Concert review

Concert review, Contemporary Classical, Los Angeles, Ojai

Ojai Music Festival 2025 – Morning Concert, June 6

Attending the Ojai Music Festival in person is one of the great musical experiences on the West Coast. The mountains, the town, Libbey Park and great music make Ojai the place to be in early June. One of the festival’s best kept secrets, however, is that the concerts in Libbey Bowl are live-streamed over the internet. Not only that, the sound system is exceptional and the camera work excellent. If you can’t get to the Ojai Festival in person, the next best thing is to watch the streamed video. This is what I did this year and it was a real convenience.

On Friday, June 6, the first piece up in the 10:30 AM concert program was Pulsing Lifters by Terry Riley, a world premiere arrangement by Alex Peh for a keyboard trio. Pulsing Lifters is just one segment from Riley’s larger work, The Holy Liftoff, parts of which were spread across concerts during the entire festival. As the program notes by Thomas May state: “Open-ended by design, The Holy Liftoff unfolds across a series of modular scores that invite myriad realizations and improvisational approaches.” The performers for Pulsing Lifters were Alex Peh, Corey Smythe and Craig Taborn, manning two pianos, a harpsichord and separate electronic keyboards.

Pulsing Lifters opens with a soft tinkling of electronic notes that evoke an unexpected combination of spacey and organic feelings. The acoustic pianos soon joined in with some leisurely additional notes. Slow, pulsing tones were heard rising up from deep lower registers. Strong harpsichord phrases occasionally added some energy and made for an interesting contrast to the surrounding electronic sounds. It was as if the listener was drifting along in the 21st century and was suddenly yanked backwards 300 years. Terry Riley is one of the founding fathers of late 20th century minimalism, but Pulsing Lifters was clearly something different. As the piece trailed off to its quiet conclusion, one got a sense of just how far Riley has evolved. Approaching his 90th birthday, Terry Riley is still a vital and creative force.

Impressions, by Anna Thorvaldsdottir, followed. This was a solo work for harpsichord performed by Alex Peh. This is a quiet, intimate piece that completely redefines the venerable harpsichord in a way that fully engages contemporary sensibilities. The program notes explain that: “Thorvaldsdottir develops a novel timbral vocabulary using six small superballs, a superball mallet, a small metal object for sliding along the strings, and two electronic bows (E-bows), which produce continuous, bowed-like tones without percussive attack.”

Impressions opens with softly plucked tones, followed by solitary keyed low notes. As the piece proceeds, Peh alternately struck notes directly from the strings or keyed conventional harpsichord tones. Small rubber superballs were rolled across the strings, sometimes singly or several at once. A small metal rod was also used to excite several adjacent strings together. Two electronic bows were deployed on the strings and these produced a lovely arco tone. Slow and deliberate, all of this produced a continuous series of unusual sounds that were completely alien to the normal harpsichord timbre, and this served to expand the listener’s aural palette. Notes struck from keyboard were used sparingly and Alex Peh was kept mostly busy with the strings inside the harpsichord. This piece is largely comprised of a mix of engaging and experimental effects produced directly on the strings. Anna Thorvaldsdottir’s Impressions has gifted our old friend the harpsichord with a 21st century syntax for contemporary music.

Next was Cory Smythe performing Countdowns, a solo piano piece based on the music of John Coltrane. Smythe’s acoustic piano was fitted with a detuning mechanism which allowed the playing of quarter tones from two separate midi keyboards. The result is a seamless blend of conventional and present day sounds.

Countdowns begins with deep chords. Strumming on the piano strings produced dark clusters of tones and soon electronic sounds are heard underneath. There is a heavy feeling to all of this, broken occasionally by some light phrases in the higher registers. Smythe stays active attending to the keyboards, strings and electronics, all more or less simultaneously. The phrases in this mix are occasionally somewhat faster, but seem to come and go without any larger structure. Some of the rapid phrases seem to overlap, reminiscent of Coltrane’s ‘sheets of sound’ style. There was a dazzling flurry of notes at the finish. This piece was inspired by Giant Steps, but there are only flashes of the hard bebop style that we associate with Coltrane. Countdowns seems to be trying to connect directly with Coltrane’s deeper spirituality using 21st century musical syntax, a worthy – if daunting – effort.

