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The Mirror Visions Ensemble in Review

‘Concert a la Carte’

Merkin Concert Hall, New York, NY

November 9, 2010

The Mirror Visions Ensemble

In a most delectable concert, the Mirror Visions Ensemble presented an evening of music as it relates to cuisine. The program opened with soprano Vira Slywotzky, tenor Scott Murphree and baritone Jesse Blumberg appearing from behind the audience and walking down the aisles—a lovely touch—sentimentally and endearingly singing Cole Porter’s “Come to the Supermarket in Old Peking.” The vocal trio sang beautifully in tune and with great unity of humor.

After the Porter, the trio rotated in a series of solo numbers. The composer Christopher Berg was present for his “Carrot Jingle”—lyrics by Joan Van Poznak—and he could not have received a better performance by Scott Murphree. The trio reconvened for a performance of “Bread” from “The Baker’s Wife” by Stephen Schwartz. They were stellar once again, as the exaggerated diction at the ends of words like ‘bread’ brought great character and clarity to the song, and the heavenly falsetto chord at the finish was perfectly on pitch.

Other highlights included a sassy reading of “Riesling d’Alsace at the Brasserie” by Yehudi Wyner and Bernstein’s “Rabbit at Top Speed”, sang with polish and commitment by Murphree and Blumberg. Slywotsky’s interpretation of “Daliah’s Soup”—with charming music by Martin Hennessy and lyrics by a New York City School student—combined to make a memorable performance.

It was smart to exclude an intermission, as there would be limitations to a full program about food. The length was just right. Richard Pearson Thomas’ “Tuna Supreme” was fun—if somewhat repetitious with regards to text, and his larger work “Know thy Farmer,” which received its world premiere, was a great success. Here, to add some needed variety to the evening, Thomas added a trio of instrumentalists to the trio of vocalists: violinist Harumi Rhodes and cellist Alberto Parrini (along with Thomas himself on piano). The music was well-played and well-balanced, as the piano trio stayed sotto voce and emerged only when they needed to. There were Brahmsian/ Neo-Romantic touches in the “Passacaglia and Chorale: Pasture”, and complex and exciting fugal passages in the finale: Clean Plates Don’t Lie”—and other moments of sincere expression or excitement that didn’t always go with the partly mundane, simple text—but therein lies some of this work’s humor; some selections were from menu listings, after all.

The audience came out in droves for this terrific concert by The Mirror Visions Ensemble, and everyone seemed to leave the hall happy… and hungry.

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

Amael Piano Trio, in Review

Amael Piano Trio, in Review

Tatjana Ognjanovic, piano

Volodja Balzalorsky, violin

Damir Hamidullin, cello

Weill Recital Hall at Carnegie Hall, New York, NY

November 13, 2010

Amael Trio

A top-notch ensemble, the Amael Piano Trio, was presented this weekend under the auspices of the Spectrum Chamber Music Society, with the support of the Ministry of Culture of the Republic of Slovenia. In a program of 20^th-century Slovenian music (first half) and Beethoven’s Piano Trio in B-flat, Op. 97, the “Archduke” (second half), they brought unity and vigor to both old and new.

The Amael Trio, based in Ljubljana, states in its biography (in addition to mentioning traditional repertoire) that it is “dedicated to performing contemporary works, and to the promotion, internationally, of Slovenian composers of piano trio literature.” They did an excellent job of just that in their Saturday evening program, and though only the pianist and violinist are natives of Slovenia (the cellist hailing from Russia), they represented Slovenia with honor. They might add to their biography that they also promote some non-trio works, as there was a violin solo included on their program; considering that each of the three players is of such strong individual ability, they might want to incorporate some solos or duos by the pianist and cellist as well. It would be a welcome addition.

