Jeffrey Williams | New York Concert Review, Inc.

Caleb Chapman’s Crescent Super Band in Review (DCINY)

Distinguished Concerts International New York (DCINY) presents

Caleb Chapman’s Crescent Super Band

Featuring The Voodoo Orchestra and La Onda Caribena

Guest Artists David Sanborn, saxophone; Wayne Bergeron, trumpet; Russell Schmidt, piano

Stern Auditorium, Carnegie Hall, New York, NY

May 21, 2013

Caleb Chapman’s Crescent Super Band at Carnegie Hall

Caleb Chapman is a young man in a hurry. Not yet forty years old, he is the Director of eleven ensembles, published author, and award- winning musician. He was invited by Distinguished Concerts International New York (DCINY) to bring to Carnegie Hall his elite Crescent Super Band, The Voodoo Orchestra, and La Onda Caribeña. All three groups consist of players from the ages of fifteen to eighteen in the state of Utah. Special guests David Sanborn, Wayne Bergeron, and Russell Schmidt were also to have featured roles.

Founded in 2001 and with a list of honors a mile long, including countless accolades from Downbeat magazine, ten Best of State awards, product endorsements and sponsors, the Crescent Super Band is, on paper, a very impressive group. I must admit that I was somewhat wary of this build-up. While I am a huge fan of youth concerts and particularly enjoy the big band and jazz styles, I also have high expectations for the same based upon my own performing experiences (from the years 19…uh…well, never mind when!). I would have to wait until the second half to see.

Meanwhile, The Voodoo Orchestra took to the stage to open the night. Any ideas I might have had about this ensemble being a time-filler opening group were immediately obliterated by a super-stylish and slick performance of Spider-Man. I could not believe I was hearing players that were fifteen to eighteen years old! This was playing at a level to rival any professional group. The Voodoo Orchestra takes the best of the 30’s and 40’s big bands swing era and combines it with the cool sophistication and swagger of the Rat Pack. They have the entire package; the “hot” playing, the smooth vocalists, and the choreographed movements of the players with their instruments. Ending their set with a smoking hot world premiere of Brian Setzer’s Hoodoo Voodoo Doll, it was a fantastic start to the evening.

La Onda Caribeña followed with the flavors of Salsa and Latin-tinged jazz. Opening with Hector Lavoe’s and Willie Colon’s Llego La Banda, this ensemble showed that they were the “real deal” as well. Passion, brilliance, supercharged rhythmic vitality, and beguiling vocalists make La Onda Caribeña un grupo ganador. Victor Lopez’s Salsa Caribeña, written especially for La Onda Caribeña is sure to be a signature piece for them. They closed their set and the first half with a scintillating performance of Tito Puente’s Para Los Rumberos.

After intermission, the Crescent Super Band was ready to be unleashed. Just when I thought there was no possible way the bar could get set any higher, it did! I can still scarcely believe that this group is not filled with old established “ringers”, but such incredibly talented youth. If The Voodoo Orchestra and La Onda Caribeña lit the flames, then the Crescent Super Band stoked the flames into an inferno. From the infectious drive of Tightrope, to an ultra-hip arrangement of Paul McCartney’s Can’t Buy Me Love, to Bill Readies “take-no-prisoners” arrangement of Leonard Bernstein in West Side Story Medley, to the deceptively simple charms of Harold Arlen’s Down With Love, the Crescent Super Band could do no wrong. They “burned the place down” with a jaw-dropping performance Louis Prima’s Sing Sing Sing to end the concert. The audience, already worked into a frenzy, sprang to their feet with a well-deserved and prolonged ovation.

Caleb Chapman roamed the stage like a big cat stalking his prey. This hyper-energetic leader would wander into sections of the groups to encourage his players, cajoling them into greatness, then turn to the audience with a “can you believe how amazing these kids are?” expression on his face. He’d adjust microphones for soloists, and then race back to the front to conduct. His energy was like rocket fuel for all; the personnel changes between numbers were always at high-speed, with players running on and off stage. Not satisfied just leading these three groups, he lent his own considerable skills on saxophone as a featured soloist in Victor Young’s When I Fall in Love, which he dedicated to his parents. Now would be a good time to thank Mr. Chapman’s mother for sending him to music camp, instead of soccer camp, as Mr. Chapman related from the stage as he spoke of his parents. Whatever soccer might have lost, music more than gained.

One would be remiss in not mentioning the guest artists. Russell Schmidt joined The Crescent Super Band on the piano in the premiere of his work Percolating, which it certainly was! Wayne Bergeron, well known to the trumpet world from his days with Maynard Ferguson, was a presence with all three ensembles, and as a featured soloist in Horn of Puente, written for him by Gordon Goodwin, with La Onda Caribeña. His playing in the extreme upper register, which trumpet players call “screaming”, continues to amaze. I would imagine it would be inspiring to the young players to play alongside someone who can bust off double high C’s at will! Finally, David Sanborn joined the Crescent Super Band for an unforgettable performance of I Put a Spell on You by Edward Harcourt in an arrangement by John Clayton. In Bang Bang, which followed, a Crescent Super Band saxophonist joined Mr. Sanborn at the stage front. What a thrill it must have been for a young sax player to jam on the stage of Carnegie Hall with the living legend David Sanborn. He more than held his own, and getting a “high-five” from Mr. Sanborn was something this youngster will remember forever.