The final work on the program was Duo Improvisation for Ojai, performed by Craig Taborn and Corey Smythe. This allowed the two performers to stretch their musical legs in an extended improvisational format. Corey Smythe was again stationed at his formidable array of piano and electronics with Craig Taborn at a second acoustic piano. As Thomas May explains in his Ojai program notes: “Taborn describes their approach as an ‘information-rich, improvisational process’ shaped by structural elements proposed in advance.”



Duo begins with low notes plucked directly from piano strings. Soon, some higher electronics and piano notes are heard, all at a deliberate pace. There is a very experimental feel to this with a variety of tones and timbres that are combined by extended techniques. Soon, a driving pulse is heard underneath with a series of complex phrases from each keyboard. These interleave between each other, occasionally producing a rapid blizzard of notes. At other times the tempo, dynamics and rhythms are more restrained and the feeling is more ominous. Towards the finish, an active and complex texture is heard, with individual notes pouring out of each piano. The dynamics and tempo quickly moderate and the piece quietly drifts along, ending on a deep piano note in the low register. Duo Improvisation for Ojai, is an impressive piece performed by two outstanding talents and was a lively conclusion to a concert filled mostly with introspective music.

The June 6 Friday Morning concert was a polished and innovative start for the day, and included lots of unusual keyboard techniques that were both memorable and impressive.

Photo Credits: Timothy Teague

by Paul Muller
Concert review, Contemporary Classical, early music, Festivals, File Under?, New York

Alisa Weilerstein’s Fragments 3 Program at Zankel Hall (Concert review)

 

Photo: Richard Termine

Fragments 3: Alisa Weilerstein at Zankel Hall

May 20th, 2025

Published in Sequenza 21

By Christian Carey

 

NEW YORK – Alisa Weilerstein is a supremely gifted cellist, and it is hard to imagine being anything less than riveted by her playing. At Zankel Hall last Tuesday, she made decisions for her Fragments project that seemed to be needlessly distracting. 

There are six Fragments programs all told, each based on one of the Bach Suites, joined by new pieces commissioned for the project. Fragments 3 featured the third cello suite alongside pieces by Joseph Hallman, Thomas Larcher, Jeffrey Mumford, and Carlos Simon. A design team helped to bring Weilerstein’s concept to life. The set, by Seth Reiser was elegantly simple, a multi-sided screen behind Weilerstein, and costume designer Molly Irelan did a fine job creating a chic yet downtown look for the cellist. The effective lighting, also by Reiser, included various spotlights as well as a moving magic lamp that accompanied moments of intensity. Director Elkanah Pulitzer did not seem to overtly interfere with Weilerstein’s usual performing demeanor. Perhaps ordering and pacing were part of her remit. 

 

The fragmenting of the pieces themselves is where things got challenging for listeners. Instead of presenting each of them in toto, individual movements of all of the pieces, Bach included, were excerpted out of order. In addition, audience members weren’t given a listing of the ordering of these sections, having to wait until after the concert to download a program, using a QR code found in the booklet. In remarks that were printed for consumption beforehand, Weilerstein exhorted the audience to “just listen.” This, by the way, is every reviewer’s nightmare – playing “name that tune” with pieces that you have never yet heard. 

 

It is laudable that so many new works for solo cello have come from this project. However, one feels for the composers, who, instead of being given a bow, were represented by the fragmenting of their pieces into a mix without metadata. It can be said with confidence that all four of the commissioned composers know cello writing authoritatively, including a catalog of extended techniques that featured Weilerstein’s adventurous streak and admirable facility to excellent advantage. Indeed, Simon and Hallmark seemed to invigorate their writing with extra doses of well-integrated 21st century virtuosity.

 

It was a bit disorienting to hear the Allemande, the second movement of Bach’s suite, appear as the penultimate fragment. Out of order though its movements may have been, the performance of the Bach suite was engaging, played with consummate care and thoughtful phrasing. Most of the program relied on the juxtaposition of old and new music. Only Mumford, with a few ostinatos in an otherwise dazzlingly modernist endeavor, provided a hat tip to Bach. Weilerstein finished the recital with the third movement of Thomas Larcher’s now here, which culminated with a rocket-fueled flourish, dazzling lamplight included. 

