Berlin and Vienna Philharmonics, Boston and St. Louis Symphonies in Review

Four Renowned Orchestras Come to Carnegie within Two Week Span
Carnegie Hall; Stern Auditorium
February 23-March 10, 2012

Sir Simon Rattle

 

 

After a relatively quiet January and early February, a slew of renowned orchestras invaded Carnegie Hall in what seemed like a new orchestral movement. Curiously enough, they weren’t all moving together or feeling the music with unity. As a result, it wasn’t necessarily the most famous ensembles that made the greatest and lasting impressions. A talented player’s natural musical movements as a solo or chamber music performer are absolutely crucial to use in the collective music-making of an orchestra section because it is important to the visceral excitement that captivates the audience; this is especially necessary in today’s visual world. The stellar performances at Carnegie Hall emanated from the orchestras that moved with the music harmoniously and had the best chemistry.

The Vienna Philharmonic is known for swaying together with the music, but they often didn’t this time around; guest conductor Lorin Maazel sometimes didn’t have the ideal communication with the players, and the orchestra often seemed uninspired. Some players surprisingly sat stiffly in their chairs and formally went about business as usual in orchestral music to Wagner’s “Ring”. They’ve played this music a great deal, but mostly from the pit at the Vienna State Opera. In fact, they often moved and looked like they were in the pit, seemingly disinterested about how they appeared as a collective unit. This attitude sometimes negatively affected their sound. Berlin, on the other hand, presented a string section in which everyone passionately moved together, wherever the phrases took them, and they used their bow exactly the same way (the Juilliard Orchestra under Alan Gilbert recently performed “The Rite of Spring” in this fashion). Even Berlin’s string tremolos in music of Mahler (the 2nd) and Bruckner (the 9th) had the type of invested energy that a pack of lions or a defensive tackle has when they go in for the kill. There were sweat and tears on each note. It doesn’t hurt, of course, that music director Simon Rattle and the Berliners are having a love affair. Rattle’s connection with the music is infectious, and it kept spreading with every measure. Perhaps the Berlin Philharmonic should have its own gold coin too.

David Robertson has the same effect on St. Louis Symphony musicians that Rattle does with his—even though Robertson has only been there a short while. “The Firebird” (complete ballet) sizzled with energy, and the cellos and first violins—most visible because they are on the outside and close to the audience—used full bows when needed and swayed together with the direction of the phrases, staying deeply involved at every microcosm of change in the musical atmosphere. The players’ expressions were what you typically see from a talented conductor: totally in character at all times. Robertson motivated the players, and in turn the players inspired the audience. Concertgoers need to see players’ involvement in the same way the orchestra needs to see the conductor’s devotion.

The brass sections are another way to compare. Boston Symphony’s brass—as well as the Vienna Philharmonic’s—did not shine like those of Berlin and St. Louis. And it’s a fair comparison because the music (and its corresponding sound-expectation) I am referring to was from large orchestral works of the Late Romantic and 20th century periods. In Vienna’s case, their brass needs to be asked to play with a big sound when needed because Richard Strauss always made a point of telling conductors to never encourage the Vienna brass, and this tradition has stuck, it seems (Maazel didn’t encourage them enough in Wagner’s music). In the case of Boston, perhaps they are an aging brass section; they did not play with much collective power in Shostakovich’s Symphony No. 5, conducted by Deneve, nor in the Symphonie Fantastique conducted by Eschenbach. The rest of the orchestra, for that matter, had trouble staying together some of the time, as Deneve was constantly pushing the tempo in ways the orchestra wasn’t used to, and Eschenbach was often fussing with the tempo (as if there aren’t enough tempo changes in Berlioz). Granted, the Boston Symphony had the disadvantage of working with three different guest-conductors, John Oliver taking over for Masur, who took over for Levine, Eschenbach and then Stephane Deneve, who made his Carnegie Hall debut.