If I had had my trumpet with me, I would have found a way to get on stage to join in. Luckily for security, I somehow lacked the foresight to bring my instrument with me, but I cannot guarantee that if Mr. Chapman brings his groups back to New York that I will not give in to temptation.

If you ever have the opportunity to hear The Voodoo Orchestra, La Onda Caribeña, the Crescent Super Band, or any group lead by Caleb Chapman, do not hesitate to do so. Do not walk, but run to the box office and get your tickets before they sell out. It is truly the experience of a lifetime.

by Jeffrey Williams for New York Concert Review; New York, NY

Shattered Glass Ensemble in Review

Rondo Music Society presents

Shattered Glass Ensemble

Elizabeth Woo, violin soloist

Zankel Hall, Carnegie Hall; New York, NY

May 7, 2013

Shattered Glass Ensemble at Carnegie Hall; photo credit: Brian Hatton

Shattered Glass, a sixteen member string orchestra sans conductor, is very much a product of the 21^st century -marketing themselves with a professionally produced website and all the elements of social media (Facebook, Twitter, YouTube, and Instagram). The players hail from all around the globe, but they all met and joined together while attending the Manhattan School of Music. In addition to having a wide mainstream repertoire, Shattered Glass has been active in crossover collaborations with pop and hip-hop artists. Mentored by the noted violinist, teacher, and composer Albert Markov, this group is poised to make its mark on the music world by reaching out to as wide an audience as possible.

Violinist Elizabeth Woo, artistic director of Shattered Glass and highly acclaimed artist in her own right, headlined a program featuring her as a soloist in works by Vivaldi, Sarasate, and Albert Markov. The program opened with the Concerto for Three Violins in F major, RV 551 of Vivaldi, with violin soloists Elizabeth Woo, Holly Jenkins, and Tina Bouey. The opening Allegro movement got off to a problematic start, with intermittent intonation issues and tentative playing. The question that arose was whether this was something borne of nerves or was it going to be an endemic problem throughout. The answer was forthcoming in the Andante, where the playing was solid, and the final Allegro, which proved that any jitters were gone. The playing was confident, with good ensemble balance and precise intonation. The second work, the Ricercar a 6 from The Musical Offering by J.S. Bach was composed on what amounted to a challenge by Frederick the Great. On May 7, 1747, Frederick gave Bach a theme with the task to improvise a three-part fugue on the spot. When Bach made short work of that, Frederick demanded a six-part fugue. Bach asked leave to write out the work and The Musical Offering was the end result. On the 266^th anniversary of this meeting, Shattered Glass played the Ricercar a 6 in an arrangement by young composer Qin Dang for twelve players (six violins, three violas, two cellos, and a double-bass). Her arrangement uses as inspiration Anton Webern’s Klangfarbenmelodie approach to the same work (though the latter included winds, brass, and harp). As violist Michael Davis said in his comments before playing, “making connections is the biggest challenge,” in the work. That challenge was successfully met – the interplay between the twelve musicians was excellent; at no time was any single player dominating over the others in what was a perfect rendering of the Klangfarbenmelodie style. To end the first half, Shattered Glass offered the String Symphony No. 7 in D minor, MWV N 7, a remarkably mature work composed by Felix Mendelssohn at the age of thirteen (!). For the first time, all sixteen players took to the stage. Bass player Max Jacob provided a moment of levity when he abruptly hustled off the stage only to return a moment later with a huge grin and his missing bow, much to the amusement of the audience. Now that all players were properly equipped, they launched into a spirited reading. The precision of attack in the opening Allegro and superb dynamic control, especially the pianissimos in the Andante, were striking. The playful, almost sinister colors of the Menuetto and finally the energetic Allegro molto contributed to a winning performance.

Sinfonietta Per Archi ( Sinfonietta No. 1 for Strings), composed in 1992 by Krzysztof Penderecki (b. 1933), opened the second half. This work alternates from the strident to the nostalgic throughout while making virtuosic demands in both solo and ensemble. Shattered Glass seems to possess a particular affinity for this work. The playing was exceptional from start to finish in what was the highlight of the concert to this listener. Special mention must be made of the soloists; violinist Elizabeth Woo, violist Celia Hatton, and cellist Grace Ho for their exceptional playing. After the thorny Penderecki, Pablo de Sarasate’s Spanish Dances – Playera, Zapateado, and Habanera, were a surefire way to lighten the mood. In an arrangement by Mr. Markov where the piano accompaniment was transcribed for strings, Elizabeth Woo took center stage in the soloist’s role. Ms. Woo has the requisite technique and gave these crowd-pleasing works a virtuosic performance. The large and enthusiastic audience roared its approval. As much as I detest histrionics and admire control, I found myself wishing for a bit less restraint from Ms. Woo. To close, Ms. Woo performed the world premiere of Rhapsody No. 6, “Korean”, written especially for her by her teacher Albert Markov (b.1933). Inspired by a visit to Gangwon Province in South Korea, this work uses traditional Korean folk melodies in an “East meets West” fashion. Ms. Woo was a shining star in this highly effective and charming work. The audience responded with a standing ovation for Ms. Woo, Mr. Markov, and the ensemble. This work will no doubt become a cornerstone in the music festival in Gangwon Province that the dynamic Ms. Woo founded and where Shattered Glass will also perform.

