Lloyd Arriola, piano

Weill Recital Hall at Carnegie Hall, New York, NY

April 3, 2016

The pianist Lloyd Arriola picked an intriguing program at Carnegie’s Weill Recital Hall: two world premieres, his own composition in homage to Arthur Rubinstein, and works by Liszt and (as many historians agree) his piano-virtuoso successor, Ferruccio Busoni. The Liszt and Busoni pieces were two massive concert works on the first half of this recital: Liszt’s Grosses Konzertsolo in its alternative version (1849-1850), and Busoni’s Grosse Fuge (1909-1910). Both of them tend to–as Mr. Arriola puts it in program notes–“go on for a bit”, and that proved to be an understatement, especially when the works are sometimes performed with a lack of contrasting dynamics and direction/flow in the phrasing, as was in the case here. The Liszt is more of a technical showpiece, with left-hand arpeggios galore, but lacking inspired melodic lines and thematic development. The Busoni work is very cerebral, with music that is always developing its idea. Indeed, when Mr. Arriola talks to the audience, he comes across as an academic himself–discussing the history of the compositions. When he was playing the Busoni, it came from that standpoint; he seemed to be studying and admiring the pages intensely, but forgetting to insert contrasting dynamics and shade subsidiary counterpoint. In Mr. Arriola’s notes, he said that it is very unlikely that this early version has ever been performed in New York, and that Busoni apparently allowed G. Schirmer to make only 100 copies of the work, adding that he is not clear why. I have an inkling. The sparse audience seemed perplexed by this work, and after intermission, Mr. Arriola half-apologized for its length and even its character. But Mr. Arriola redeemed himself with a second half that was much more appealing in content.

Opening the second half was a world premiere composed in 2015; Michael Sayers’ charming tone-poem entitled A Buried Dream of the Heart that had the exact tonality and grandiosity of a Liszt piano work, but thankfully not the longevity. Mr. Arriola played it well. In the following work, a meditation on death called Thanatopsis (also a world premiere), composer Charles Hulin IV employs more 20th century sonorities and intervals (many 4ths and 5ths). It was brief but complete in structure, although the end felt abrupt–which was the point. Mr. Arriola gave it a subtle rendering with lovely contrasts of dynamics and phrasing. Mr. Arriola’s own composition, his Concert Piece in E-flat Minor (1986, revised 2010) is another look back to the virtuosity of Liszt, Chopin and even Beethoven, but in this case, I don’t mind it as an original composition because it’s an homage to the incomparable Arthur Rubinstein, who performed the works quoted here. Other than a repetitive left hand with never-ending arpeggios, I think it works and could have some staying power–especially when it comes to Rubinstein tributes. With regards to future programs, Mr. Arriola might consider performing this work alongside full renditions of works that Rubinstein adored.

“Leonard Bernstein Remembered” in Review

Lloyd Arriola, Pianist and Musical Director

Christ and St. Stephen’s Church, New York, NY

October 14, 2015

Nearly four years after reviewing pianist Lloyd Arriola in an excellent New York debut recital (marking the 200^th anniversary of Liszt’s birth: Lloyd Arriola-pianist-in-review), it is a pleasure to review him again, now in the rather different role of musical director for an ambitious tribute to Leonard Bernstein. On this 25^th anniversary – to the day – of Bernstein’s death, Mr. Arriola served as producer, collaborative pianist, and occasional vocal complement to twenty accomplished singers in selections from Bernstein’s operettas, musicals, and other vocal works. It was apparent what a labor of love and expense it must have been for him to coordinate and rehearse so many singers from near and far. He spoke briefly of being a student at Peabody Institute when the news of Bernstein’s death broke, of the shock, and of the 25 years since then, culminating in this concert.

The evening began with a procession of nearly twenty singers to the front of the church, a formidable array one assumed to be the complete personnel until statuesque contralto Nicole J. Mitchell made her dramatic entry from the back, singing Bernstein’s “Somewhere” from West Side Story as she walked. It was one of the most haunting renditions I’ve heard, and I’ve heard many. An emotional tone was set for the evening.