St. Louis seemed proud of its current brass section; some of them are temporary position players—but they blended well and it seemed that they were excited to be on stage—and off stage, as a matter of fact. In the “Firebird”, Robertson showcased extra trumpets in the 1st tier boxes for antiphonal effect—a novel and great idea for this work—and they sounded robust and solid to the core, echoing the sonic brilliance on stage. I hope that Carnegie gives St. Louis at least two concerts next time they come to Carnegie.

Rattle and Robertson are the right fit for their orchestras. One can hope that Vienna will fare better with Franz Welser-Most on the podium when they visit Carnegie next year. Those who missed Berlin at Carnegie will sadly have to wait another two years. Boston has a big question-mark until they get a new music director. It will be up to that person to instill a sense of complete commitment in the music-making and also remind the players that the way an orchestra moves together—especially the outside players close to the audience—is integral to the audience’s satisfaction of a live performance. Otherwise, why bother? YouTube has fantastic close-up footage of unified orchestras moving to the music and homogeneously expressing its emotion. When it comes to live performances, we often need a new orchestral movement.

Orchestra                      Stars (out of 4)

 Berlin Philharmonic     ****

St. Louis Symphony     ****

Vienna Philharmonic    **1/2

Boston Symphony        **

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

Young-Ah Tak, Pianist in Review

Young-Ah Tak, piano
Weill Recital Hall at Carnegie Hall
March 8, 2012

Young-Ah Tak

There was a buzz in the air preceding this concert. Was this just an excited audience of friends and colleagues, or was there something about the pianist I didn’t know? My curiosity was peaked. And just a few moments into Young-Ah Tak’s New York debut recital, one realized that something special was happening; we were in the presence of an extraordinary pianist. The program began with a brilliant performance of Muzio Clementi’s Sonata in B-flat Major, Opus 24, No. 2. Here we first heard the characteristics which were to make this a most memorable recital – crystal–clear articulation of rapid passages, beautifully phrased legato melodies, note–perfect octaves. Even the trills, sparkling and energetic, were notable. As you read on, you will see that I was very, very, very impressed by every aspect of Ms. Tak’s playing. But although I want this to be considered a rave review, I must chide her for not repeating the exposition of the first movement of Clementi’s sonata. This repeat is not ad libitum, and leaving it out trivializes the movement, upsets the balance and distorts the structure. I urge her to think about this when performing similar movements in the future.

Next we heard the New York premiere of Judith Lang Zaimont’s “Wizards – Three Music Masters.” Commissioned in 2003 as the required work in the San Antonio International Piano Competition, it is a work which exploits many aspects of pianistic color. Even though—to this listener—this piece was just another example of a 20th/21st century work in which one has no idea why one note follows the other, Ms. Tak’s playing was so convincing that I was sure she was playing exactly what was written in the score. Ms. Zaimont could not have asked for a better performance.

This was followed by scintillating performances of Liszt’s delightful transcriptions of two Schubert songs, “Gretchen am Spinnrade” and “Ständchen von Shakespeare.” Although I would have liked a bit more rhythmic clarity in the left–hand accompaniment of “Gretchen am Spinnrade,” Ms. Tak easily mastered the more difficult Lisztian virtuosic additions to both songs. What fun! The first half ended with a convincing performance of Leon Kirchner’s Piano Sonata No.1 (1948).

The entire second half was devoted to Schubert’s Piano Sonata in C Minor, D.958. Of three magnificent piano sonatas written in the last year of the composer’s all too short life, this dark and strange work is the least performed. And what a pleasure it was to hear Ms. Tak’s superlative rendition. Instead of writing a rhapsodic paragraph, I think my reaction will be made clearer if I just quote from the notes I took during the performance:

First movement: clear left-hand accompaniment during the second theme – so difficult ravishing pp (pianissimo) scales again didn’t repeat exposition
Second movement: singing legato melody with clear rhythmic accompaniment – beautiful!
Third movement: danced, great tension during silences
Fourth movement:thrilling!