The concert opened in an intensely dark vein with “Maestoso Lugubre” by Lucijan Marija Skerjanc (1900-1973). Composed in 1935, the work is actually the last movement of this composer’s Piano Trio, though Skerjanc himself suggested that it be performed as a single work. From the very first solo cello notes by Damir Hamidullin, a somber lyricism pervaded, deepened by each player’s entry. The synchronization was marvelous, particularly in the string doublings (which can so easily sound “off” but were never so). All three blended in a way that was rich and warm, but also translucent, like the sonic equivalent of amber. The pianist, Tatjana Ognjanovic, managed to be the perfect foundation and “glue” for the trio without any suggestion of dominance even with the Steinway lid up.

Violinist Volodja Balzalorsky came onstage next as soloist in “Something Wild” by Nenad First (b. 1964). Mr. First, though born in Zagreb, lives and works in Slovenia. “Something Wild” is pretty much what its title suggests, a rhapsodic, virtuoso violin showpiece with a rough, rustic streak (plenty of fifths) and dizzying speed (think Bartok meets Paganini). Seemingly fiendishly difficult in parts, it was the compulsory violin work in the 2005 International Johannes Brahms Competition. While I cannot profess to love the piece, it was an intriguing break from the trios and certainly an opportunity for Mr. Balzalorsky to shine.

The first half concluded with the trio performing “Five Short Pieces” by Milko Lazar (b. 1965). Dedicated to the trio in 2001, it is a work of great variety within concise, classically restrained movements, each contrasting with the last (arranged as fast, slow, fast, slow, fast). The performance was one of extreme precision, and it would be hard to imagine it being played more convincingly than it was by this tightly knit ensemble.

Beethoven’s “Archduke” Trio, a masterpiece that is reason enough to go to any concert, was given a fine, mostly polished performance for the evening’s close. Performers are unfortunately subject to the accumulated preferences of a listener when performing such an established masterpiece, and I felt it was slightly unsettled in parts. Occasionally it was a matter of simply needing more agogic placement of downbeats (as in the first movement’s initial move to G major, where a more settled metric feeling can enhance ensuing rhythmic surprises), but other times (as in the magnificent third movement) it seemed that the pursuit of momentum was undermining the overarching grandeur of the work. All in all, though, it was a fulfilling musical evening, and this is a superb ensemble, which I hope to hear again.

by Rorianne Schrade for New York Concert Review; New York, NY

Daniel Seigel, baritone in Review

Daniel Seigel, baritone in Review

Lester Seigel, piano

Weill Recital Hall, New York, NY

November 6, 2010

Daniel Seigel

Daniel Seigel is the 2009 winner of the National Federation of Music Clubs Young Artist Competition. His debut concert on November 6 at Weill Recital Hall was made possible by the Charles and Francis Christmann Estate. (One assumes a connection between the Competition and the Estate.) His rather idiosyncratic program showcased his many gifts and skills and built to a wonderful climax.

Let it be stated at the start: Mr. Seigel is an excellent singer. Apart from an occasional slight instability, especially on soft notes at the ends of phrases, and a somewhat stiff physical presentation at the beginning of the program, (both due to nerves, no doubt) he displayed mastery of his craft. The voice is warm and rich with a nice spin, which allows him to glide effortlessly between registers. His diction is excellent in English, French, German and Italian, and he sings with strong emotional commitment. Mr. Seigel was expertly accompanied by his father, Lester Seigel.

The program began with “L’Ultimo ricordo,” by Rossini. Unfortunately no translation of the Italian was provided. At the end of the program notes, however, we are told that the song is “about a dying man who returns a pressed flower to his wife that he had kept since their wedding when she carried it.” This brings me to a paragraph which should perhaps skipped by those who are interested only in Mr. Seigel.