Photo: Richard Termine

In the bygone times of analog mixtapes, curation seemed a prerequisite. Playlisting mixes has now become the way that many people usually listen on digital platforms, often passively and without worrying about the aforementioned metadata. When it comes to music consumption, an encroaching facelessness of content seems to be what’s trending. Revising the recital is a welcome endeavor, and annotating program booklets needn’t be an ossified affair. When engaged, just listening is fine, and may be preferable to constantly rifling through the program notes instead of fully attending to the performance. Perhaps supertitles briefly listing who is being played could be a compromise, a mix without undue preconceptual baggage. 

 

All six installations of Fragments will be presented this week at the Spoleto Festival  over four nights: May 26, 28, 29, and 31. Bring your cell phone and click on those QR codes as soon as the applause concludes. 

 

-Christian Carey



by Christian Carey
CD Review, Concert review, File Under?, Minimalism

Simone Dinnerstein and Baroklyn Perform Glass at Merkin Hall

Simone Dinnerstein and Baroklyn Perform Glass at Merkin Hall

Photo by Lisa Marie-Mazzucco.

 

Kaufman Music Center

Piano Dialogues

Simone Dinnerstein with Baroklyn

May 12, 2025

Published on Sequenza 21

 

NEW YORK – Last Monday, the pianist Simone Dinnerstein brought her Baroklyn project to Kaufman Music Center’s Merkin Hall to perform an all Philip Glass program. Baroklyn is a string ensemble, augmented at the concert by harp and celesta, assembled by Dinnerstein from musician friends with an eye towards a mostly, but not exclusively, female group. 

 

The concert opener was The Hours Suite, excerpted from the film score and arranged by Michael Riesman, a longtime musical director for Philip Glass. Unlike many film score segments, which are brief vignettes, the three movements here are substantial, evocative of the film but transcending it to morph into a symphonic triptych. Conducting from the piano, Dinnerstein’s gestures were clear, and Baroklyn’s musicians were responsive and performed in a well-coordinated fashion, even when in the midst of myriad metric shifts at high speed. The group’s keen intonation afforded the harmonies a lustrous quality.

 

Mad Rush is one of the most abundantly virtuosic of Glass’s piano pieces, and it has become a showcase for Dinnerstein’s superlative chops. The piece contains furious fast runs, with a concomitant sense of blissful austerity in the slower passages. Dinnerstein inhabited both demeanors authoritatively.  

 

The concert concluded with Tirol Concerto, the composer’s first piano concerto. Prior to the performance, I had some misgivings about whether Baroklyn’s lithe approach had the requisite heft for the piece. However, I was won over by the powerful performance they mounted, right-sized for Merkin Hall but resolute and often jubilant. An interpretive challenge in the piece is the shaping of its dramatic arc. The first movement begins with a slow introduction and then picks up steam, and the finale is a brisk moto perpetuo, both straightforward in design. It is the central movement, a sprawling and content-filled quarter of an hour, that can all too easily imbalance the proceedings. Not so here, where the interpretation sliced it into a series of tableaux that would fit right in as passages for a Glass opera. 

 

On May 30th, Baroklyn will release Complicité, a recording of J.S. Bach for the Supertrain imprint. They are joined by guest artists Peggy Pearson, who plays oboe d’amore, and mezzo-soprano Jennifer Johnson Cano. Dinnerstein’s graceful arrangements of Bach arias for piano and ensemble are adroit tropes on cantata movements. The Keyboard Concerto in E major is an excellent vehicle for Dinnerstein, who plays it in period-informed fashion while suiting her touch and tempos to the modern grand. Johnson Cano’s mezzo-soprano voice is the centerpiece of Cantata 170, which is presented in full. She sings with rich tone and judicious use of vibrato, sumptuously phrasing long legato lines and dexterously performing melismatic passages. In the Air, composer Philip Lasser’s reworking of Bach’s Air on a G-string, is replete with tender ornamentations, and a pleasant valediction. Complicité is a recital disc that, even in arrangements and on modern instruments, shows Dinnerstein and Baroklyn to be gifted advocates for Bach.