After prolonged and well-deserved applause, Ms. Tak’s encore was a mesmerizing performance of Schubert’s Impromptu, Opus 90, No. 3. This was a recital I will long remember.

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by Harry Saltzman  for New York Concert Review; New York, NY

Flury-Prinz Duo in Review

Dieter Flury, flute
Maria Prinz, piano
Weill Recital Hall at Carnegie Hall
March 5, 2012
 

Flury-Prinz Duo

 

In a concert sponsored by MidAmerica Productions, the Vienna Philharmonic’s Principal Flutist, Dieter Flury, was paired up with Bulgarian pianist Maria Prinz. It was a program dedicated to the 150th Anniversary of Debussy’s birth, and it contained two works written by the master: “Syrinx” for solo flute, and an arrangement of his “L’Apres Midi d’un Faune” by the Russian flutist and composer, Nikolay Ivanovich Platonov. “Syrinx” was given a beautifully shaped account; expressive and atmospheric. “L’Apres…” was given fine continuity of the work’s perfect architecture. The middle section, where the tempo is more driven and playful, was performed with more than a few missed notes in the piano part. Yet it was the music’s endearing serenity that made the lasting impression.

The Bach Sonata in B minor, BWV 1030, contained some lovely give-and-take of the musical line. In general, Flury played lightly, with horizontal phrasing that gave the music direction, and Prinz played more vertically, giving each note more equal attention. Balance was good; thankfully, the piano was on the short-stick, and one could hear all the flute lines throughout the entire concert. On many other occasions in this hall, I have heard the piano drown out the flute, so kudos to Prinz for her awareness to balance. Perhaps it was her cautious type of playing–a sensitivity to the flute’s vulnerability to the weight of the piano sound–that caused Prinz to play without much musical phrasing.

Prinz and Flury played perfectly together throughout the program, with excellent ensemble at all tempo changes. Flury has excellent rhythm and played with clarity throughout the program. His intonation is stellar as well, although at times, I wish his tone was more robust. Prokofiev’s masterful Sonata in D Major, Op. 94, received an excellent interpretation, one with smooth transitions, smart pacing and admirable cohesion of musical ideas. The classic scherzo had a wonderfully catchy tempo; unfortunately, Prinz had a difficult time with some of the passage-work in this movement.

In Milhaud’s Sonatina for Flute and Piano, there were lovely nuances of tempo, and the character of the music was infectiously playful. Enescu’s “Cantabile et Presto” from 1921 needed more dynamic range and contoured phrasing. It seemed that many passages within the forte dynamic started at a moderate sound and ended the same way. There were some nice subito pianos, but that wasn’t enough to always show the arch of the music.

In an encore, Faure’s “Fantasie”, Op. 79, Flury gave an outstanding virtuoso performance with a brilliant technical display. The second encore was Debussy’s “Le Petit Negre”, arranged from the original for solo piano. The work is somewhat jazzy for Debussy, but the piano playing did not swing on the syncopations; the short notes and the long notes had equal amounts of finger pressure, thus the beats and off-beat syncopations were heavy and sounded the same.

There was a full-house of flute enthusiasts in the hall; this was a worth-while celebration –not only of the flute–but of the master, Claude Debussy, who knew the instrument better than most.

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

Reflections of Life (DCINY), in Review

DISTINGUISHED CONCERTS INTERNATIONAL NEW YORK: DCINY
REFLECTIONS OF LIFE: Distinguished Concerts Orchestra International and Distinguished Concerts Singers International in Music of James Eakin III and Greg Gilpin
Stern Auditorium at Carnegie Hall; New York, NY
February 20, 2012
 

“Reflections of Life” Distinguished Concerts Orchestra and Singers International; PHOTO CREDIT – Richard Termine

 

