Dan Franklin Smith, piano: “La Vida Iberiana” in Review

Dan Franklin Smith, piano: “La Vida Iberiana” in Review
Musica de Camara
St. Cecilia’s Church, New York, NY
February 18, 2011
 

Dan Franklin Smith

Just less than a year ago, I had the pleasure of giving a rave review to Dan Franklin Smith in a recital of works by living composers. Though that first hearing set the bar very high, I was delighted, in his recent program entitled “La Vida Iberiana,” to find that my enthusiasm for his artistry has not waned.

Mr. Smith embarked on his musical tour appropriately with Turina’s “Sanlúcar de Barrameda,” named for the port in Spain from which explorers Columbus and Magellan set sail. The “Sonata Pintoresca” as it is subtitled, was resplendent with the colors and imagery of Spain (as suggested by titles of its four contrasting movements) and was played with virtuosity and sensitivity. Improvisational transitions that can sometimes sound vapid possessed life and inevitability, while trills that can easily sound meretricious were gripping and heartfelt. Mr. Smith strikes one as the kind of player whose integrity could probably ennoble even the most maligned and cliché-ridden works; in a world where Ravel is used for commercials and Liszt is played by cartoon characters, such playing is a much-needed antidote.

It is always a joy to see the still-underappreciated Mompou on a program, and Mr. Smith’s Cancion y Danza No. 6 that followed was no exception. I would have liked its phrases wrung a bit more of their inherent pathos, but that is perhaps a tall order after the exhausting and exhaustive Turina. It could also be that the piano was not cooperating (an Otto Altenburg in a highly reverberant church), but in any case, there was room for more dynamic nuance.

To close the first portion of the program was Infante’s “El Vito Variations”, which had some audience members humming with happy recognition. Though I confess I’ve always thought of the piece as unlikable kitsch (and yes, there’s some kitsch I like), Mr. Smith’s expert treatment came close to redeeming it for me.

“La Maja y el Ruisenor” (“The Maiden and the Nightingale”) by Granados (from Goyescas) opened after intermission. Once again, the piano did not seem ideally suited to the piece, but the pianist handled the tinnier treble lines with grace.  Following the Granados came Surinach’s Cancion y Danza, No. 1, a nice but contrasting tie-in to Mompou’s work of the same title.

Representing Portugal, Vianna da Motta’s delightfully pianistic “Chula do Douro” (from Scenas Portuguesas, Op. 15) gave another perspective on “La Vida Iberiana,” albeit filtered through Lisztian ears. Mr. Smith played it with élan, setting a good backdrop for the plaintive opening of “Alma Brasileira” (Choros #5) by Brazilian, Villa-Lobos, played with a wonderful coloristic sense and plenty of atmosphere. Iberian influence on the New World entered the program here.

“Sin Rumbo” (subtitled Vuelvo al Sur or “Return to the South”) was a welcome taste of the ever-popular Piazzolla, and Santa Maria (#1 from Plenas) by Hector Campos-Parsi brought the musical tour to the infectious rhythms of Puerto Rico, energetically projected. The recital closed with André Previn’s “Three South American Sketches” (Festivo, Flor de Jardim, Mina d’Agua), played with the same brilliance and panache that I recall hearing when Smith played them last May, though now in a fresh context.

An enthusiastic audience received an encore of the famous Albeniz Tango in D (though the only word of the announcement we could make out was “Falla” so we were quite surprised – a hazard of not using a microphone perhaps).

All in all, it was another success for Mr. Smith, and also for Eve de la O, who has been dedicated to this music series, Musica de Camara, for 31 years.

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

Seunghee Lee in Review

Seunghee Lee, piano
Weill Recital Hall at Carnegie Hall, New York, N.Y.
December 1, 2010

Many pianists enjoy describing their programs and repertoires as “eclectic” lately, and, though the word is a bit overused, a recent recital program by pianist Seunghee Lee deserves that description. In a highly interesting mix of Heitor Villa-Lobos, Robert Muczynski, Francis Poulenc, Frédéric Chopin, Edvard Grieg, and Enrique Granados, Ms. Lee’s recital had something for almost everyone (though perhaps not for those hoping for a heaping helping of the “three B’s” – Bach, Beethoven, and Brahms). What I found particularly interesting was that this pianist seemed to have an equal affinity for each composer in this unusual assemblage. Ms. Lee, who has studied and performed widely and is currently a doctoral candidate at the University of Kentucky, has widely ranging interests and the ability to share them — a valuable combination.