Shattered Glass is a promising ensemble. With a core of such talented and enthusiastic young players, the future should be bright. With the growing popularity of such groups with similar missions, such as Brooklyn Rider and Alarm Will Sound, there is every reason to believe that Shattered Glass will enjoy commercial and artistic success. I look forward to hearing them again in the future.

by Jeffrey Williams for New York Concert Review; New York, NY

West Chester University of Pennsylvania School of Music Presents: Faculty Recital in Review

West Chester University of Pennsylvania School of Music Presents: Faculty Recital

Vincent Craig, piano, Stephen Ng, tenor, Dan K. Kurland, piano

Steinway Hall; New York, NY

April 18, 2013

In a performance originally cancelled due to Hurricane Sandy, West Chester University of Pennsylvania presented two of its faculty members in a shared recital at Steinway Hall. Vincent Craig is an assistant professor of piano and Stephen Ng is an assistant professor of voice.

Opening with J.S. Bach’s English Suite No. 3 in G minor, BWV 808, Dr. Craig showed he has a strong affinity for this work. The playing was everything one hopes for in Bach- attention to detail, clear articulation, balanced voicing, and a steady rhythmic sense. It was excellent throughout, and the highlight of his performances to this listener. His Chopin Ballade No. 1 in G minor was solid, but reflected a somewhat undifferentiated interpretation. The 2005 work Actions and Resonances by composer Alex Miller (b. 1982) followed. The composer writes, “the title describes the texture of the piece, which frequently features crisp, percussive gestures followed by pauses in which the sound is left to resonate momentarily before moving on.” Dr. Craig gave this interesting work a reading that was mostly in line with Miller’s description. There were some moments when it was not entirely clear that all was according to plan, and there were some rather awkward page turns that could have been avoided by having a page turner. In the end, the composer, who was in attendance, signaled his approval with demonstrative applause. Ending with Liszt’s St. Francis of Paulus Walking on the Waves, Dr. Craig captured the dramatic sense of this work without falling into the trap of making it bombastic. If anything, it was a bit too understated for my liking, but I did admire Dr. Craig’s consistency of style. The virtuosic elements were dispatched with ease in a performance that brought the audience to their feet in excitement. Dr. Craig is a thoughtful, meticulous player who does not “showboat”. Clarity of lines and attention to inner voices were features of his playing throughout. His students are fortunate to have a teacher with the ability not only to verbalize, but to demonstrate clearly his ideas and approaches to the music.

Dr. Ng began his selections with “Sweeter Than Roses” from Henry Purcell, accompanied by Dan K. Kurland. The music’s demands were well met with Dr. Ng’s sure technique in a highly polished performance. It was an auspicious beginning. Benedetto sia’l giorno and Pace non tovo from Liszt’s Tre sonetti del Petrarca, S.158 were then offered. These highly effective songs tax the pianist and the vocalist to the utmost in Liszt’s characteristic virtuosic writing. Dr. Ng was up to the challenge, with a soaring voice in the extreme registers that could be simply described as amazing. Mr. Kurland was commendable in his own right, navigating the challenges with skill. Nine selections from Clairières dans le ciel (Clearings in the Sky), a thirteen-song cycle taken from poet Francis Jamme’s Tristesses by Lili Boulanger (1893-1918) followed. Given the astonishing maturity of this work from Boulanger at age twenty, one cannot help but lament what might have been if not for her tragically early death at age twenty-four. Dr. Ng fashioned a performance that was mesmerizing from Elle était descendue au bas de la prairie to the ending, Demain fera un an. It is regrettable that Dr. Ng did not do the entire set, as he did in recital February 11, 2013 at West Chester University. It is a set that highlights his talents to the maximum, and I would highly recommend that any music lover hear him perform this song cycle. To close the program was Lensky’s Aria, Куда, куда вы удалились, весны моей златые дни (Where, where, have you gone, spring of my golden days?), from Tchaikovsky’s opera Eugene Onegin. Dr. Ng’s performance of it closed with the same energy and commitment with which he began. He is a superb singer and one whom West Chester University can be proud to call their own. It was gratifying to see the support from the West Chester University community and administration for both of these fine musicians.

by Jeffrey Williams for New York Concert Review; New York, NY

Distinguished Concerts International New York (DCINY) presents Calling All Dawns in Review

Distinguished Concerts International New York (DCINY) presents

Calling All Dawns

Distinguished Concerts Orchestra, Distinguished Concerts Singers International

Jonathan Griffith, Music Director; Eric A. Johnson, Geoffrey Paul Boers; Guest Conductors

Anonymous 4, Guest Artists

Avery Fisher Hall, Lincoln Center; New York, NY

April 7, 2013

Distinguished Concerts International New York (DCINY) is an organization that gives talented musicians and vocalists an opportunity to perform in world-class venues, often performing new works of both established composers and up-and-coming talents. Today’s concert was no exception; works from Mozart, Haydn, and John Rutter, with the New York premiere of Calling All Dawns, from new talent Christopher Tin, were on the program.

In what might have been called a pre-concert performance, Anonymous 4 opened with a set of six pieces done with the skill that has made then renowned. Possibly in keeping with the “anonymous” ideal, any information about these six pieces was withheld. It was a serious omission not to have the works named, in spite of the program noting “selections to be called from the stage”. In this day and age when everything should be done to enlighten audiences and enhance the concert experience, a golden opportunity to foster further interest was lost.