It never ceases to amaze me that presenting groups spend thousands of dollars and a great deal of time and energy to showcase a performer, and yet make up a printed program which appears amateurish, does not provide the necessary information, and, as in this case, presents information that actually misleads the audience. I must state that which should be obvious: except in rare instances (i.e. a Lieder recital with many individual songs by one or just a few composers), the work to be performed goes on the left, the composer (and his dates) on the right. A set of songs should be indicated as such with the individual songs listed underneath. None of this was done. As a result, the audience didn’t know when to applaud or indeed, at times, what they were hearing. The program notes provided many clues, but the audience should not have to read program notes during the performance. A performer of Mr. Seigel’s calibre deserves the audience’s full attention. The only other thing to which the audience should give attention to is the sheet of song texts and their translations, which guide one through the song. It is my personal preference that not only the texts of songs in foreign languages, but also those of the songs in English should be provided. No matter how fine a singer’s diction is, it can be hard to understand even one’s native language when it is sung. In the case of this program (the musical aspect of which I promise I will return to), none of the twelve English texts was printed, neither of the two Italian texts was printed, all five French texts and their translations were printed, as was the case with the one German song. The worst problem of all was that twice the individual songs of a set were not listed, so one thought that the title of the set was an individual song. The attentive and well-mannered audience members were understandably confused, and some began to applaud at the wrong place, thus no doubt causing themselves a good deal of embarrassment. With all the shuffling and confusion I, for one, missed out on a good deal of Mr. Seigel’s no doubt fine and carefully considered performance. I would caution performers to proofread their programs, even if making up the printed program is not their “job.”

After warming up on the Rossini, Mr. Seigel presented one Lied: Mahler’s “Des Antonius von Padua Fischpredigt,” a humorous song poking fun at preachers. It seemed a little odd to me that this was the lone offering of German Lieder, a genre which most cognoscenti believe to be the greatest body of repertoire for voice and piano. Mr. Seigel and his excellent accompanist, however, gave an ingratiating performance. I would have loved to have heard a little more Mahler, but we now skipped to the twentieth century with Samuel Barber’s cycle “Despite and Still.” Daniel Seigel clearly feels a strong affinity for the repertoire of the middle of the twentieth century and he performed these songs with assurance and intensity. An abrupt and welcome change of mood came with Mercutio’s scintillating aria “Mab, la reine des mensonges” from Gounod’s “Romeo et Juliette.” Mr. Seigel wowed the audience with his rapid fire, crystal clear French. A stirring rendition of Ives’s masterpiece “General William Booth Enters into Heaven” completed the first half.

The second half began with “Hai gia vinta la causa,” the Count’s famous recitative and aria from the third act of “Le Nozze di Figaro”. From the comfort he displayed in the role and the conviction he brought to it, one suspects that he has performed it in its entirety. If he hasn’t already, no doubt he will soon. With his tall stature and elegant good looks he would make a fine Count. Works by two composers from the first half of the twentieth century, Gerald Finzi and Francis Poulenc, followed. Then we returned to opera, with an impassioned performance of “L’orage s’est calmé” from Bizet’s “Les Pêcheurs des perles”. The concert ended brilliantly with the “Soliloquy” from “Carousel”. This piece represents a revolutionary moment in the American Musical Theater. It is far longer than the any show tune up until that time and contains elements of recitative and aria interspersed. It is worthy of inclusion in a recital of “serious” music, indeed when performed as well as it was on November 6 it is almost miraculous. The ecstatic crowd leapt to their feet in a well-deserved ovation. The rather topical encore was “Brother, can you spare a dime?”

by Barrett Cobb for New York Concert Review; New York, NY

Aglaia Koras, Pianist in Review

Weill Recital Hall at Carnegie Hall, New York, NY

October 25,2010

Aglaia Koras

During the 2009-2010 season, pianist Aglaia Koras continued her Beethoven and Chopin Plus Series at Carnegie Hall’s Weill Recital Hall for the fifth consecutive season, sponsored by MidAmerica Productions. She performed her first all-Chopin 200^th Birthday Tribute, also produced by MidAmerica Productions, in May 2010. And continuing her celebration of Chopin, she performed an All-Chopin program at Carnegie Hall on October 25, 2010. The program included the Nocturne in C-Sharp minor, Op. Posth.; the Mazurka in A minor , Op. 7, No. 2; the Nocturne in C-sharp minor, Op. 27, No.1; the Fantasy in F minor, Op. 49; the Barcarolle in F-sharp major, Op. 60; the Nocturne in B-flat minor, Op. 9, No. 1; the Scherzo in B minor, Op. 20; the Etude in C minor (“Revolutionary”), Op.10, No.12; the Nocturne in D-flat major, Op. 27 No. 2; the Polonaise in A-flat major, Op. 53; the Waltz in C-sharp minor, Op. 64, No. 2; and the Sonata in B-flat minor, Op. 35 (“Marche Funebre”). Koras played considerably well throughout, but was at her best in the Nocturnes, Mazurka and slow movements, where her imagination, expansive expression and respect for tradition led the way. Pedaling was tasteful, and the phrasing was lovely. These moments were also filled with attractive dynamic contrasts and shading.

