clarity of rhythm. In “Arc-en-Ciel”, he could have brought more dreaminess to the atmosphere. In general, more phrasing within the given dynamics and subtleties of color were missing, but his interpretation of “Automne a Varsovie” seemingly held the audience spellbound with its sudden flare-ups of high octane heat.

Sergei Liapounov’s music from the “Etudes d’execution transcendante”, Op. 11

displayed more of Fukuma’s technical strengths, with thunderous, blazing octaves. His encores (Chopin/Liszt: “Meine Freunden” and another Liapounov Etude) were equally impressive, as they were permeated with impeccable virtuosity. Come to think of it, he didn’t miss a note all evening.

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

The Park Avenue Chamber Symphony in Review

The Park Avenue Chamber Symphony in Review
“Sublime Journeys”: Britten, Richard Strauss and Beethoven
David Bernard, conductor
David Chan, violin
Tamra Paselk, soprano
All Saints Church, New York, NY
October 23, 2011
"David Bernard conducting the Park Avenue Chamber Symphony" Photo: Jennifer Taylor

"David Bernard conducting the Park Avenue Chamber Symphony" Photo: Jennifer Taylor

 

In a program entitled “Sublime Journeys,” David Bernard and The Park Avenue Chamber Symphony presented varied, challenging repertory with excellent soloists on display, and they succeeded with flying colors. Strauss’s “Death and Transfiguration,” a meaningful choice for this beautiful space, was a real triumph. This masterpiece demands virtuosity and creates challenges for top-tier ensembles, and the orchestra rose to the occasion with superb playing all around. Bernard, who conducted from memory, brought raw, dramatic intensity to the urgent sections, while conducting the noble transfiguration theme with utmost tenderness and lovely, sustained pacing. Balances were unusually clear, considering the church’s resonant acoustics; Bernard found ways to bring out woodwind details, and the brass shined with solid, blended playing. Concertmaster David Edelson’s solo-playing was rendered with conviction here, the violas were excellent, and the solo oboe playing was scintillatingly beautiful. The only disappointing moments were the bassoon’s and clarinets’ subpar intonation in the introduction and a rhythmically rough transition to the development section; yet, the notoriously treacherous triplet passage in the violins was executed very well indeed.

The program opened with soprano Tamra Paselk singing a consistently evocative, engrossing account of Britten’s “Les Illuminations”, Op. 18. In every single movement, she revealed nuances of character and color with her dramatic acting and gorgeous voice. The orchestra got off to a good start, with very solid, precise violas. The high, exposed writing in the first violins and solo violin part sounded approximate at times, but the balance between soprano and orchestra was perfect, as Paselk could be heard at every turn.

David Chan played with poised brilliance and profound integrity in Beethoven’s Violin Concerto, which concluded the program. And the orchestra was supportive and precise throughout. Although one could call Chan’s performance amazing for its virtuosity, the most memorable aspect of his performance was his heartfelt rendering of the slow movement and all the movements’ lyrical phrases at the top of the register. Chan always put the meaning of the notes first and their accuracy a close second; his priorities are in order, like a great artist’s should be, and we ended up witnessing an interpretation that was both technically polished and sublime.

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

The Hope and Love Concert in New York City in Review

The Hope and Love Concert in New York City
Ji-Hae Park, violin
Ji-Eun Baek, accompanist
Sae-Nal Lea Kim, guest accompanist
Zankel Hall at Carnegie Hall
October 10, 2011

Ji-Hae

In a concert entitled “The Hope and Love Concert in New York City,” which was produced by Double J Ent., violinist Ji-Hae Park dazzled and thoroughly entertained her audience in a most versatile program. Her stage persona is extremely charismatic and emotional, and she was able to bring out all the stylistic and dynamic contrasts of her varied composers. Her program ranged from Saint-Saens to Mozart and Rachmaninoff to Korean composer Je Myung Hyun and “Chim Chim Cheree” from the musical “Mary Poppins.”  