 

-Christian Carey



by Christian Carey
Choral Music, Concert review, early music, File Under?, New York

Stile Antico Sings Palestrina at St. Mary’s

Photo: Eduardus Lee.

Stile Antico Sings Palestrina at St. Mary’s

March 29, 2025

Church of St. Mary the Virgin

 

NEW YORK – Celebrating their twentieth year, the vocal ensemble Stile Antico brought a program dedicated to the 500th anniversary of the composer Giovanni Pierluigi da Palestrina’s birth to Miller Theatre’s Early Music Series. The concert was held at the Church of St. Mary the Virgin in midtown, a space that Miller has employed to host a number of Renaissance music performances.

 

Stile Antico appeared with only eleven singers, instead of their usual complement of a dozen. Baritone Gareth Thomas was ill and couldn’t perform. Between numbers, several of the singers hid surreptitious coughs, leading one to think that a bug had plagued the group en route. The quality of the performance didn’t suffer: they still sang sublimely. 

 

The centerpiece of Stile Antico’s latest recording, The Golden Era: Palestrina (Decca, 2025), is perhaps his most famous piece, Missa Papae Marcelli. A great deal of lore has grown up around it, with a story that Palestrina wrote it in part to convince the more conservative members of the Council of Trent that they needn’t ban polyphony and revert exclusively to plainchant in services. Composers could write in multiple parts and still clearly convey the text. While it is unlikely that the Pope Marcellus Mass served as a test piece, Palestrina took pains to write polyphony that never obscured the words. Many composers, some even generations later, imitated what had come to be called the stile antico style of declamation and use of dissonance. 

 

Stile Antico’s performance of Missa Papae Marcelli on the recording is impressive, a standout that is among the best in a crowded field. Their diction is crystal clear, and the tone and blend of the ensemble is particularly beautiful. At St. Mary’s, the mass’s Credo was featured, and it was an expansive display that was well-paced to express the drama inherent in various passages of the piece. 

 

A number of motets by the composer were also included on the program. Tu es Petrus and Exsultate Deo displayed fleet runs and ricocheting exchanges. Sicut servus was performed with fetching delicacy, and Nigra sum sed formosa was imbued with stately elegance. 

Photo: Eduardus Lee.

Composers besides Palestrina who also served in Rome were on the program as well. Josquin’s Salve regina, with a stark bass motive and a texture frequently divided into duets, represented one of the most prominent elder statesmen of the early Renaissance. Jacques Arcadelt’s Pater noster is an example of the florid writing and frequent use of extra-liturgical texts and tunes that contributed to the aforementioned controversy at the Council of Trent. It is hard to lay blame at Arcadelt’s doorstep when hearing his music, which is pleasing in its bustling rhythms and multihued chords. Tomás Luis de Victoria’s Trahe me post te and Orlando de Lassus’s Musica dei donum represented works by esteemed contemporaries. The former has an austere yet attractive manner and the latter, a six-voice motet, is more intricate in presentation. Christus resurgens was by Gregorio Allegri, a composer of the next generation, who continued in Palestrina’s footsteps, composing music in stile antico style. The piece’s use of antiphony is particularly striking. Another later composer, Felice Anerio, who succeeded Palestrina in the Papal Choir, combined passages of relatively homophonic declamation with expressive chromaticism in his Christus factus est.

 

The program also included a new work, A Gift of Heaven by the English composer Cheryl Frances Hoad, who used the preface to a publication by Palestrina, in which he flattered the dedicatee, as the text for her piece. Sumptuous polychords undergirded a solo tenor imparting what Frances Hoad describes as “buttering up a patron.” 

 

Sadly, Stile Antico at eleven could not finish the program with the impressive 12-voice motet Laudate Dominum a 12. They substituted another Palestrina work, Surge Propera Amica Mea, with corruscating runs and an impressive final cadential section, creating an exuberant finale. The group returned to offer something completely different for an encore, “The Silver Swan,” a madrigal by the English composer Orlando Gibbons. It provided a delicately lyrical close to an evening of exquisitely well-performed music. 