MidAmerica Productions was founded by Peter Tiboris in 1984. Now in its 27^th season, MidAmerica is an independent producer of classical concerts, presenting soloists like Ms. Koras, choral concerts, and instrumental ensembles from around the world in New York’s Carnegie Hall, Weill Recital Hall, and at Lincoln Center. To date, MidAmerica Productions has produced more than 1050 concerts, including 320 in Weill Recital Hall. An interesting addition to Koras’ Weill recital program biography points out that Ms. Koras’ musical lineage can be traced to Chopin, as her teacher Horszowski’s mother (who taught Horszowski in his early years) studied with Mikuli, who was a student of Chopin. This all-Chopin program was a welcome survey of his works, a lovely addition to the year-long commemoration of Chopin’s birth. One can only hope that the people of Poland and France (where he is buried) are doing such prolonged, complete tributes.

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

Korbinian Altenberger & Andrius Zlabys in Review

Korbinian Altenberger, violin

Andrius Zlabys, piano

Merkin Concert Hall

November 4, 2010

Korbinian Altenberger

Though these two young players have already performed in recital and with major orchestras world-wide, this concert marked their New York recital debut. They hold degrees from some of the most prestigious conservatories, and have won an astonishing number of international prizes, including the one offered by their presenters, Astral Artists.

Their program showed that they are not only excellent players, but also serious, genuine musicians. It consisted of four Beethoven Sonatas: Number 3 in E-flat major, Op.12, No.3; Number 4 in A minor, Op.23; Number 8 in G major, Op.30, No.3; and Number 10 in G major, Op.96. A more challenging calling card can hardly be imagined. Playing Beethoven really well requires as much virtuosity as the most dazzling fireworks, but only as a means for musical ends, not for external effect or to impress the audience.

Altenberger and Zlabys rose to these demands admirably. Their technique was brilliant, but so effortless and unobtrusive that one forgot about it. Altenberger’s tone, though not big, was pure and focused, and he could vary it with bow and vibrato. He seemed intent on preserving Beethoven’s original slurs, which, indicating phrasing rather than bowing, are often too long to be practical; this created problems of balance, especially in the slow movements. The transitions were poised, the phrasing was elegant, the rhythm steady but flexible. Dynamics were carefully observed, but accents, even in many soft passages, were often surprisingly explosive. Tempos were judicious; though both could generate plenty of speed, it was never in order to display their facility.

Of the program’s four Sonatas, the three early ones are youthfully vigorous, exuberant, and brilliant; the late one is among Beethoven’s most intimate, introspective works. The two players had obviously given much thought to these differences in character and found ways to bring them out. In the third Sonata, the writing is far more pianistic than violinistic. The first movement bristles with so many running passages that it has been called the “Zipper” Sonata: after chasing each other in imitation, the two instruments run together in thirds, a risky operation that came off perfectly. The eighth Sonata is another virtuoso piece for both instruments, but the writing is more democratic, requiring even closer teamwork as the instruments trade, take over and build on each other’s melodies. Beethoven is at his most humorous in the Finale, often described as a dance for a Russian bear; the players relished the fun.

In the fourth Sonata, which foreshadows the “Kreutzer” Sonata in its tonality and its drama, the players captured the driving tension of the corner movements and the whimsical charm of the Andante scherzoso.

In his final, tenth Sonata, Beethoven was in full command of the medium and had reached the sublime serenity of his later years. The texture is more transparent and complex, the interplay between the instruments more intricate, the moods more elusive and mercurial. The performers met this test in ensemble playing with sensitive give-and-take, unanimity of expression, and mutual supportiveness.