In this song from “Poppins,” Park brought out the music’s mystery and sweeping lyricism. The mood lighting also helped with just the right ambience. In Richard Strauss’s early Violin Sonata in E-flat, Op. 18, she combined a virtuoso technique with a luxurious Romanticism, and confirmed that this youthful yet masterful work is worthy of regular performances. Physically, as well as musically, she keeps the audience entranced with her body language—either swaying horizontally or sometimes swooping as low as possible to the stage. Her range is stunning; she sounds brilliant at the top of her register, and remarkably rich and dark on the low G-String.

Another highlight of the program was the fiendishly difficult, free-wheeling work: Saint-Saens’ “Danse Macabre.” Here, she offered a virtuoso technique plus great intensity to the melody’s chromaticism and swirling dance patterns. “Souvenir de Korea,” arranged with finesse by Park herself, is a beautiful work. Je Myung Hyun’s “To the Land of Hope:  Hui Mang Ui Na Ra Ro” is an appropriate choice for this program, which is designed to bring people together; her goal, as stated in her program notes, is to use the violin as an instrument to spread the gospel and love of God to as many people as possible. She also makes every effort to unite audiences by incorporating classical, pop music, traditional Korean folk tunes and gospel music, among other styles, on concerts as well as on her recordings. Some of the many accolades she has received include becoming the ambassador of The Korean Christian Art and Music Council, The Handong Global University, and The Africa Future Foundation.

Park was born in Germany in 1985. She plays on the Petrus Guarnerius 1735 Venedig, on loan to her from the German Foundation since 2003. She was the first prize winner of the National Music Competition of Germany Jugend Musiziert in 2001 (solo) and 2002 (chamber music), among many other prizes. She studied with Professor Ulf Hoelscher at the Karlsruhe Musikhochschule in Germany and Professor Jamie Laredo at Indiana University, where she received a full scholarship. Her accompanists Ji-Eun Baek and Sae-Nal Lea Kim gave her excellent support, and the audience on hand was enthusiastic throughout the concert.

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

DCINY: A Concert of Commemoration Honoring the Tenth Anniversary of 9/11

DCINY: A Concert of Commemoration Honoring the
Tenth Anniversary of 9/11Distinguished Concerts Orchestra International
Distinguished Concerts Singers International
Rene Clausen, Guest Conductor
The Really Big Chorus
Jonathan Griffith, Rehearsal Conductor
Karl Jenkins, Guest Conductor
Avery Fisher Hall
September 11, 2011

DCINY: A Concert of Commemoration Honoring the Tenth Anniversary of 9/11

One of the most extraordinary concerts of the last few years took place at Avery Fisher Hall on September 11th, 2011. In performances presented by DCINY, known as Distinguished Concerts International New York, the audience couldn’t have received a better gift: beautifully performed, inspiring music. The crowd in attendance was so large that the lines of people spiraled around the columns in the lobby of Avery Fisher—everyone waiting to be uplifted, and they were.

Samuel Barber’s familiar “Adagio for Strings,” made even more famous by the war film “Platoon” (1986), was a highly appropriate choice for an opener. Rene Clausen prepared a solid, polished account of the work. The strings played with excellent intonation, the ensemble-playing was crystal clear, and the tempo moved along at just the right pace. The audience was clearly touched by the music and the performance. In Clausen’s own “Memorial,” the harrowing events of 9/11 were presented with a rather literal, vivid picture. For me, it hit a bit too close to home, but it ultimately seemed to win over the audience; the movements were “September Morning”, which was serene and sunny as the day began, “The Attack”, complete with crashing chords, dissonance and chaos, and the lovely “Prayers” and “Petitions” movements. It was this second half of the work that helped put people more at ease. Bradley Ellingboe, the Bass-Baritone soloist, sang with great expression and eloquence. The Distinguished Concerts Orchestra International and Distinguished Concerts Singers International performed with deep conviction and connection to all those in attendance, and as a result, the audience—some of them family members of victims—was riveted at every turn.