Distinguished Concerts International New York (DCINY) has a gift for drawing large numbers of performers from far and wide and bringing them to still larger audiences, creating what are often spectacular events. Their most recent concert featuring music by James Eakin III and Greg Gilpin was no exception. High school and adult choruses from New Jersey, Texas, Alabama, Colorado, Wisconsin, Indiana, Minnesota, Louisiana, California, and Pennsylvania all converged onto the Perlman Stage, with choirs also filling several front balconies, enveloping the listener with sound; if one doubted the life-affirming power of classical music today, one might have a change of heart just from the sheer collective energy. Granted, not all the music performed was strictly classical, but Broadway and folk music were blended seamlessly into the mix with the help of DCINY’s versatile orchestra. Special guest, Clay Aiken, made an appearance to lend his support to the festivities with brief comments during the second hal8f.

The first half was devoted to the World Premiere of a 47-minute choral work, “Flowers Over the Graves of War” by James Eakin III, who has also written extensively for film and television. As the composer explains in his notes, “Commentary on the horrors of war and pleas to God for forgiveness and guidance permeate this work.” In six movements set to poetry by Michael Dennis Browne, along with Latin texts from traditional Requiem movements, the work ultimately conveys messages of faith, mercy, hope, and peace. As the composer also comments, the three soloists express the more introspective lines; soprano, Ida Nicolosi, mezzo-soprano Kirsten Allegri, and tenor Gregory Warren were commendable in their parts. A highlight was in the Sanctus, where the upper voices joined in duet, later united with the tenor in powerful trio. According to the composer, the higher voices were to express the “unwavering love and faith of a child” with the lower voices expressing darker elements. One wondered by the end of the work whether this “work of contrasts” (as the composer describes it) might have prospered from more juxtaposition of dissonance and consonance as well as the contrasting registers and textures, since even some sections modifying text about war seemed quite mild; on the other hand, such sweetness suited the choirs at hand, as well as the ultimate message of mercy. The use of percussion in martial sections added ballast, and while the orchestra may have been a bit overzealous in volume, the soloists generally met the challenge of projecting over them. Overall, I found this a moving work by a composer from whom I’ll be interested to hear more. Deft conducting by Tim Seelig brought it all together well.

After intermission we heard original and arranged music of Greg Gilpin
, with the conductor at the podium.  Mr. Gilpin conducted with infectious energy, and his choral works matched his conducting style in their all-embracing range.  Listening to the opening piece, “Why We Sing,” one could understand the popularity this work has had with choruses since its publication in 2005.  “Through the Eyes of a Child” (text by Mark Burrows and music by Gilpin and Burrows) brought out one of the themes of the evening, the bond between young and old, and “A Child’s Credo/In Virtute Tua” (a World Premiere) underscored that bond further.  These are works of immediate appeal that blur distinctions between classical and popular music. “There’s Room for Many-a More!” added the joyous touch of the American Spiritual, and a medley of favorites from 
”The Music of ‘The Wizard of Oz’” capped off the evening in high spirits.  Mr. Gilpin seems destined for ever-widening popular appeal. As is often the case with arrangements, there were some program omissions in crediting original sources; naturally the medley was Mr. Gilpin’s conception, but it seems a shame when, for example, “Somewhere Over the Rainbow” is sung, not to see the name of its composer Harold Arlen mentioned anywhere.  In any case, the end of the evening found the audience quite uplifted.

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

Pro Musicis Concert in Review

Elsa Grether, violin
Delphine Bardin, piano
Weill Recital Hall at Carnegie Hall
New York, NY
February 15, 2012

 

As a result of winning the Pro Musicis International Award in Paris, the violin and piano duo Elsa Grether and Delphine Bardin (both born in France) made their Carnegie Hall debut on February 15th. They always played precisely together, with excellent rhythm and well-timed tempo changes, and their program was well thought-out. The Handel Sonata in D, Op. 1, No. 13 and the Brahms first Sonata opened the program fairly well, but the second half, comprised of Szymanowski’s “Mythes” and Debussy’s Sonata in G Minor, defined this duo as polished, adventurous and compelling.