Starting off with Bachianas Brasileiras No. 4 (“Preludio”) by Villa-Lobos, Ms. Lee established a thoughtful tone.  Though, as mentioned before, this recital offered none of the “three B’s,” the presence of the first “B” – Bach – was definitely felt here. Ms. Lee demonstrated beautiful tonal control from its rather stately opening. Occasionally high registers sounded a bit strident, perhaps from want of bass support via more pedal (as Ms. Lee was quite sparing in her use of pedal through much of the evening), but all in all it was a successful opening.

In a change of style, time, and continent, the program then moved to a work by U.S. composer Robert Muczynski (1929-2010) entitled “Desperate Measures” (Paganini Variations) Op. 48.  Based on the famous 24th Caprice of Paganini (the one which inspired Liszt, Brahms, Rachmaninoff, and others), this roughly eight-minute set (written in 1995) shows at times a striking kinship with the Paganini Variations of Witold Lutoslawski (for two pianos, written in 1941), though Muczynski’s work breaks out in far more jazzy directions. Ms. Lee brought out its brilliance, rhythmic energy, and at times, lyricism, though emphasizing the acerbic dissonant qualities more than I’ve heard or would like.

Chopin’s Ballade No. 3 in A-flat Major, Op. 47, followed with a refreshingly gentle opening, though it was overall the least successful work on the program. Little raggedy edges are conspicuous in such an unforgiving piece as this, and there were passages that seemed glossed over, where loud peaks were reached from thin beginnings with no tonal middle ground in between. Also, some inner voices that most Chopin fans know and love were boldly announced at their beginnings, but not followed through to their natural conclusions.

In Poulenc’s Trois Pièces, Ms. Lee seemed much more in her element, reveling in the dreamy, brooding Pastorale, the bold Hymne, and the light and precise Toccata. Her palette of colors was just right for these works. I couldn’t help thinking it would be interesting to hear her play Ravel’s Toccata (or perhaps Scarbo), and a number of works of Debussy.

Shifting after intermission to Grieg, Ms. Lee played the “Rotnams-Knut, Halling”  (No. 7 from Peasant Dances, Op. 72), the Scherzo-Impromptu No. 2 from Stimmungen, Op. 73, and the Ballade, Op. 24. These works enjoyed a loving advocacy in this pianist’s hands. The Ballade (despite accuracy issues towards the craggy end) had many fine moments, prospering by Ms. Lee’s patient lyricism through its doleful and funereal sections.

The Allegro de Concierto, Op. 46, by Granados ended the evening on a positive note, concluding what was a rewarding evening of music. An appreciative audience received an encore that sounded somewhat like a new age improvisation on a hymn, though (as sometimes happens) it was impossible to hear the announcement.

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

Lukáš Vondráček in Review

Lukáš Vondráček, piano
Weill Hall at Carnegie Hall, New York, N.Y.
November 22, 2010
 

LUKÁŠ VONDRÁČEK

2010 Winner of the Hilton Head International Piano Competition, Czech pianist Lukáš Vondráček gave an exciting recital that bodes well for a bright future in music. He is hardly a newcomer, for though in his mid-twenties, he has (according to  his biography) visited over 25 countries and given more than 900 concerts (having given his first concert at age 4). He has clearly honed his craft through so much playing; what was perhaps more impressive, though, was how completely committed he was to every single phrase, with not a hint of anything “automatic.”

Opening the recital was Haydn’s Sonata in C Major, No. 60 (Hob. XVI: 50), in lieu of the printed program’s Bach Italian Concerto. While I think the Bach might have led even more beautifully to the Mendelssohn Variations Serieuses (Op. 54), the Haydn was full of delightful surprises. With the imaginative orchestral treatment Mr. Vondráček gave it, it seemed to be just as much an opera overture as a sonata, showing sensitivity to the distinct character of each phrase and an enormous variety of articulations. Occasionally the staccato releases of his hands seemed mannered, to the point where one felt it distracting to watch, so I decided just to listen, and what I heard never failed to hold me.