The recital’s only flaw was the balance between the instruments, though the players went to great pains to accommodate each other. Merkin Hall is well suited to intimate chamber music, but the piano is too big for the moderate space. Unfortunatly, Zablys, though a fine pianist and exemplary partner, kept it wide open, and his first chord in the first Sonata signaled that Altenberger, with his refined, inward style, would have to struggle to be heard. Nevertheless, this was one of the most impressive debuts of recent years.

by Edith Eisler for New York Concert Review; New York, NY

“Dance of the Stones” in Review

A Chamber Opera by Brian Schober

Libretto by Richard Olson

Theatre80, New York, NY

November 6, 2010

Dance of the Stones. Photo Credit : Auguste Olson

A large audience was in attendance for the premiere weekend of Brian Schober’s new chamber opera “Dance of the Stones,” a work inspired by Japanese Noh drama, but involving modern, everyday characters searching for meaning in life. Delving into universal themes of mind and body, teacher and student, the limitations of words, love, and aging, the opera’s scope seems to reach in inverse proportion to the size of the cast (four characters and a small chorus). The uncluttered quality of cast and staging combined with an evocative musical score to create illusions of space and time that far exceeded the intimate venue.

Central to the story, in a libretto by Richard Olson, is the relationship between a frustrated philosophy professor, Thom (sung by bass-baritone Peter Ludwig), and a young infatuated student Abby (sung by soprano Sara Paar). They travel towards enlightenment and towards Thom’s own revered teacher Tara (sung by contralto Christina Ascher), aided by a guide named Go (tenor Kenneth Harmon). Appropriately subtitled “A Journey beyond Words,” much of the opera’s emotional story is conveyed through dance, pantomime, and choral interludes that draw upon a rich range of what is described as “multi-textured music of shifting modalities.” There are indeed words as well, sung very conversationally by the four main characters (and peppered humorously with some slang), but the instrumental and choral music, lighting, and staging seem best to express the heart of the characters, the subtext of their lines, and their journeys toward truth. A chorus with handbells plus an ensemble of violin, cello, flutes, piccolo, clarinet, piano, synthesizer, harp and percussion convey alternately a sense of frustration, wonder, anxiety, love, calm, and sleep.

Mr. Schober, an American composer and organist who studied in France with Olivier Messiaen (as well as in the US), seems to have some of Messiaen’s mark on his musical style, although his wide-ranging textures and timbres are so sensitively connected to his opera’s drama and libretto that what emerges is something altogether unique.

The composition is fascinating all by itself, though non-musicians would enjoy the production for its theatrical values alone, including skillful choreography (Lynn Neumann) and lighting (Stephen Petrilli). All was held together seamlessly by the skillful conducting of Claudia Dumschat. In the performance I heard, the singing and acting were commendable, although occasionally some recitative parts were a tad stilted. The initially fusty Thom metamorphosed wonderfully as the role progressed, and some humorous moments stole the show for the spunky Abby, also offering much-needed comic relief from the rather ambitious subject matter. I never thought I would hear the word “dude” sung in a classical opera setting, but there is a first for everything!

Special mention should be made also of the chorus’s soprano soloist, Lesley Zlabinger, who had some of the most beautifully lyrical parts, and of considerable difficulty. Considering the obvious difficulty in all of the vocal parts (and in coordination with the ensemble parts), it was a remarkable and impressive premiere. All involved are to be congratulated.