Mozart’s Regina Coeli K. 276 is a jubilant work that honors the Virgin Mary. The trumpets and timpani lend the otherwise largely string orchestration a festive quality that is in keeping with the celebration of Easter. There is a strong reminder of Handel’s Hallelujah chorus, although it is not known whether Mozart had seen Handel’s score prior the composition. Guest conductor Eric A. Johnson led a solid performance that featured High School and University singers from Illinois, Oregon, and California. Next came the Te Deum for the Empress Marie Therese of Franz Joseph Haydn. Johnson styled this performance with skill, conveying the work’s regal air and showing considerable attention to detail. The transitions to C minor and back to C major were particularly sensitively done. It seemed that conductor, orchestra, and chorus gained in confidence as the performance progressed.

John Rutter (b. 1945) describes his Gloria as a three-movement symphony that is “exalted, devotional, and jubilant by turns”. Guest Conductor Geoffrey Paul Boers took the podium and wielded his baton with the demeanor of a wizard preparing to hurl thunderbolts. From the arresting opening bars, one was put on notice that the Distinguished Concerts orchestra was pulling out all the stops, from the stunning brilliance of the brass playing to the electric energy in the percussion. It was especially enjoyable for this listener to hear these players shine so brightly, as I have almost always found them to be the equals of any I have heard anywhere. The exuberant orchestra overshadowed the chorus in the outer movements, where the latter simply did not project enough volume. Interestingly enough, the singers’ than full sound turned out to be a blessing in the 2^nd movement, where the chorus was actually quite radiant. In spite of these issues, it was an exciting, dynamic, and passionate performance that ended the half with a splash.

It must be a unique occurrence for a large-scale work to have its genesis from a theme written for a video game, but this is the case for Calling All Dawns, which was the only work on the second half. In conversation with Jonathan Griffith, composer Christopher Tin (b. 1976) told the story of how Calling All Dawns came to be. The opening movement, Baba Yetu, was composed as the theme for the computer game Civilizations IV. It was so popular in the gaming world that the music went “viral”, with countless requests for more pieces from the composer. Tin was inspired to write a large work that he described as a “four-year labor of love”. Calling All Dawns is a forty-five minute, twelve-movement work, with each movement in a different language (Swahili, Japanese, Mandarin, Portuguese, French, Latin, Irish, Polish, Hebrew, Farsi, Sanskrit, and Maori). The idea of a multi-cultural world where we are more similar than different was Mr. Tin’s stated goal. Mr. Tin has a gift for writing music that is immediately accessible in its tonal consonance, rhythmically vital, and appealing to the emotions. It is easy to understand why his music is so popular. One can detect similarities to other composers’ work (e.g. Karl Jenkins, Henryk Górecki in his Third Symphony, and Mike Oldfield, especially his Music of the Spheres), which might cause some to suggest the music is derivative, but I prefer the idea of a composer finding his voice. All these caveats aside, the pairing of Tin and DCINY is an ideal partnership, and it will be interesting to hear Mr. Tin’s next work, which DCINY will be premiering in 2014.

Conductor Jonathan Griffith was the master of the situation, as is the norm for this consummate leader and musician. Any composer should be thrilled to have him at the helm when his works are played. The orchestra had already been excellent this afternoon, but they saved the best for the last in a performance that was done with style and grace. The supporting chorus, with singers from Australia, the United Kingdom, Vermont, Illinois, Pennsylvania, and New York, was vibrant throughout with a strong performance that was not wanting in volume or passion. It was a joy to see the constantly changing soloists, from Anonymous 4, to others including members of the chorus who came forward and offered passionate performances. They were all stars today. When two Maori in tribal dress entered the stage in the final movement and not only chanted the Maori lyrics, but did a ritual dance, it was that special DCINY “touch” that I have come to expect from this fine organization. The audience reacted after the final notes with the loudest and longest standing ovation I have ever heard at any concert. Mr. Tin was called to the stage and the ovation became deafening. It must have been one of the proudest moments in his life and it was wonderful to see. It’s an image I will not soon forget. Congratulations to DCINY for another winning performance.

by Jeffrey Williams for New York Concert Review; New York, NY

The Klopotic-Pierce-Zoering Trio in Review

Light and Sound Presents

The Klopotic-Pierce-Zoering Trio

Julianne Klopotic, violin; Joshua Pierce, piano; Lawrence Zoering, cello

The Old Stone House; Brooklyn, New York

April 4, 2013

Founded by violinist Julianne Klopotic, Light and Sound bills itself as a “full-spectrum music performance series.” From the experimental to the classic, with jazz/rock and world music in between, Light and Sound is in residence at the Old Stone House in Brooklyn for the 2013 season. The Old Stone House is a very intimate venue. The feeling is very much like the 19^th century salon, with seating for a small audience in immediate proximity to the performers. The acoustics are remarkably good for a stone building constructed in the 17^th century. The small but enthusiastic audience was treated to a performance of Franz Schubert’s Piano Trios by the Klopotic-Pierce-Zoering Trio.

These three performers each have extensive and impressive resumes as soloists. What always remains to be seen is the end result of joining such strong personalities as an ensemble. Sometimes it does occur that the whole is less than the sum of the parts, but I am pleased that this was not the case for this trio.