The Handel Sonata, which was given an expressive approach, had lovely moments that were only marred by Grether’s occasionally uneven vibrato and a sense of pitch that was not completely accurate. The Handel and Brahms sonatas were sensitively played by pianist Bardin, but with the piano on full stick, it was sometimes difficult—here and elsewhere on the program—to distinguish some of the important violin phrases with clarity. In the Brahms, Grether was not in her element with regards to intonation during shifting and the high register, and there was a tentative approach to her playing—an approach that I’m certain was meant to sound sweet or tender, but left me wanting more richness of tone quality and less of an airy (“impressionistic”) sound.

 The atypically thin texture Grether applied to the Brahms worked well in the Debussy Sonata, and ironically—when she needed to—she also applied a beautifully strong tone that was sometimes missing in the Brahms. Perhaps she became more confident as the recital progressed, or perhaps she has greater familiarity with the Debussy, son of her soil. The Debussy interpretation contained poignant, memorable moments that reminded us that the composer was at his wistful, yet sometimes defiant end.  The Szymanowski was played with impressive virtuosity and an ear for its unique special effects and mellifluous colors of sound. Grether and Bardin were equally impressive at handling the variety of pyrotechnics. The duo excited the audience, who received two encores and left the hall happy.

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

Katelyn Tran, Pianist in Review

Katelyn Tran, piano
New York Piano Academy: West End Presbyterian Church, New York, N.Y.
January 25, 2012
 
 
Katelyn Tran

Katelyn Tran

 

Still a high school student only 17 years old, Katelyn Tran has an arsenal of piano technique and repertoire that would make many twenty-something conservatory pianists envious. Well taught for seven years by distinguished composer-pianist Ronn Yedidia (who presented this recital) as well as Veda Zuponcic prior to that, Ms. Tran lists a string of competition awards that already takes a full page. What’s more, the mentions of what repertoire she has covered in these various competitions show her as a musician with genuine musical fluency and versatility, not some formulaic “bag of tricks” taken out through win after win. Her playing itself, as heard in this debut recital, confirmed that she has a musical grasp far beyond her years, as well as the technique and stamina to carry her through ambitious programs. Should she choose to pursue the musical life beyond this point, there seems no limit to how far she might go. As music is a “jealous mistress” that decision will be the key.

Beethoven’s Sonata No. 27, Op. 90, in E minor opened the program. Ms. Tran played it with the kind of mellow maturity it requires, and my only reservation was that I wanted a tiny bit more breathing at phrase endings. As it was an opener, one might expect some adrenaline-related rushing, so this minor restlessness made hardly a blip on one’s radar.  Following Beethoven came two movements of Schumann’s Grand Sonata No. 3, Op 14, in F minor, the Allegro Brillante and the Quasi Variazioni: Andantino de Clara Wieck. It is always a joy to hear this Schumann programmed, as it is full of marvelous surprises but played less often than so many of the composer’s other works – another testament to Dr. Yedidia’s teaching through the exploration of a wide piano literature. Ms. Tran handled it with a mastery that was astonishing to behold in one so young, and one could envision that, given time to live with it, hers could become one of the outstanding renditions of the piece. Chopin’s Scherzo No. 2, Op. 31, in Bb minor rounded out the first half.  Small interpretive disagreements aside, she gave it a winning performance. Occasionally I felt too much haste in her finger work, in that passages seemed to “slide into home plate” rather than to arrive with fullness, but that quality is almost endemic to the world of the busy teenager. Hers was playing that moved ceaselessly to the next thing, as undoubtedly one so talented must do in life when faced with a surfeit of gifts.