“A Simple Song” from Bernstein’s Mass followed, sung with beautiful clarity by baritone, Sam Fujii. There was a good alternation of solo, duo, and ensemble textures throughout the evening, and “Readings” (from the funeral scene of the opera A Quiet Place) came next, enlisting the forces of seven of the evening’s stars. It is difficult to pull such a scene out of the context of the musical in a way the audience can fully understand, because, even though in English, the lyrics intertwine among voices; that said, one appreciated the exceptionally clear diction by tenors, Marcos D. Vigil and Lawrence Rush. The performance prompted one to explore this whole work more deeply.

From the funereal to the lighthearted, the evening progressed to “Carried Away” from On the Town, sung by Erika Person Werner and Eric Werner – not surprisingly a duo with a strong and appealing rapport. They projected its giddy subject matter with flair. On a similarly comical note (and also from On the Town) came “Carnegie Hall Pavane” a jazzy sendup of singing lessons. Mezzo-soprano Christine Thomas and soprano Barbara Porto brought out the campy fun. Of course On the Town has its melancholy numbers too, and “Some Other Time” is one. Ms. Thomas joined a quartet with Alison Davy, David Bell, and Lawrence Rush, in a moving performance. The musical sighs of “oh, well” conveyed the song’s sense of resignation with special poignancy.

“A Little Bit in Love” from Wonderful Town, featured Ms. Davy again in a strictly solo capacity. She was thorough and convincing, sensitive to both theatrical elements and phrasing. She teamed up with Ms. Thomas afterwards in a winsome rendition of the clever number “Ohio” (“Why, oh why, Ohio?” – also from Wonderful Town).

No Bernstein tribute would be complete without selections from Candide, and indeed we had two. The first was “Glitter and Be Gay”, a coloratura showstopper requiring a singer to be Queen of the Night and a Rockette all rolled up into one. Soprano Kinneret Ely was both, giving a high-energy performance. “We are Women” followed with more comedy, teaming up Jessica Fishenfeld with Ms. Thomas, who had already had quite a busy night but was showing no signs of flagging. Their mincing gestures to the lyrics about “little, little women” were hilarious.

Returning to music from West Side Story, we heard the touching “One Hand, One Heart” sung movingly by the duo of Amy Palomo and Marcos D. Vigil. It was followed by “Tonight” in a rousing quintet version. Bernstein’s range was especially striking throughout this program, but then again, that range typified everything about the late maestro’s musical life.

After intermission, we heard the only piano solo of the evening, the 3^rd of Bernstein’s Four Anniversaries, played with tender expressiveness by Mr. Arriola. He accompanied beautifully throughout the evening, but it was good to hear him in solo performance. Dedicated to Stephen Sondheim, the piece served as a prelude to the evening’s only non-Bernstein song, Sondheim’s “I Remember” – sung with heartrending nostalgia by special guest, Rosemary George.

The brooding continued with “Lonely Town” (from On the Town), sung with a powerful sense of desolation by baritone Gustavo Morales, and “Morning – Good Morning” (from A Quiet Place), given an eerie otherworldly quality by soprano Joyce Yin. Two songs from Peter Pan were equally ethereal, including “Dream With Me” sung by outstanding countertenor Daniel Gundlach and “Build My House” given a fine performance by soprano Lotte Crayton.

“Duet for One – First Lady of the Land” (from 1600 Pennsylvania Avenue), is just the challenge that the title suggests – one singer, in this case Lindsay Blackhurst, handling two roles alternately in one song. It was well done, though perhaps some exaggeration of the different inflections or accents could have helped even more than the comic prop of a liquor flask. The alternations can be a bit hard to follow if one blinks, unless one is completely immersed in this musical (and few are, as it was famously a flop on Broadway). Two ensemble works followed, “Nachspiel” from Arias and Barcarolles, and “To Make Us Proud” (from 1600 Pennsylvania Avenue) with Lawrence Rush as Theodore Roosevelt. They capped off a highly successful program with spirit.

All in all, this concert broadened one’s understanding of the late Leonard Bernstein greatly, while naturally leaving room for much more. As Mr. Arriola stated in his emotional conclusion, the 100^th Anniversary of Mr. Bernstein’s birth is approaching in 2018, and plans for more are afoot. Mr. Arriola has a track record of surpassing himself, so one looks forward to the next venture.