The first half was the Piano Trio No. 1 in B-flat Major, Op. 99 (D. 898). This work was started in 1827 and finished in 1828, the last year of Schubert’s life. From the opening notes of the Allegro Moderato, the trio took an assertive and confident direction with its strong, full-bodied sound. For a small venue, this was especially bold, declarative playing, led ably by the energetic pianist Pierce. It was highly satisfying. Klopotic has a very rich, singing tone that captured the optimistic essence of this movement. Zoering’s solo in the Andante poco mosso was played with artistry. There were some rough edges at the end of this movement, but it did not spoil the overall effect. The Rondo finale was played with gusto to the last.

The performers are to be commended on their level of concentration considering the less-than-exemplary behavior on the part of some listeners. Several of the audience members were recording the performance with their mobile phones held in the air facing the performers, while one very enthusiastic listener “conducted” by waving her arms a la Leonard Bernstein throughout the entire work, at a distance of maybe three or four feet from Klopotic. Perhaps one should be grateful for the fact that she actually kept an accurate beat!

The second half was dedicated to the nearly hour long Piano Trio No. 2 in E-flat major, Op. 100 (D. 929). This work, completed in November 1827, was one of the few late works that Schubert actually heard played in his lifetime. The second movement theme is well known for its prominent use in the movie Barry Lyndon; so much so that the association is as strong as the use of Mozart’s Andante movement of K. 467 is to the movie Elvira Madigan. The thematic material in this trio is extensively developed and requires tremendous attention to detail. The trio mostly met the challenge, continuing their bold approach in the opening Allegro. It was extroverted playing from completely involved players. The sublime Andante con moto was met with nodding heads and smiles from the audience, who no doubt felt the pleasure in recognition of the theme. The Scherzando was played with care but also some small issues of ensemble- -fleeting in the grand scheme of things. The Allegro Moderato finale proved the players indefatigable, with a tremendous drive that built in intensity, to the delight of the same audience members so moved by the finale of the B-flat trio. After the final E-flat chord sounded, there was a moment of silence, after which the bemused Pierce called out, “That’s it!” The audience responded with a loud, prolonged standing ovation that surely was gratifying to the trio. It was a fitting end to an excellent concert. They encored this program on April 6, 2013 at the same venue.

The Klopotic-Pierce-Zoering trio is a fine ensemble. I do hope to have the opportunity to hear them again in the future.

by Jeffrey Williams for New York Concert Review; New York, NY

Hristo Popov, violin; Per Enflo, piano in Review

Hristo Popov, violin; Per Enflo, piano

Weill Recital Hall at Carnegie Hall; New York, NY

March 13, 2013

Violinist Hristo Popov and pianist Per Enflo have an extensive performance history as a duo, including many recordings and recent performances of all ten Beethoven violin sonatas. Eastern Europe was the focal point of their recent concert, with music from Bulgaria, Romania, and Hungary.

The first half of the program consisted of two works by the Bulgarian composer Pancho Vladigerov (1899-1978). Vladigerov was one of the founding fathers of modern Bulgarian music and many believe him to be the most influential Bulgarian composer ever. Chant, from the Bulgarian Suite, Op. 21, No. 2 opened the concert. This work, by a 28-year-old Vladigerov, is a good example of the composer’s evolution towards a national musical idiom based on folk material. The violin part has an improvisatory quality throughout. Mr. Popov played with sensitivity and his singing tone in the high register was unfailingly exceptional. Mr. Enflo was an attentive partner throughout. The rippling piano passagework over the pianissimo trill of the violin and gradual fade to final silence were striking. It was an auspicious start.

The earlier Violin Sonata in D Major (Op.1) is unabashedly romantic in its tonal language and form. It is a work that owes much to the Russian tradition, especially to Tchaikovsky. Mr. Popov navigated the rapid changes in moods in the opening Agitato movement with confidence. The second movement’s long piano introduction and extended solo in mid-movement allowed Mr. Enflo a starring role. The jaunty final movement was played by the duo with energy and panache in a stylish ending.

The second half opened with the Violin Sonata No. 3 in A minor, Op.25, by Georges Enesco (1881-1955). Subtitled “Dans le caractère populaire roumain”, this is an expressive, melancholic work presenting challenges that are not immediately perceived by the average listener. Pianist and violinist are both “treated” to fiendish difficulties in what could be called “high-risk/low reward”- not an enticing prospect. Mr. Popov conveyed the lament of the first movement, the haunted dreams and poltergeist-like sounds of the second movement, and the grotesque, mocking march of the finale with intelligence and consummate skill. It would be so easy for a lesser player to lapse into over emotive despondence and turn this work into a mishmash of cheap effects better suited for a silent film soundtrack. This was a performance that separated the men from the boys, so to speak. It was the highlight of the concert, and it was especially gratifying to see the audience react with such enthusiasm.

Rhapsody No. 1 for Violin and Piano, Sz. 87, from Béla Bartók ended the program. Dedicated to the legendary Hungarian violinist Joseph Szigeti, the Rhapsody uses the slow–fast (lassú—friss) paired movements of the popular Hungarian dance verbunkos. The Lassú is folk music given Bartók’s characteristic treatment and was played by Mr. Popov with charm. The Friss movement continues the folk element, with one tune having a passing resemblance to “Simple Gifts”- a la Bartók, of course. The duo built momentum to a frenzied pitch. A temporary respite in the form of bell-like tones on the piano set the stage for a winding up of the momentum once again. Mr. Popov played with fire, and the final cadenza-like passage had true demonic flair. It was an outstanding performance from start to finish.