After intermission, we heard Karl Jenkins’s “For the Fallen: In Memoriam Alfryn Jenkins” in its US premiere. Only four minutes long, it still made an indelible impression. “Armed Man: A Mass for Peace”—on the other hand—is epic in length (63 minutes) and often had the weight, relevance and spiritual profundity of a Mahler symphony.  Even though they didn’t have a lot to sing, the soloists, Erika Grace Powell, Charlotte Daw Paulsen, Brian Cheney and Bradley Ellingboe, were excellent. The Distinguished Concerts Orchestra International and The Really Big Chorus under Maestro Jenkins sounded lush, resonant and deeply committed.

The afternoon will linger in the hearts and souls of those who were lucky enough to be on hand for this important concert on this commemorative day.

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

CD in Review: David B. Goldberg

CD in Review: David B. Goldberg
Absolute Music CD1: 13 Tracks

David Goldberg

David B. Goldberg spent the last three years writing and producing “ABSOLUTE MUSIC CD 1: 13 TRACKS”, with the general idea that music today is frequently used in service to other media, while its own abstract nature has become secondary. His CD strives to bridge the gap between high and low art, contribute something new and different to the musical landscape, while at the same time be accessible to all. After a break of seven years, Goldberg began to compose again three years ago. This CD incorporates his latest work.

The 13 tracks are simply labeled with a number, and this way they leave much to the imagination. The tracks vary greatly in both style and mood. Sections that are hypnotically repetitious with subtle change–i.e. minimalistic–fit the best with the electronica sound that permeates the disc (the music was composed using computer programs such as Finale). Yet–thanks to Logic Audio, a program that gives a human playback–there are some very personal elements to the music: a liberty to rhythm (rubato), a good deal of expression such as vibrato, and a wide range of dynamics. Although this disc sounds like it could be a demo, the recording is already on sale on iTunes and the like. According to Goldberg, he is aiming for that electronica edge to the sound in “Absolute Music”, and he is not craving live musicians for performance or for future recordings of this work. He does however intend to find an orchestra of live musicians for future endeavors–especially theater pieces–and he has written for musicians and live performances in the past.

Some of this “Absolute Music” CD sounds other-worldly, perhaps lending itself to the Science Fiction genre. Some of it could serve as video game music or other types of film music because everything about film is obviously pre-recorded, and nothing about it is live. And when listening to “Absolute Music”, you feel you are being taken on a journey without any specific narrative. This is common when listening to Brahms, who avoided descriptive titles and program music; the closest he came to describing what you were hearing was when he composed and titled his “Tragic Overture”. But even here, instead of naming an overture after a Shakespearean drama such as “Romeo and Juliet” (Tchaikovsky) or “Othello” (Dvorak), Brahms chose to label his work in the most general of terms–leaving the listener great freedom of thought.

Track 1 is consistently gripping and lends itself to the aforementioned action-film or video game music, with some ethnic harmonic and melodic flavor added in. The crashing, dissonant chords are indeed startling and effective. The next track provides welcome contrast with its hypnotic and soothing syncopations. Track 3 could use some more chord changes; if the desire here and elsewhere is to keep it simple for the audience, Goldberg could find some middle ground to satisfy the more sophisticated ear.

Track 4 is folksy and rather archaic with a catchy lilt, and the fifth track–in a refreshing minor mode–goes perhaps a little overboard with its use of percussion. Some moments here and elsewhere feel a bit random; melodic ideas are sometimes disconnected to preceding ones, leaving things a bit disjointed. Goldberg, however, is not trying to recreate traditional forms, but rather take you on an abstract journey. And sometimes journeys can be very bumpy roads.

The sixth track could use more advanced counterpoint and imitation, while the following track–Track 7– does indeed incorporate more mature compositional techniques, captivating this listener with its time changes, as well as its atmosphere.

Track 8 has a spooky, entrancing horror film music feel, and the following music on Track 9 also has some droning sounds, but adds an appealing combination of flute solo and chimes. The 10th track contains the strands of strings and piano combined with an unusual, video game-like rumble. Tracks 11 and 12 are also quite unique, sometimes combining new age-like chordal music with Neo-Baroque ornamentation and trills.