Mendelssohn’s Variations Serieuses also seized one’s attention and never let go. I can’t recall hearing a performance of this piece quite as dramatic and all-encompassing. It should be required listening for those (and sadly there are some) who relegate Mendelssohn to innocuous, prettified music. From Vondráček’s thoughtful interpretation of the opening theme, to the riveting machine technique in the twelfth variation and the driving final Presto, it was a ride of Romantic extremes. I especially loved the moments where time felt suspended, the ethereal eleventh variation and the melting Adagio of the fourteenth, as this pianist is just as bold in his slow tempi as in fast.

One concern in the Mendelssohn (and even the Haydn) was how the Rachmaninoff and Prokofiev to come could intensify the already full-blown tonal world without straining; one is used to striving for a different sound for each era in piano music, and that did not seem a big priority here. The priority was a genuineness of expression, with not a trace of the condescension that sometimes affects more history-minded performances. All the music felt new in a way that should draw more audiences to classical music. Sure enough though, the louder passages in four of Rachmaninoff’s Op. 33 Etudes-Tableaux saw some subtle harmonic changes eclipsed by sheer decibels, as near the climax of No. 3 in C Minor and the angular, angry No. 9. The Op. 33, No. 1 in F minor and No. 8 in G minor rounded out the set, offering much to admire in dramatic projection and lyricism.

The boisterous pianism of Smetana’s Czech Dances (Hulán and Skocná) opened the second half with energy and humor. It will be good to hear Mr. Vondráček bring attention to more music from his homeland. In an interesting and effective segue, four Lyric Pieces by Grieg followed, Op.57, No.6 (“Homesickness”) Op. 62, No. 2 (“Gratitude”- a nice touch on Thanksgiving week), Op. 62, No. 4 (“Brooklet”) and Op. 68, No. 3 (“At Your Feet”). All showed vivid imagination, but the stunning evocations of the brook took the prize.

Prokofiev’s Sonata, No. 7 (Op. 83) closed with all the firepower one wanted, bringing the audience to its feet. Mr. Vondráček is a powerful pianist, and he should be much in demand for large Romantic concerti, such as Rachmaninoff’s Third Concerto, which he is engaged to play soon. It seemed he would be capable of playing tirelessly for several more hours, and his choice of a highly percussive, energetic encore seemed to agree (something sounding like Martinu, though one could not hear his announcement). One might have wanted something more serene right after Prokofiev’s 7th Sonata, but this pianist left on a strong and confident note. He should be confident, as he really “has it all.” Bravo!

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by Rorianne Schrade  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 20th-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.

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

“Dance of the Stones” in Review

“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.

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

American Fine Arts Festival and Pianist Victor Maslov in Review

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.

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

Fourtissimo: Soyeon Lee, Ran Dank, Roman Rabinovich, and Vassilis Varvaresos in Review

Fourtissimo:  Soyeon Lee, Ran Dank, Roman Rabinovich, and Vassilis Varvaresos, pianos
Zankel Hall at Carnegie Hall: New York, NY
October 8, 2010
 

Fourtissimo – Photo Credit: Lisa Mazzucco

Rarely has the literature for multiple pianos attracted four such exceptionally fine piano soloists as have come together in the dynamic new group Fourtissimo.  Having noted the “immense talent” of Young Concert Artists International Auditions Winner, Ran Dank, in 2009 (New York Concert Review, Vol. 16, No. 1), I was excited enough to read that he would be teaming up with rising star, Roman Rabinovich, about whom I wrote glowingly when he performed at the Salle Cortot in Paris in 2007 (Vol 14, No. 3); it thus seems a surfeit of riches to add the superb pianist (and 2010 Naumburg winner) Soyeon Lee and the outstanding Vassilis Varvaresos (also a winner of YCA, among other distinctions). Would the whole be greater than the sum of these parts? The answer is yes, thanks to the festive spirit, camaraderie, and constant variety in their program.

The music itself, including solos, duos, and works for two pianos and eight hands, was full of thrills, and the world premiere of “The Quadruple Carmen Fantasy and Fugue” by young composer Noam Sivan was chief among them.  Its witty and brilliant treatment of the Carmen themes exploited all four pianists’ skills extensively, with none of the dead wood or excessive doubling that plague the two-piano repertoire. Jazz and popular elements reinvigorated the well-known themes (as did the addition of tambourine at one point).

Four selections from Ligeti Etudes (for solo piano) alternated with the ensemble works, offering a much-needed textural relief, a sonic “palate cleanser,” and a solo virtuoso showcase for each pianist. It was a joy to hear these fascinating Etudes singly, rather than in rapid succession. Mr. Varvaresos first offered No. 9, “Vertige,” in a rendition so dizzying that one needed to clutch one’s seat.