Hristo Popov is a musician’s musician. Eschewing any empty showmanship, he invests his considerable skills in giving performances that place substance over effect. It might not always be exciting to watch, but whatever “excitement” the eyes have been denied, the ears have not. He has a worthy collaborator in Mr. Enflo and it would be a pleasure to hear this fine duo in the future.

by Jeffrey Williams for New York Concert Review; New York, NY

MidAmerica Productions presents “Vienna Meets Paris” in Review

MidAmerica Productions presents “Vienna Meets Paris”

Patrick Gallois, flute; Maria Prinz, piano

Weill Recital Hall at Carnegie Hall; New York, NY

March 4, 2013

Patrick gallois and Maria Prinz

French flutist Patrick Gallois and Vienna- based pianist Maria Prinz combined their talents in a program called “Vienna Meets Paris”, the first half dedicated to Vienna, and the second half, Paris. Their no-nonsense manner upon entering the stage reflected the lives of busy professionals, but from the first sterling tones it was obvious that this was going to be something memorable.

Opening with Mr. Gallois’s arrangement of the Sonata in F major, K. 376 of Mozart, the duo gave notice that they were one with this piece, which one might expect as they have recently recorded this work for Naxos (http://www.naxos.com/catalogue/item.asp?item_code=8.573033). Ms. Prinz, who has collaborated with other prominent flutists, never allowed her playing to become overpowering, even though the piano was on the full stick. It is also a credit to Mr. Gallois that he projected his playing with such ability that he was never in any danger of being covered. Mr. Gallois has a full-bodied tone that sings and soars, but never allows any overblowing. He also has an assured technique that allows him to make short work of difficult passages. It was an auspicious start.

Beethoven’s National Airs with variations, Op.105 and Op. 107 were commissioned by the Scottish folk-song collector and publisher George Thompson. A Schüsserl und a Reindel, Op. 105, No. 3 and St. Patrick’s Day, Op 107, No. 4, were featured. As per the request of Thompson (“You must write the variations in a familiar, easy, and slightly brilliant style, so that the greatest number of our ladies can play and enjoy them”), Beethoven gives the pianist the bulk of the difficulty in some brilliant writing. Even “easy” pieces can be dangerous, but Mr. Gallois did not fall into this trap. He played with finesse, adding his own touches of brilliance, while Ms. Prinz’s star shone brightly in what really are piano works with flute added. Ending the first half, three Schubert songs, Gute Nach, Das Fischermädchen and Ständchen, as transcribed by Theobald Böhm (1794-1881). Böhm, who can be considered the father of the modern Western flute and the corresponding fingering system still In use, did for the flute what Liszt did for the piano in his transcriptions of these songs. Mr. Gallois and Ms. Prinz played these songs with flair, but also with sensitivity. It was a thoughtful and melodious departure from Vienna.

The second half took the listener to Paris with three works by French composers written explicitly for the flute. Philippe Gaubert (1879-1941) wrote in the style of his great contemporaries Franck, Debussy, and Ravel. His Sonata for Flute and Piano No. 2 is unmistakably impressionistic in its tonal form and written with idiomatic detail that one would expect from one so familiar with the flute. Mr. Gallois captured the singing lines, the magical, and the mystical with what seemed to be the greatest of ease. This is not at all surprising considering the connection Mr. Gallois has with this work. The baton has been passed through the generations when considers the musical genealogy – Gaubert to his student Marcel Moyse to his student Joseph Rampal, to his son Jean-Pierre, to Jean-Pierre’s student Gallois.

La merle noire (The Blackbird) from Olivier Messiaen followed. Written in 1952 as a test piece for the Paris Conservatoire, this short composition was one of Messiaen’s earliest works to use the concept of notated birdsong, which was a life-long fascination of him. Mr. Gallois captured the warbling element with great imagination, and both he and Ms. Prinz conveyed its dizzying effects in a captivating performance. The Sonata for Flute and Piano by Francis Poulenc closed the program. This work is among the best-loved and most frequently performed works in the flute repertoire. It was composed with Jean-Pierre Rampal in mind. In his memoirs, Rampal mentions a phone call from Poulenc- “Jean-Pierre,” said Poulenc, “you know you’ve always wanted me to write a sonata for flute and piano? Well, I’m going to, “he said. “And the best thing is that the Americans will pay for it! I’ve been commissioned by the Coolidge Foundation to write a chamber piece in memory of Elizabeth (Sprague) Coolidge. I never knew her, so I think the piece is yours.” Brimming with brilliance, this work is vintage Poulenc, and a successful performance requires a player who can “do it all”. Mr. Gallois brought out the bursts of optimistic energy with confidence in the first movement, the longing, wistfulness of the second movement, and the joyous whimsy of the “off to the races” finale. Ms. Prinz was with him every step of the way. Played with élan, it was a winning performance. Encores followed, of which I especially liked the “Meditation” from Massenet’s Thaïs, played with delicate beauty.