Track 13 is mysterious–like the work’s title as a whole–but also contains the most interesting use of counterpoint; it is written with compositional maturity, yet it’s accessible at the same time. It is often a challenge to satisfy both educated audiences and more novice listeners, but with this track and some preceding tracks, Goldberg succeeds.

The CD’s electronica sound, which sometimes wears thin, can still exist on its own without the benefit of live musicians because the music takes you on a voyage away from reality. Then naturally, an ideal contemporary way to represent fantasy is with a futuristic sound.

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

Aglaia Koras, Pianist in Review

Aglaia Koras, Pianist in Review
Weill Recital Hall at Carnegie Hall; New York, NY
May 9, 2011

Aglia Koras

Aglaia Koras devotes much of her performing to the music of Frederic Chopin, and on May 9th, she continued her passion for his music with some Nocturnes, Mazurkas and Etudes, among others. This concert, performed for a packed audience, was presented by MidAmerica Productions. Koras played with elegance–particularly in slower, more serene works, and she performed impressively from memory.

The C-sharp minor Nocturne, Op. Posth., which opened the program, was played exquisitely and poetically. The same could be said of the A minor Mazurka, Op. 67, No. 4 that followed. There was lovely shading and phrasing in both the Barcarolle in F-sharp major, Op. 60 and in the Nocturne in D-flat major, Op. 27, No. 2.

In the Fantaisie-Impromptu in C-sharp minor, Op. 66, Koras could have played more clearly in faster passages, but her devoted, stormy playing was captivating indeed.

In the Polonaise in A-flat Major, Op. 53 (“Heroic”), agitated passages were slightly rushed,

and phrases were sometimes muddied due to over-pedaling. Nonetheless, her audience was very enthusiastic–and so was I, as her eloquence comes across as very heartfelt indeed. A special Kudos to Koras for her insightful programming as well; the “Harp” Etude in A-flat, Op. 25, No. 1 and the “Cello” Etude in C-sharp minor, Op. 25, No. 7 lent an air of orchestration to the evening. Even though Chopin was hardly a symphonist (he is considered to have been a rather uneducated orchestrator), he seemed to enjoy incorporating instrumental sonorities–either consciously or subconsciously–into his piano works.

This season–according to biographical notes–Koras has been invited to perform with the St. Petersburg (Russia) Symphony Orchestra and to perform again with the Beethoven Festival Orchestra at the Kennedy Center Concert Hall. In recent seasons, she was invited to perform an all-Chopin recital in Mexico City and at the Wolf Trap Ball, among other appearances. Clearly, Chopin is in her blood, and audiences consistently fill Weill Recital Hall to hear her play his music.

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

Joyce El-Khoury, Soprano in Review

Joyce El-Khoury, Soprano in Review
Olga Koussevitzky First Prize Winner; The Musicians Club of New York
Natalia Katyukova, piano
The A&D Building; 150 E. 58th Street; New York, NY
April 28, 2011

 

Joyce El-Khoury has an absolutely glorious voice that can easily project to the last row of the balcony in any opera house. Her top register is exquisite because she can belt it with great authority, but can also allow it to float to pianissimo, with subtle colors.

She also has a marvelous dramatic and stylistic range. Going from Puccini’s “Chi il bel sogno di Doretta” to Verdi’s “Arrigo, ah, parli a un core” is no easy task, but she conveyed the requisite strength and innocence when necessary. And her varying abilities with diction and style were confirmed with a mesmerizing performance of “Song to the Moon” from Dvorak’s “Rusalka”. Singing in Czech, she lent a unique solemnity and vulnerability to the music. Ravel’s “Sheherazade” was tender and abundantly seductive and expressive. The lavish orchestra part, transcribed for piano, is difficult for the pianist, but Natalia Katyukova did an amazing job of recreating the symphonic colors. In addition, she was able to play her multitude of notes flawlessly in low light and without a page turner.