Liszt’s two-piano transcription of Beethoven’s Symphony No. 9 (first movement) followed, played by Ran Dank and Soyeon Lee. In keeping with the ensemble’s professed inspiration, the “boldness and creativity of the Golden Age “ of pianism, it was a refreshing choice, played with precision and energy. Ligeti’s Etude No. 4 (“Fanfares”) was then given marvelous vibrancy by Mr. Rabinovich, who was joined afterwards by Mr. Varvaresos to close the first half with Ravel’s La Valse. La Valse was given a muscular, if somewhat overly goal-oriented, performance. The surges and swoons seemed too often only hastily suggested (as well as some of the coruscating passage-work), but what may have been lacking in sensual thrills was found in athletic vigor, with Mr. Varvaresos taking an extroverted lead.

All four pianists joined forces again for the New York premiere of Lowell Liebermann’s Daydream and Nightmare (2005). A short but fascinating piece, it showed Mr. Liebermann’s characteristic artistry from its slow meditative opening to its tumultuous close.

The Ligeti Etude series continued with No. 6 (“Autumn in Warsaw”) sensitively played by Ms. Lee, followed by Mendelssohn’s own arrangement for piano of the final movement (Presto) of his Octet Op. 20, played with fleet-fingered control by Mr. Dank and Mr. Varvaresos. Mr. Dank remained onstage for Ligeti’s Etude No. 1 (“Desordre”), expertly handled (even if I would have preferred even more pronounced accentuation of its jagged rhythms). Lutoslawski’s Variations on a Theme by Paganini, a surefire two-piano standard, was then winningly played by Ms. Lee and Mr. Rabinovich. Even more sense of diabolical play will put it “over the top,” but each successive performance will undoubtedly encourage that. Grainger’s “Fantasy on Porgy and Bess”  (after Gershwin), another two-piano favorite, closed with the “Fourtissimo” treatment, with four hands alternating tag-team-style for much of it, but ending with a souped up eight–hand finale. It was an apt finale to an evening full of fun.

An improvisatory encore including themes from Simon and Garfunkel’s “Scarborough Fair” and “Mrs. Robinson” (among others) brought the house down.

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

Bronx Arts Ensemble Orchestra

Bronx Arts Ensemble Orchestra
David Gilbert, conductor
Orlay Alonso, piano;
Halley Gilbert, soprano;
Papo Vásquez, trombone;
Rafael de Jesus, vocalist
Van Cortlandt Park; Bronx, N.Y.May 30, 2010
Orlay Alonso

Orlay Alonso

The Bronx Arts Ensemble, under the direction of William Scribner, with David Gilbert conducting, is fast becoming a mainstay of Bronx cultural life. As part of their Memorial Day weekend concert, Assemblyman Jeffrey Dinowitz spoke of the joy of being able to hear good concerts in one’s own borough; at the rate they are going, these concerts will become a magnet for other boroughs as well. They regularly feature rising young stars, and this concert was no exception. Opening with a rip-roaring account of the Star-Spangled Banner, the orchestra stayed in high gear for Leonard Bernstein’s Overture to Candide, always a crowd pleaser. Maestro Gilbert was in great form, and the ensemble projected the spirit better than many full-time orchestras.

It is much harder for an ad hoc group to refine the textures and lines of Mozart, even paired with a flexible soloist such as Orlay Alonso performing the Concerto in A Major, K. 488. This 23rd Piano Concerto is certainly among the great beauties of the piano literature, but its needs a painstakingly blended ensemble and optimal performing conditions to be all that it can be. The alfresco setting, including babies, dogs and the occasional overhead plane, didn’t help, charming as it was. Especially in the profound second movement, where one needs to hear and feel each heart-wrenching suspension wrung to the maximum, there were imbalances (possibly exacerbated by positions of microphones), leaving one with the glossy “gist” of it. Mr. Alonso was rock solid in any case. I have enjoyed reviewing his excellent performances in the past, but this one was exceptional for its elegance and polish. Highlights included a beautifully delivered cadenza (Mozart’s own) in the first movement and some delightfully playful articulations throughout. In the last movement, Mr. Alonso seemed truly to relish the playful exchange between piano and orchestra, and the joy was contagious. His Andante breathed naturally, though one wondered whether a more operatic approach to treble melodic contours might have enhanced it. Alonso also should be lauded for handling a Kawai grand piano with a bass that seemed inordinately resonant compared to the treble, even with his deft left hand. This soloist is clearly unflappable and deserves many more opportunities to unleash his musicality to its fullest extent. As a bonus, his charismatic stage presence is a pleasure to behold. I’ll look forward to his next concert.