A final thought – it was particularly striking how synchronized Mr. Gallois and Ms. Prinz were throughout. It was as if they were of the same mind, a “mind-meld” that found them in perfect ensemble without any visual contact or physical cues such as nodding. I have seen other duos that had excellent rapport, but this was truly something above and beyond the norm. This is a pairing that has unlimited potential if they decide to continue as a duo.

by Jeffrey Williams for New York Concert Review; New York, NY

MidAmerica Productions presents Irrera Brothers in Review

MidAmerica Productions presents Irrera Brothers

John Irrera, violin; Joseph Irrera, piano

Weill Recital Hall at Carnegie Hall; New York, NY

February 22, 2013

Irrera Brothers at Carnegie Hall

The Irrera Brothers, violinist John, and pianist Joseph, list many credentials separately as soloists, but in Weill Hall this February they joined together in a performance as a duo. It is always interesting when talented soloists play together, but when they are siblings, there is an additional layer of interest. One would expect a connection between the players that would be hard to match. By and large, I found this to be the case.

Beethoven’s Sonata for Violin and Piano in G major, Op. 96 opened the program. There were balance issues at the very beginning, with the piano covering the violin, and the playing was somewhat tentative. The notes were all there, and there were moments of beauty, but I was hoping for more. Perhaps there was some nervousness at first. The Chaconne in G minor from Italian composer Tomaso Antonio Vitali (1663-1745) followed the Beethoven and whatever nerves might have present prior had happily abated. The balance was excellent, the shaping of the dramatic lines was strongly realized, and the brothers were right with each other as they built the tension into a fever pitch.

The second half opened with the World Premiere of “Bow Shock” by Russell Scarbrough (b. 1972). Written for the Irrera Brothers in 2012, this is a work that showcases their individual and duo talents to the hilt. The composer in his program notes stated, “the term ‘Bow Shock’ comes from the field of aerodynamics and refers to a curved shock wave that proceeds a solid body moving through the atmosphere at supersonic speeds. It’s a great image for this music…and I couldn’t resist the double-entendre with the word ‘bow’.” It is a jazz-tinged, driving, hyper-energetic work that invites the listener to fasten his seatbelt for the ride. It was a win-win-win: the Irreras can be well pleased that this work shows them to such great advantage. Scarbrough should be delighted with such accomplished musicians giving his music such a dynamic performance. Finally, the listener gets the best of both worlds! After this wild ride, it was time to come back to earth with Three Romances for Violin and Piano, Op. 22 from Clara Schumann (1819-1896). These works were composed as a gift for the legendary violinist Joseph Joachim. These pieces might at first glance seem light works for the salon, but they require subtlety from the violinist and pianist alike. The Irreras clearly grasped this concept and delivered a performance full of grace, wit, and charm. Ending the program was the Sonata for Violin and Piano in D major, Op. 94a by Sergei Prokofiev (1891-1953). Originally scored for flute and piano, it was modified for violin by the composer at the request of his close friend, the great violinist David Oistrakh. This work, although “classical” in form, is unmistakably Prokofiev with its humor, lyricism, and driving energy. The Irreras evidently have a special affinity for this work, as it was a riveting performance. It was the highlight of a very successful concert.

The brothers offered two encores, The first was an arrangement of Chopin’s Nocturne in E-flat major, Op. 9, No. 2 (“for Chopin’s birthday,” stated Joseph Irrera, although Chopin himself always stated his birth date as March 1). The second was “Danse espagnole” from Manuel de Falla’s La Vida Breve, as arranged by Fritz Kreisler in 1926.

by Jeffrey Williams for New York Concert Review; New York, NY

Na Young Kim in Review

New York Concert Artists and Associates presents

Na Young Kim, piano

Merkin Hall, Kaufman Music Center; New York, NY

February 21, 2013

Na Young Kim

Winner of numerous competitions, appearances throughout the world, and the full complement of degrees and diplomas from Seoul National University, New England Conservatory, Cleveland Institute of Music, and The Ohio State University, pianist Na Young Kim gave her New York debut on February 21, 2013 at Merkin Hall.

The first half of the program was all Beethoven, the Andante favori, WoO 57, and the Sonata No. 32 in C minor, Op. 111. The Andante Favori was originally intended as the middle movement of the “Waldstein” Sonata, but Beethoven replaced it with a shorter movement after being criticized for the length of the sonata. As it stands on its own, the decision was well considered and served to improve the dramatic effect of the “Waldstein”. As for the name Andante Favori, Beethoven’s famous pupil Czerny stated, “because of its popularity (for Beethoven played it frequently in society) he gave it the title Andante favori (“favored Andante”). Ms. Kim gave a controlled and confident performance, bringing out the singing tone without allowing its charms to degenerate into something cloying. It was a good start to the evening. The Sonata No. 32 in C minor, Op. 111, Beethoven’s final piano sonata, is a work overflowing with stormy drama and transcendent beauty. With a rich performance history, including many of the legends (e.g. Richter, Kempff, Arrau), its programming begs the question of what a new performer is going to “bring to the table”. Happily, Ms. Kim showed herself to be up to the challenge. The opening movement, Maestoso – Allegro con brio ed appassionato, was rendered by Ms. Kim with driving energy, clarity of lines and balance, and excellent pacing throughout. The second movement, Arietta: Adagio molto, semplice e cantabile, was played with steady restraint. Ms Kim showed herself to be a player who patiently brings out Beethoven’s transcendent writing with understanding of the architectural and dramatic demands of this movement. Her pianissimos were amazingly clear, even capturing a music-box sound near the end of the work. It was an inspired performance of one the greatest works of the piano repertoire.