One can easily imagine this chamber opera receiving repeat performances or touring the university circuit (despite some derogatory references in the text to “ivory towers”). Its small cast and simple staging should make it quite mobile, and college audiences should find it provocative. There may also be something of a renewed interest in Noh-inspired opera, as a new production of one by Alexander Goehr was just presented in London. There are also notable early examples by Benjamin Britten, in his “Curlew River,” “The Fiery Burning Furnace,” and “The Prodigal Son,” but there is certainly room for more.

by Rorianne Schrade for New York Concert Review; New York, NY

David Kadouch, piano in Review

David Kadouch, piano

Grace Rainey Rogers Auditorium, The Metropolitan Museum of Art, New York, NY

October 30, 2010

David Kadouch

Laureate of the 2009 Leeds International Pianoforte Competition and the 2005 Beethoven Competition in Bonn, David Kadouch is poised for a healthy career that already includes many concerts in the coming year. Having heard his highly auspicious New York recital debut this weekend, I was happy to discover that he is an artist of distinct individuality, not at all a typical contest prizewinner, but an engaging musician.

The first point that struck this reviewer as unusual was the programming, including works that are not heard often in recital (with the exceptions of the much-loved opening Haydn F minor Variations, Hob XVII: 6 and closing Debussy Préludes). The second point was a style of playing that showed not a trace of the thundering bombast that is so common among the twenty-something crowd vying for a chance to be heard.

The first half, while including Schumann, centered on this composer’s relatively seldom played Sonata in F Minor, Op. 14 (“Concert sans Orchestre”), an intriguing work with a patchwork history of revisions and performances. Mr. Kadouch played it with a wonderful sense of Schumann’s quicksilver temperament. This pianist has an outstanding gift for delicacy, both in lyrical phrases and in rapid passagework. Incidentally, he chose to play the Scherzo originally removed by the composer (the “Allegro Vivacissimo,” not the Scherzo “Molto Commodo” that is more often used), a choice that favored his natural lightness of touch. There were times (especially in the Schumann, but also in the Haydn) when I wanted a bit more melodic fullness and sustaining of the energy of phrases to the very end (especially when the harmonic intensity invited it), but these were personal quibbles.

Liszt’s Spinning Chorus from Wagner’s The Flying Dutchman opened the second half in a jaunty interpretation that again emphasized the pianist’s more delicate, playful side. Mr. Kadouch truly seemed to be enjoying himself here. Following were fifteen of Shostakovich’s 24 Preludes, Op. 34 (which the pianist recently recorded), again not exactly a typical firebrand offering, though highly demanding in subtle interpretive ways. Kadouch reflected genuine feeling for each choice, showing plenty of wit, a kaleidoscope of colors, and a flexibility of phrasing that felt almost balletic. He played a slightly different arrangement of the Preludes than listed on the program, opting for a mix of 1- 2, 5-6, 9-11, 13-16, 19-21, and 24, and it worked well. He ended with number 5, leaving a well-punctuated feeling and whetting this listener’s appetite to hear his recording of all of them.

Two Debussy Préludes, “Les Fées sont d’exquises danseuses” and “Ce qu’a vu le vent d’ouest” closed. As stated before, the Debussy Préludes were not such an unusual choice, but their placement as the final works was. One grows accustomed to big pyrotechnics at a debut’s close, and this was definitely not the case. Mr. Kadouch has a subtlety that will be an acquired taste for many, but it will undoubtedly be worth acquiring, especially in similar repertoire. His encore of Chopin’s posthumous C-sharp minor Nocturne brought the evening to a gentle close.

by Rorianne Schrade for New York Concert Review; New York, NY

New York Repertory Orchestra in Review

New York Repertory Orchestra

David Leibowitz, Music Director/Conductor

Olivier Fluchaire, violin

Church of St. Mary the Virgin, New York, NY

October 23, 2010

Olivier Fluchaire

Described as New York’s leading community orchestra, the New York Repertory Orchestra consists of professional and amateur musicians. They come together for the joy of making music, which they share by performing “provocative programs” at the highest possible level. And they certainly have a lot of fans: at this concert, the church was filled with appreciative, enthusiastic, obviously regular listeners, who greeted one another, and the players, like old friends.

The Orchestra was founded in 1991 by its Music Director, David Leibowitz, who has conducted operas, ballets and concerts world-wide; he also teaches at various prestigious colleges, universities and summer institutes. As he proved on this occasion, he is not only an excellent conductor, but also an inspiring leader.