After the Mozart, we heard a free jazz transcription of Greensleeves by Papo Vásquez, who also played the solo trombone part with panache. His arrangement of Henry Mancini’s Charade followed, with Rafael de Jesus ably singing the solo part. The first half closed with soprano Halley Gilbert’s rendition of “Ain’t it a Pretty Night” from the opera “Susannah” by Carlisle Floyd. It was simply stunning, a performance of unfailing pitch, remarkable ease, and consistent beauty of sound. There was more of her singing in the second half, where she showed a flair for Broadway show tunes as well in “If I were a Bell” (from “Guys and Dolls”) by Frank Loesser and “Blow, Gabriel, Blow” (from “Anything Goes”) by Cole Porter, with fine trumpeter Jerry Bryant. The second half included a highly effective transcription by Papo Vásquez of “Poquita Fe,” by Bobby Capo, with Rafael de Jesus singing, plus medleys from “Oklahoma!” and “The Phantom of the Opera.” A rousing rendition of Sousa’s “Stars and Stripes Forever” capped off the afternoon, with the audience clapping in rhythm and dancing on the lawn.

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

Chopin and Schumann 200th Anniversary Celebration

Chopin and Schumann 200th Anniversary Celebration
Musicians from the Mason Gross School of the Arts, Rutgers University
Min Kwon, Director
Weill Recital Hall at Carnegie Hall, New York, NY
May 27, 2010

Chopin and Schumann 200th Anniversary Celebration

There has certainly been no shortage of Chopin and Schumann celebrations this year, but a gala concert by Min Kwon and musicians from the Mason Gross School of the Arts showed that there is always room for another. Sixteen musicians of various ages (both faculty and students) assembled in a large and varied recital of well-loved works by the two masters. The program’s first half was a bit long (well over an hour), but the programming was a delight (alternating the two composers instead of placing them in large blocs), and the dovetailed entries and exits kept the flow.

The first offering was Chopin’s Scherzo in B minor, played by undergraduate Lachlan Glen. A bold opening by a young pianist with promise, the piece enjoyed increased confidence and accuracy as it proceeded. Recent freshman Michelle Rofrano followed with Chopin’s Waltzes in F Minor, Op. 70, No. 2 and C-sharp minor, Op. 64, No. 2. Graceful and earnest, her readings caught much of the works’ beauties. Moving to Schumann songs, we heard “Er Ist’s” (“It is Spring”) and “Stille Tränen” (“Silent Tears”) sung by soprano Catherine Spadora Stebbins with Barbara González-Palmer at the piano.  An M.M. candidate, Ms. Stebbins has an appealing voice and projected the contrasting moods well.

Returning to the piano, the program continued with Chopin’s Etudes, the C Major, Op. 10, No. 1 and C Minor, Op. 10, No. 12 (“Revolutionary”) played by doctoral student Zin Bang. These were unusually solid and confident performances, showing admirable technical control. When doctoral student Kelly Yu-Chieh Lin followed with Chopin’s Nocturne in C minor, Op. 48, No. 1, one was ready for something meditative and received just that. Ms. Lin sustained her melodic lines beautifully in the opening’s profound simplicity and over surging left hand octaves. Having once had the pleasure of reviewing doctoral student, Alexander Beridze, I was eagerly anticipating his Chopin Ballade in F Major (the Ballade dedicated to Schumann). At first, the contrasts between the lyrical and tempestuous sections seemed a bit restrained; upon reflection, though, the avoidance of what some pianists turn into excess would likely have pleased its most elegant composer. Mr. Beridze did not disappoint. The infamous coda lacked nothing in speed and excitement.

A highlight of the evening was the playing of doctoral student Junko Ichikawa, who performed Chopin’s Mazurka in A-flat Major, Op. 24, No. 3 and Waltz in A-flat major, Op. 42 with ease and maturity. Especially impressive was her imaginative use of contrasting articulations and pedaling to enliven the various restatements.