In Verdi’s “E Strano…” aria from “La Traviata”, she pulled out all the stops, bringing intense timing to the silences as well as great beauty to her entrances. Her sheer volume of sound is so powerful at times, that the chandelier seemed to sway along with the music. Dramatically, she was always in the moment, even when Katyukova had a lengthy tutti section at the piano. This was top-tier singing and music-making; the chemistry between El-Khoury and Katyukova was palpable throughout the evening. Unfortunately, the concert was not publicized in the right places, as there were too many empty seats. As beautiful as the Architects and Design (A&D) Building is, Steinway Hall (where the winner’s recital was last year) brings in more people. There is no doubt that a performer with El-Khoury’s credentials is an excellent draw; she sings at the MET and with orchestras such as The Munich Philharmonic. She has an exciting future ahead of her.

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

Musica De Camara String Ensemble in Review

Musica De Camara String Ensemble in Review
Roselin Pabon, Conductor
A Celebration of Hispanic Music
St. Patrick’s Cathedral; New York, NY
April 7, 2011

The all-encompassing acoustical blur of Saint Patrick’s Cathedral and the spectacularly intricate dance music performed by the Musica De Camara String Ensemble did not mesh together particularly well, but quality program choices and the excellent ensemble-playing led by conductor Roselin Pabon greatly compensated for the cacophony. When audible—and this was during softer or less densely scored sections of music–the ensemble’s precision was occasionally first-rate. St. Patrick’s is a beautiful and venerable place to play, but the drawback is a big one: a resonance so strong and lasting (due to the high ceilings) that the music is often sacrificed. Still, one could see–if not hear–what almost every composer on this program did with regards to harmony and rhythm: make it fresh and thickly layered.

All the composers were quite inventive, and each one represented a different Spanish-speaking part of the world. This was, after all, a program entitled: “A Celebration of Hispanic Music.” Even though the composers’ birth dates ranged from 1892 to 1972, and they were from different geographical areas, there was surprisingly little variety of style among them; almost every piece contained syncopated, tonal, flavorful dance music for strings. (With strings alone, one can miss the diversity of orchestration—particularly percussion—that one hears in Hispanic music.) Yet, I’m happy to say that each work was well crafted, with each composer striving to be daring and complex. Venezuelan Aldemaro Romero’s “Fuga Con Pajarillo” was an impressive start, with all its meticulous counterpoint, and Spanish composer Xavier Montsalvatge’s “Danzas Concertantes” was a nice contrast of tempo and articulation, with thick blues chords. Cuban Chico O’Farrill’s Symphony for Strings was a more serious, sectional work, with lovely melodic writing that could be delineated due to the music’s textural clarity.

Puerto Rican composer, Jack Delano, wrote his Sinfonietta with an innate sense for lilting violin melody. The music was reminiscent of the Habanera—especially in pizzicato sections, and the rich chordal writing was fascinating. Mexican composer Eduardo Gamboa’s “Canambu” was Tango-like, but it also brought to mind Copland’s punchy “El Salon Mexico”. The treacherous off-beats (the first violins got slightly off track) had a welcome repetition. Columbian Hector Martignon’s “Abre, Sierra Tus Ojos” is a very difficult work that also caught the first violins off guard for a moment. Concertmaster Francisco Salazar, however, was absolutely terrific with his demanding solo part. Minimalistic, highly syncopated, and richly harmonized with 7th and 9th chords, “Sierra…” is a marvelous work, and the composer was present to receive the audience’s enthusiastic gratitude.

Unfortunately, Cuban Aruan Ortiz’s “Perla Caribena” was so silky smooth in its phrasing, that it was nearly impossible to hear its melodic strands in this church. Dominican Republic’s Samuel Herrera Baez’s “Merengue”, which was added to the program, was overall a welcome contrast with its simpler, traditional harmony. The conventional chordal writing and cadences of “Rhapsodia: Themes of Rafael Hernandez” by Puerto Rican Guillermo Figueroa (born in 1892) was also a pleasant look back to an earlier style. Some of the first violin entrances were unclear, and the concertmaster’s stand partner seemed lax here and in other highly syncopated pieces, playing behind the beat. I don’t understand why she didn’t try harder to mirror the rhythmical energy and leadership of the concertmaster sitting next to her; perhaps just an off-day.