The second half consisted solely of Rachmaninoff’s popular Sonata No. 2 in B-flat minor, Op. 36. Originally composed in 1913, it was revised by the composer in 1931. It is the version that is most often performed today (in addition to that of Vladimir Horowitz, who with Rachmaninoff’s consent made a hybrid version of the 1913 and 1931 versions in 1940). It is a work requiring power, passion, and tremendous technique, which Rachmaninoff had in abundance. Was Ms. Kim up to the demands? From the ferocious way she attacked the opening bars, it was obvious that she was. Sterling technique throughout, power without pounding, and strong dramatic sense abounded in Ms Kim’s reading, making it all seem so easy, perhaps too much so. It was an “A” performance that could have been “A+” with a touch more fire, but a performance of which Ms Kim can well be proud.

Ms. Kim projects an image of calm inner confidence. Everything seems to have been well thought out, planned carefully, and executed with the utmost precision. Not for a moment did she ever appear to be anything but completely in control, which may have led a visually oriented audience to fail to give her the proper respect for her technical prowess. There is little doubt that Ms. Kim has the technique and the intellect to tackle all challenges, but if I had any suggestion, it would be that she could take a few more risks and savor the adventure of her already excellent playing.

For encores, Ms. Kim played the Chopin’s “Minute” Waltz with sparkle and Robert Schumann’s Träumerei from Kinderszenen with tenderness. It was a gentle end to a memorable concert. Na Young Kim is a musician to watch.

by Jeffrey Williams for New York Concert Review; New York, NY

Bluegrass 57@7: The Music of Pepper Choplin, Joseph M. Martin, and Carol Barnett (DCINY) in Review

Distinguished Concerts International New York (DCINY)

Bluegrass 57@7: The Music of Pepper Choplin, Joseph M. Martin, and Carol Barnett

Distinguished Concerts Singers International, Monroe Crossing, Guest Artists

Stern Auditorium, Carnegie Hall; New York, NY

February 18, 2013

Distinguished Concerts International New York (DCINY) : Photo credit: DCINY Production/Hiroyuki Ito

In a concert with the title “Bluegrass 57@7” (the 57 referring to 57^th Street, the location of Carnegie Hall, and the 7 referring to the 7:00PM start time), Distinguished Concerts International New York (DCINY) presented a program dedicated to the Bluegrass genre and its various sub-genres. Featuring Bluegrass quintet Monroe Crossing, it had the makings of an interesting and educational evening.

The first half featured the vocal music of composers Pepper Choplin and Joseph M. Martin, with the able support of Monroe Crossing. I do believe the most accurate description of the selections presented would be Bluegrass Gospel. The music was mostly joyful and almost always tonally consonant. Indeed, no dodecaphonists were harmed in the making of this music. Each composer conducted his own works. Highlights of Mr. Choplin’s pieces were the anthem-like “Circle of Love”, featuring the talented vocalist Emily Drennan, and the electrically-charged energy of “Joy on the Mountain”. Mr. Martin’s “Coming Home” with soloist Sue Martin’s emotional vocals was touching. Then the ebullient Martin waved Choplin back to the stage, handing him the conductor’s baton as he took to the piano for his own “Great, Great Morning.” It had the feeling of a revival meeting. It brought the first half to an exuberant close.

The second half opened with selections from Monroe Crossing. Monroe Crossing takes its name as homage to the “father of Bluegrass” Bill Monroe and the fact that his music was the common thread that brought the group together (“we crossed paths through the music of Bill Monroe”). Mandolin player Matt Thompson regaled the audience with stories about the group and its members with both humor and humility. in what was probably a well-rehearsed part of Monroe Crossing’s regular performances. All showmanship and shtick aside, when this ensemble got down to the business of playing, they showed themselves to be not only committed to the art of Bluegrass, but also possessing some serious “chops” as well. The energy was infectious as they played four signature works. All four pieces were crowd pleasers, but the last called “Bullet Train” was just pure fun from start to finish, and the audience roared its approval.

The final work on the program, Carol Barnett’s The World Beloved: A Bluegrass Mass, was composed with the talents of Monroe Crossing in mind. Matt Thompson told the audience about the challenges Monroe Crossing faced when first receiving their parts. Not all Bluegrass musicians read notated music, as the art of Bluegrass is largely improvisatory, so this “jumble of dots” was a challenge that was overcome by having each player learn his part by listening to a recorded version. After much hard work, the parts were mastered, and Monroe Crossing has performed this work about “40 times”, according to Thompson. Composer Carol Barnett stated, “My highest hope is that listeners coming from one tradition, classical or bluegrass (and perhaps dubious about the other), might discover something new and wonderful in the combination”. It was an interesting thought and a worthy goal, but one also might feel that neither classical nor bluegrass enthusiasts would be fully satisfied by the end result. The work is quite moving in sections, and the addition of Monroe Crossing added color, but it is open to debate how much “Bluegrass” was present amid some of the more sophisticated rhythms. Marisha Chamberlain’s libretto is quite provocative in sections, including an unconventional Credo, the thinly veiled 9/11/01 reference in the third verse of the ballad, and the feminization of God in the Conclusion. Conductor Nancy Menk was charged with the challenge of bringing this interesting concept to life, which she did with marked ability. Any reservations I might have had were of no concern to the audience, who responded with a prolonged standing ovation. The Gloria was repeated as an encore to the delight of the audience. Ms. Barnett and Ms. Chamberlain joined the conductor on stage for bows.

by Jeffrey Williams for New York Concert Review; New York, NY