The program was adventurous and ambitious, and consisted of rarely played works – a wise choice in a city so full of concerts. It opened with the Concerto for Small Orchestra Op. 34 by Albert Roussel (1869-1937), written in 1927. The first movement is lively, energetic, and quite dissonant; the second is slow, somber and languid, featuring long, sustained chords in the woodwinds; the third is a marathon run of fast notes in perpetual motion. The orchestration is colorful and inventive.

The Roussel was followed by Astor Piazzolla’s “Four Seasons of Buenos Aires,” arranged by Leonid Desyatnikov and Gidon Kremer for violin and string orchestra, with the French-born violinist Olivier Fluchaire as soloist. After winning his first competition at age eleven, Fluchaire studied with Yehudi Menuhin at his London School and concertized throughout Europe; he came to New York, where he now lives, in 1992, and studied with Daniel Phillips and Patinka Kopec. He is active as soloist and chamber musician, and also teaches at several colleges, including Hunter College and the City University. A spectacular virtuoso, he played with effortless brilliance, unbridled passion, and a remarkable flair for Piazzolla’s rhythmic and melodic idiom. Due to the acoustics, the orchestra sometimes covered him, but the pieces’ many unaccompanied cadenzas showed his sonorous, intense, variable tone to fine advantage. He warmly acknowledged Principal Cellist Shanda Wooley, who stood out in a substantial solo.

The program concluded with the Symphony No. 4, Op. 29 by the Danish composer Carl Nielsen (1865-1931). Written in 1914, it reflects his horror at the outbreak of World War I, and expresses his belief that “even if all things were destroyed or dead, nature would begin to breed new life again.” He called it “The Inextinguishable” because “music is life, and like life, inextinguishable.” The Symphony has four contrasting, connected movements; the music fluctuates between outbursts of chaotic frenzy played by full orchestra, and serene, almost cheerful melodies played by groups of solo instruments; at times it disintegrates, then revives with renewed energy; it ends in triumphant affirmation.

The Church of St. Mary the Virgin is spacious and beautiful, but, like many large churches, has extremely reverberant acoustics; as a result, it was impossible to hear separate strands of melody or changes of harmony. (The players, too, must have had trouble hearing themselves and each other.) Only the wind instruments’ different timbres could be easily distinguished. The echoes also acted as amplification, especially when the music was loud. For example, Nielsen employs two sets of timpani, one on each side; at full throttle, they sounded ear-splitting and obliterated everything else.

These circumstances made it very difficult to get a sense of the quality of the Orchestra’s sound and ensemble, though the solo wind players were clearly outstanding. But there was never a doubt of the participants’ enthusiasm and total commitment both to the music and the joint enterprise. The heart-warming air of good fellowship and mutual supportiveness contributed mightily to the success of the concert and the bond between performers and listeners.

by Edith Eisler for New York Concert Review; New York, NY

American Fine Arts Festival and Pianist Victor Maslov in Review

Weill Recital Hall at Carnegie Hall; New York, NY

October 23, 2010

The American Fine Arts Festival is certainly an ambitious organization, embracing singers, string players, and pianists of a large age range (from six and up) in its various competitions, courses, and concerts, including their recent “Fall Gala Concert and Golden Voices of America,” to which New York Concert Review was invited. Directed to their website (www.afafestival.org), I was overwhelmed just trying to assimilate their long list of winners in multiple categories within each contest, but the concert program introduced still more players as guest soloists and ensembles, added to the twenty-four performing winners! There would not be room to detail the performances of each participant, and as one would expect, there were varying levels of development, but that point becomes moot, as we were asked to review primarily pianist Victor Maslov.

Victor Maslov (b. 1997) is a pianist of significant accomplishment for one his age, and he shows tremendous potential for a strong future in music. Tchaikovsky’s “Dumka” (Op. 59) was given a sensitive, if understated, performance. In the middle of an afternoon that stressed the dramatic, through costumes and projection of operatic characters, it was refreshing to hear this young player let the music speak for itself, with little physical motion or hyperbole. In a change of the printed program’s order, he followed with Schumann’s Abegg Variations, Op. 1. Here, haste seemed to cause some blurring, and one lost some of the work’s wonderful details, but it had excitement and held together nonetheless.