More Schumann songs followed, “Der Nussbaum” (“The Nut Tree”) and “Widmung” (“Dedication”) both from the composer’s Op. 25. Hong Kyung Kim was the expressive soprano with Ms. González-Palmer providing important support. Two Chopin Mazurkas, with melodies that Schumann called “cannons hidden in fields of flowers” came next. The A-flat major and F-sharp minor Mazurkas from Op. 59, were given thoughtful, understated interpretations by doctoral student DiYi Tang.  Finishing the half was Miao Hou (soon to enter the DMA program at Mason Gross) in a rousing, dynamic performance of Chopin’s Scherzo No. 2 in B-flat minor.

The second half consummated the celebration with some of the more seasoned performers and faculty, including violinists Todd Phillips and Leo Ching-Hung Lo, violist Audrey Ching-Yuan Chen, cellist Jonathan Spitz, and pianist Min Kwon in Schumann’s Piano Quintet in E-flat. Ms. Kwon, who had supervised and greeted earlier that evening, proved to be the tireless center of a vibrant performance. Some highlights included singing cello melodies in the first movement and a Scherzo that absolutely pulsated with life.  Happy 200th indeed!

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

New York Concert Artists, Winners’ Evening II

New York Concert Artists Winners’ Evening II
Yoojin Oh, piano;
Raymond H. T. Wong, piano;
Yumi Sato, piano;
Anastasia Dedik, piano

Manhattan Chamber Orchestra
Eduard Zilberkant, conductor
Good Shepherd Church, New York, NY
May 15, 2010

Word must be spreading about the musical feasts presented by New York Concert Artists & Associates, as their audiences seem to be growing from concert to concert. Under the artistic direction of Klara Min, the musical fare seems to be growing in scope as well. A recent evening featuring four big piano concerti included a work that is rarely performed live, the Vaughan Williams Piano Concerto in C (1926, first two movements, and finished in 1931). Having heard the excellent new recording of it played by Ashley Wass (also recorded twice by Howard Shelley), I had recently been wondering why the piece is so overlooked; granted, it is fiercely difficult and sprawling, with a quiet ending that elicits a hush rather than an explosive ovation, but its treasures are many. Excellent pianist Yoojin Oh found these treasures, and they were stunning. Ravelian swirls of color, expressive cadenzas, bold percussive statements, and a well-controlled fugue all sounded as if the pianist had performed this piece for years (though she was using the score). Ms. Oh has considerable credentials, so hopefully she will parlay them into further performances of this unfairly neglected gem. I for one would want to hear it again.

Many in the audience seemed at least as excited to hear what followed, Rachmaninoff’s much beloved Piano Concerto No. 2 played by Raymond H. T. Wong. A student at the Manhattan School of Music, Mr. Wong gave his New York debut in 2009 and has a good number of awards, performances, and scholarships to his credit. His playing showed considerable youthful fire and moments of real artistry. Occasionally his impulsiveness got the better of him, and the second movement could have felt freer, but a piece with such a rich performance history presents a very high bar. All in all, it was a commendable performance that brought Mr. Wong’s very enthusiastic audience to its feet.

After intermission, came more Rachmaninoff: this time, his Piano Concerto No. 1 played by Yumi Sato. Ms. Sato, currently studying in Europe, has also won numerous prizes, and understandably so. She gave a highly polished performance. Precision, clarity, and thoughtful pacing characterized her playing. Occasionally one wanted less of a sense of “dispatch” and perhaps more breathing at phrase ends, but adrenaline runs high on such occasions. In any case, her fingers never failed her. Her collaboration with the orchestra was also to be admired.

The evening’s finale was Tchaikovsky’s Piano Concerto No. 1 played by Anastasia Dedik, the winner of NYCA’s first International Concerto Competition (2010). Ms. Dedik’s biography lists numerous concerts and competition prizes, including the one that resulted in this performance. She delivered a strong, muscular account of the work, nearly flawless in the octaves and difficult passages. Occasionally her sound may have been a shade too big, such as where she outweighed the cello a bit (second movement), but she is clearly ready to take this piece “on the road.” The last movement should be a notch slower so the Cossack dance does not become a blur, but all in all it was a rousing finish to a memorable evening. Eduard Zilberkant conducted superbly throughout, his experience as a pianist undoubtedly lending him extra sensitivity to the soloists. The orchestral personnel were not listed; a shame considering some fine individual performances.

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