Mussorgsky’s Pictures at an Exhibition after intermission felt more “in the moment,” and the local color was ample. “The Old Castle” felt more desolate and expansive than ever, and I’ve never heard heavier oxen depicted than in her “Bydlo” movement – one had to resist laughing out loud to watch this delicate, elegant young lady create such sounds. The “Ballet of the Unhatched Chicks” also popped with life. Only some understandable messiness towards the end of the whole piece showed the effects of the program’s demands. It crossed my mind that it could also be the specter of Liszt’s Mephisto Waltz No. 1, yet to come, that prevented Mussorgsky from receiving the consummate finish it could have had, and the truth is that the program would have been sufficient without the Liszt; that said, when I heard her Liszt I could see why she (or her teacher) could not resist adding it. She handled it like child’s play. Over time the Mephisto Waltz may gain a touch more of its seductive element to match the speed demon aspect, but what a tremendous foundation it will have.

Ms. Tran graciously provided an encore of Debussy’s Clair de Lune, a very emotional touch marking the close of her years at the New York Piano Academy and the debut of untold wonders. It was simply beautiful.

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

Distinguished Concerts International New York

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

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

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

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

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

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

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

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

Ang Li, Pianist in Review

Ang Li, piano
Weill Recital Hall at Carnegie Hall
December 18, 2011

The recent New York recital of Chinese-Canadian pianist Ang Li was billed both as her Weill Recital Hall debut and as a Franz Liszt 200th birthday year celebration entitled “Years of Pilgrimage.” Referring to the masterful suites of Liszt’s, “Années de Pèlerinage,” the program actually included only one work from these sets, “Les jeux d’eaux à la Villa d’Este” from Book III; beyond this selection, the program title was mostly a gentle suggestion of unity for music that also included Liszt transcriptions of Schubert and Wagner and Liszt’s Ballade No. 2 on the first half, and two contemporary Canadian works, plus music of Debussy and Granados on the second half. It was certainly more wide-ranging than other “Liszt celebrations” heard this year – some would even say that some stated connections were rather tenuous – but it did demonstrate that it is hard to find any music not connected to Liszt by “six degrees of separation” or fewer.

It was a wise decision for Ang Li to branch out, as she came to life most with the more modern works on the program. There is no question that Ms. Li has the technical equipment for the rigors of Romantic virtuoso piano music, and her credentials, including numerous accolades and international tours, point to her mastery and versatility; her temperament, on the other hand, seemed a better fit for works by the non-Romantics. She showed a particular affinity for Debussy’s timbres through her finely controlled touch in “Brouillards” (“Mists”), while Minstrels had just the right bumptious feeling. “Feux d’artifice” (“Fireworks”) closed the group of three Debussy Preludes with brilliance, leaving one wondering whether an impressionistic theme program can be far behind in his upcoming 150th anniversary.

Prior to Debussy, we heard the US Premiere of  “Es ist genug!” (2007) by Jérôme Blais (b. 1965). An intriguing, partly improvisatory work, it incorporates into a dreamlike tonal backdrop various fragments of music by J. S. Bach, as representative of the sacred in this composer’s otherwise atheistic view. One heard, among other fragments, bits of Bach’s D Major Prelude (WTC, Book II) and the B-flat Partita with bits of the title Chorale. What could have resembled (and at times approached) an Ivesian dream of Juilliard’s practice floor before a Bach recital was held together powerfully in Ms. Li’s inspired and focused conception. The composer was present to speak and receive applause, as was Jared Miller (b. 1988) whose “Souvenirs d’Europe” (2011) were given a persuasive account. Prompted by recent travels in Europe, Mr. Miller’s three pieces suggested fountains (“Fontaines”), the cathedral of Notre Dame (“Origines”), and a Spanish tourist scene (“¡La Rambla!”). Kinship with Liszt stopped at the travel-themed title, though, as these were in a new, individual tonal language (perhaps with the exception of “Origines” which struck one as resembling Messiaen – appropriately enough, given the inspiration). Miller writes brilliantly for the piano and shows remarkable accomplishment for one so young. He was quite fortunate, one must add, to have a pianist as skilled as Ms. Li to perform his music.