After intermission, Maslov played the Schumann-Liszt transcription, “Widmung” in a performance that showed a good balance between the pure vocal line and all the arpeggiation. For me it was again a bit fast, with some ensuing inaccuracies including some not firmly grasped rolled chords, but this happens even to the most experienced pianists. Following it was Liszt’s Tarantella, which had some astonishingly brilliant parts. I have every confidence that, with patience, this young pianist will make his mark.

Speaking of patience, one wanted a bit more of that quality throughout the afternoon, both in the tempi chosen and in the choice of repertoire (perhaps an issue to take up with the teachers). A number of these young players played and sang works that take a lifetime to mature and to be polished, but I personally would prefer to hear a simple miniature performed with finesse rather than attempts to interpret works beyond a child’s present physical and emotional reach. Mr. Maslov was one who came close to all-around mastery of his repertoire.

Some highlights of other performers included a highly expressive rendition by Latvian singer Oksana Lepska (b. 1995), of Andrew Lloyd Webber’s “I Don’t Know How to Love Him,” and Madison McIntosh’s “Deh, Vieni, Non tardar” from “Le Nozze di Figaro” of Mozart. Also quite good were Prokoviev’s “Harp” Prelude, Op. 12, No. 7, played by Connie Jiang (b. 2000), and an enjoyable “Duetto Buffo di Due Gatti” (attributed to Rossini) sung by the “Lucky Ten” Girls Ensemble from Massachusetts.

Some spirited ensemble singing closed both halves, but the obvious humorous intent was somewhat thwarted by the audience’s lack of a printed translation from the Russian (or an explanation). The audience, presumably including many of the performers’ family members, appeared to enjoy it all the same.

by Rorianne Schrade for New York Concert Review; New York, NY

“Crossing Waves”

Keziah Thomas, Harpist in Review

Weill Recital Hall at Carnegie Hall, New York, NY

October 16, 2010

Keziah Thomas

English harpist Keziah Thomas, who divides her time between London and New York City, devised the project ‘Crossing Waves’ in order to use her transatlantic connections to promote the harp repertoire of British and American composers. She commissioned a new work by British composer Andy Scott especially for this project. Taking Thomas’ project title as the title for his commission, Scott’s “Crossing Waves” was given its world premiere at the Forge, London on September 26, 2010. The piece is inspired by the exploits of Roz Savage, who rowed solo across the Atlantic Ocean in 2005. Savage was present at the concert and spoke a bit to the audience, which brought us additional insight. The music breaks down into three main sections: the first reflects the uneasiness of the journey’s beginning, the second section represents the serenity of the ocean waters mid-way, and the final section transmits the tremendous optimism and excitement regarding the outcome of the journey. Ms. Thomas’ journey in commissioning the work, as well as Mr. Scott’s experience writing this piece has had a most successful outcome as well, as “Crossing Waves” is a most stupendous work for solo harp. The work is very idiomatic for the instrument and constructed perfectly, and the innovation is remarkable—while at the same time, the melodic strands and rhythms are catchy and memorable.

Keziah Thomas’ journey to Carnegie Hall has also been successful. The idea of pairing British and American composers is a most natural one for her. Her program was well thought-out and varied; for example, her opening work—the Suite for Harp by Britten—was followed by the remarkably exotic “The Pearl Divers” by the American Douglas Gibson, who was born in 1976, the year of Britten’s death. Thomas played with a Kyoto-like delicacy in the latter work. Elie Siegmeister’s “American Harp” has a bit too much of Copland’s “El Salon Mexico” and the Bernstein influence to be called original, but it was nonetheless entertaining in the hands of Ms. Thomas. Thomas speaks most eloquently to the audience when introducing the works, and her other selections also brought joy to the audience, but the highlight of the evening was clearly Mr. Scott’s “Crossing Waves”, a totally original and engaging composition which should be performed on many future harp recitals—in this country and across the ocean.

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