The written program appropriately concluded with the great Argentinean master, Astor Piazzolla. His innovative “Michelangelo 70”, which was authentically orchestrated by Carlos Rengifo, is laced with a hypnotic repetition and composed with an amazing ear for varying, yet subtle change. The principal second violinist, Luis Casal, played his solo admirably. The encore, an arrangement of the Puerto Rican Danza “Sara”, was nice to hear, but that perfect Piazzolla piece, among others, was still ringing in my ears.

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

John Hersey High School Symphonic Band and William Mason High School Wind Symphony in Review

John Hersey High School Symphonic Band in Review
Scott Casagrande, Director
William Mason High School Wind Symphony in Review
Robert C. Bass Jr., Director
Stern Hall at Carnegie Hall; New York, NY
March 4, 2011

John Hersey High School Symphonic Band

  

The highlight of this shared high school band concert on March 4th was a memorable performance of Leonard Bernstein’s “Slava!” performed by the John Hersey High School Symphonic Band conducted by director Scott Casagrande. The music’s difficult mixed meters were played with confidence and polish, and the style and charm of the piece came through with flying colors. I have heard this piece played by professional symphony orchestras, but this band arrangement played by this particular symphonic band made the case that this witty, exuberant work should be performed more often. 

Scott Casagrande also conducted “Kingfishers Catch Fire” by the excellent composer John Mackey; Casagrande brought out the work’s colors and balances, effectively bringing to mind the beautiful but rare bird for which the title is named after. These kids were clearly well-prepared, as they were always solidly together with tight rhythm, unusually good intonation and sparkling percussion. Balances were in place, and nuances of tempo were conducted and executed with expertise. Casagrande opened with a bold, yet refined presentation of Scott Boerma’s “Cityscape”. 

Then, guest conductor James F. Keene led a tender, sentimental reading of “Ballad for Band” by Morton Gould. “Sparkle”, a brilliantly scored piece by Shafer Mahoney was conducted by Thomas Beckwith; the performance was evocative and consistently captivating. Still, “Slava!” a work dedicated to the cellist Rostropovich, lingers in the memory and touchingly proves that the spirit and greatness of two legendary musicians, Leonard Bernstein and Rostropovich, live on through the committed performances of future generations such as students in the John Hersey High School Symphonic Band. 

  

William Mason High School Wind Symphony

  

  

Regarding their Carnegie Hall performance on March 4th, Mason High School (Ohio) Band Director Robert Bass recently said: “It’s always been a dream to give our kids this opportunity.”  Well, I’m happy to report that the William Mason High School Wind Symphony did not disappoint those who dreamed for them. The goal of performing at their highest level became a reality, as the students played with vigor, commitment, and–despite any nerves they must have had–utmost confidence. 

Their program consisted of Ron Nelson’s Rocky Point Holiday and Eric Whitacre’s The Seal Lullaby–both instantly enjoyable; an appealing arrangement of Verdi’s La Forza Del Destino Overture; H. Owen Reed’s catchy La Fiesta Mexicana and Carnival; and John Astacio’s marvelous Frenergy. The selections were nicely varied and well-prepared. The excellent conductors included Micah Ewing, Avious Jackson, and Mason High School Band Director Robert Bass, plus world-renowned clinician, conductor, and adjudicator James F. Keene, who also guest conducted the John Hersey Band. 

The band members and conductors have been preparing for this concert during class and after school rehearsals over the past few months. In January, the school organized a concert band camp, where professional musicians–many of whom are members of the Dayton Philharmonic Orchestra–worked with students individually and by section. It is hard to imagine the Dayton Philharmonic winds and brass sounding much better than the Mason Wind Symphony students did on this particular night; the kids truly rose to the occasion. Except for some intonation lapses, the ensemble, blend and solidity of tone came off as professional-sounding here, so kudos to the conductors and the Dayton Philharmonic musicians for their obvious inspiration. 

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