Also very successful was the Granados Allegro de Concierto, which closed the program. The end of the program’s westward travel arc concluding in sunny Spain, it seemed to warm the musical temperature of things, in phrasing and timbre, where the opening Liszt half had not.

The opening work, the Wagner-Liszt transcription of Isolde’s Liebestod had plunged the audience into high drama perhaps too suddenly, and the three Schubert-Liszt song transcriptions (“Wohin?”, “Der Müller und der Bach,” and “Gretchen am Spinnrade”) were well done, but felt somehow disengaged. Liszt’s “Les jeux d’eaux à la Villa d’Este” was technically stunning (and a beautiful precedent for the Jared Miller fountains), but even the octave fusillades in the Ballade No. 2 in B minor, though confidently executed, seemed to leave performer and audience a bit cold.

All in all, I look forward to hearing Ms. Li again in ever more personally expressive playing. Encores of a Chinese folk song (Chen Peixun’s “Autumn Moon Over the Calm Lake”) and Alexina Louie’s “Memories In An Ancient Garden” showed where some of that more personal involvement might lead.

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

Narek Arutyunian clarinetist in Review

Narek Arutyunian clarinetist in Review
Steven Beck, piano
Merkin Concert Hall at Carnegie Hall, New York, NY
December 13, 2011


Narek Arutyunian, Clarinetist

Narek Arutyunian, Clarinetist; Photo Credit: Christian Steiner

Music is a form of communication, transference of ideas from the player to the audience.  This would seem to be the motivation behind any performance, and yet, many performances fall short of this goal for a myriad of reasons.  Narek Arutyunian, 19 year old clarinetist, and a winner of the 2010 Young Concert Artists International Audition, is first and foremost a storyteller, in the tradition of the best folk artists.  He brings his considerable talent, facility, and appreciation of his heritage to refine this tradition into art.

Mr. Arutyunian’s most notable strengths are his big, well supported tone and flair for the dramatic gesture.  He was at his best in repertoire that drew upon his natural affinity for specific genres.  In the first movement of the Poulenc Sonata for clarinet and piano, his interpretation had, as in much of Poulenc’s music, a schizophrenic nature to it, sounding alternately suave and unhinged.  The following Romanza ventured beyond Poulenc’s marking of “Tres Calme” into a wrenching and painful lament.  Only in the concluding “Allegro con Fuoco”, however, did the clarinetist’s distinctive bright and polished sound find a perfect fit for this glittering concoction.

Each half of the recital contained a work that exploited popular genres, either to develop a theme (Jean Francaix’s Tema con Variazione) or to evoke the flavor of another culture (Paul Schoenfield’s Four Souvenirs). Mr. Arutyunian dispatched both these compositions with great humor, musicality, and a jazz artist’s sense of rhythm.  In the Francaix, his phrasing on the backbeat made both the lopsided Moderato and the quirkily accented grace note waltz come to life.  Just as remarkably, he employed a singer’s phrasing in the Gershwinesque Larghetto and a pristine white tone in the Adagio to great effect.  Even more impressive was the Schoenfield, in which he showed a complete mastery of each of the four miniatures, most especially in the melancholy Tango, a cousin to the Depression era song, “Brother, Can you Spare a Dime?”

Joseph Horovitz’ Sonatina is a well crafted, idiomatic piece of writing for the clarinet, but unmistakably of its time, polite and superficial.  Both this and the Sonata by Edison Denisov filled niches on the program, one for its lightness, the other for its unconventionality.  That said, Mr. Arutyunian made strong cases for each.  Only in von Weber’s Grand Duo Concertant did I feel that the clarinetist’s extroverted and highly subjective approach didn’t really work.  The swift and sparkling passagework of the Rondo was terrific, but elsewhere his playing seemed forced both in tone and rhythm.  This is a style which requires the player to emerge from within the structure of the music.

Two truly entertaining encores brought the program to a close.  Mr. Arutyunian’s partner in this recital, the pianist Steven Beck, is simply a wonder.  He plays beautifully, with unfaltering rhythm and technique, sharp ears and keen intelligence.  Their collaboration was seamless.

Narek Arutyunian is already an accomplished and exciting player who is generous to his audience.  I look forward to hearing more from him as he continues to grow artistically.

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by David La Marche  for New York Concert Review; New York, NY

Cuarteto Rústico in Review

George Anthony Figueroa, violin
Ariadna Buonviri, violin
Cassandra Stephenson-Sulbarán, viola
Jorge Espinoza, cello
Hosack Hall, New York Academy of Medicine
December 9, 2011

This concert was presented by Musica de Camara, one of whose missions is to present concerts in non- traditional venues, so as to bring great music to under-served communities. Who knew that the New York  Academy of Medicine, located just south of the Museum of the City of New York at Fifth Avenue and E 103rd  Street, housed a wonderful auditorium? And although the armchairs and movie screen at the rear of the stage  indicted that music was not the primary focus of Hosack Hall, I found it a perfect place in which to hear this  fine performance by the Cuarteto Rústico.

The members of the quartet all have Latin American roots (Chile, Columbia, Venezuela and Puerto Rico) and  state as their mission “to promote the origins, history and culture of the Americas through its music.” They  also state that “folk, popular and classical music from Latin America is at the heart of their repertoire.” And  tonight’s concert was true to their mission. It began with a spirited performance of Silvestre Revueltas’ Sting  Quartet No.4, “Música de Feria.” In four quite short movements, this work is “a brash and rowdy picture of  a Mexican rural fair.” Yes, it is brash, rowdy and contains Mexican rhythms and melodies, but I found it a  typical example of quite forgettable twentieth-century “classical music.” I was, however, most impressed by the
playing of this fine quartet – a focused sound at all dynamic levels, beautiful phrasing, a perfect balance among  the instruments.

We then heard the String Quartet No.1 by Heitor Villa-Lobos, the Brazilian master whose music is anything  but forgettable. His harmonic language is unmistakable and quite beautiful, as heard in the first movement,  titled “Cantilena.” Many string quartets strive for a consistently blended, homogeneous sound, and when a  homophonic texture called for it, we heard such a sound from Cuarteto Rústico. But what I liked most about  the quartet’s playing was that each instrument retained its own color, making crystal clear the polyphonic web  which was present in so much to tonight’s music.

Popular music followed; an arrangement for string quartet of Antonio Jobim’s bossa nova, “Chega de  Saudade.” During this work, which went on just a bit too long for this listener, the quartet played with the same  intensity, clarity of texture and fine sound as in the previous “classical” works. The first half ended with Astor  Piazzolla’s “Fuga y Misteri,” an excerpt from the composer’s tango opera “Maria de Buenos Aires.”
After the intermission we heard the concert’s longest work, Mozart’s String Quartet in C Major, K.465. By the  way, it was erroneously listed on the program as String Quartet No.6. It is, however, the composer’s twenty-  second string quartet. The mistake arises from the fact that it is also the last of the six quartets Mozart dedicated  to Haydn and had published in 1785 as Opus 10, No.6. I felt that the tempi in the first and last movements  were too fast, which made for moments of insecure playing. And strangely, although they didn’t repeat the  first movement’s exposition, they did so in the fourth movement. (For my strong feelings about repeating the  exposition, see the second paragraph of my review of the Nov 3, 2011 concert by The Stone River Chamber  Players.)

The concert proper concluded with a wonderful performance of Jorge Figueroa’s jazzy “Salsa Clásica” for  String Quartet. It was followed by an encore recognized by most of the audience, Carlos Gardel’s “Por una  Cabeza.”

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by Harry Saltzman  for New York Concert Review; New York, NY