 

-Christian Carey

 

by Christian Carey
Classical Music, Concert review, Conductors, Contemporary Classical, File Under?, Lincoln Center, New York, Orchestras, Twentieth Century Composer, Vocals

Remaking a Rug Concert: Boulez at 100

David Robertson conducts NY Phil
Photo: Brandon Patoc

Sound On: A Tribute to Boulez

The New York Philharmonic, Conducted by David Robertson

Jane McIntyre, Soprano

David Geffen Hall, January 25, 2025

By Christian Carey – Sequenza 21

 

NEW YORK – If you think that audience development is a relatively new practice, then you may not have heard of Rug Concerts. In the 1970s, during Pierre Boulez’s tenure as Music Director of the New York Philharmonic, these were an experiment to attempt to attract young people and downtown artsy types to try a concert at Avery Fisher Hall. Instead of rows of seating, rugs were strewn about the hall, inviting audience members to lounge in informal fashion while hearing a concert. Revisiting the first of these concerts, its program was presented in its entirety, albeit to audience members in the conventional seating setup of David Geffen Hall: no rugs rolled out. 

 

The first half of the concert featured repertory works. J.S. Bach’s Brandenburg Concerto No. 3 in G major was given a period-informed performance by a small ensemble. Sheryl Staples, the concertmaster for the evening, providing the aphoristic solo part with suave elegance, and bassist Timothy Cobb and harpsichordist Paolo Bordignon were an incisive continuo pairing. 

 

Franz Schubert’s Symphony No. 2 in B-flat is an impressively beautiful piece, especially considering that it was completed when the composer was just eighteen. I have heard three different conductors lead this symphony with the NY Phil, a proto-romantic and broadly lyrical rendition from Kurt Masur, a breakneck-pace version informed by early music practice given by Alan Gilbert, and Robertson’s, which deployed a chamber-sized orchestra and emphasized the classical elements in Schubert’s early instrumental music. One hesitates to make a Goldilocks comparison, but Robertson’s interpretation felt just right. 

 

The second half of the program consisted of music from the twentieth century. Anton Webern’s Symphony, completed in 1928, was a totemic work for the postwar avant-garde, notably Boulez. It is a set of variations that uses the 12-tone method in a way that points toward the systematic organization of serialism, and is also filled with canons, reflective of Webern’s dissertation on the Renaissance composer Heinrich Isaac. The piece is aphoristic with a thin texture, but deceptively challenging to perform, to connect the web of its lines in convincing fashion. The NY Phil navigated these demands under Robertson’s detailed direction with an ease of delivery that one seldom hears in the performance of Webern. Principal clarinetist Anthony McGill, who was given particularly disjunct lines to play, demonstrated a keen awareness of the importance of legato in the piece, even when leaping through dissonances.

Photo: Brandon Patoc

Boulez’s Pli selon pli: Portrait de Mallarmé, composed in 1957, was one of the pieces that put him on the map as an important creator. Its vocalist is tasked with significant interpretative challenges and a detailed and rangy score. Jana McIntyre performed commandingly, rendering the surrealist poetry with a wondrous exuberance for its strangeness, singing clarion top notes and plummy ones below the staff. A singer to watch for. The percussion section, which channels more than a bit of gamelan influence, played superlatively. Robertson was a close colleague of Boulez, and is a former director of Ensemble Intercontemporain. His conducting of Pli selon pli is the most authoritative that we have left since the composer’s passing. 

 

The concert concluded with Igor Stravinsky’s concert suite version of L’Histoire du Soldat. Composed in 1918, it is for a septet of musicians and includes eight sections from the larger piece. One of the last pieces in Stravinsky’s Russian period of composition, it mixes folk tunes with prescient shadings of the neoclassicism that was to follow in his music. Three dances, a tango, waltz, and ragtime, were particularly well-played, with Staples animating the characteristic rhythms of each. Trumpeter Christopher Martin and trombonist Colin Williams played with crackling energy, McGill and bassoonist Judith LeClair navigated dissonant intervals with laser beam tuning, and Cobb and percussionist Chris Lamb imbued the march movements with propulsive kineticism. 

 

It is fortunate for the New York Phil that Robertson works in the neighborhood, just across the street as Director of Orchestral Studies at the Juilliard School. One hopes that they continue to avail themselves of his considerable talent and warm presence on the podium.

Photo: Brandon Patoc

 

by Christian Carey
Classical Music, Concert review, Contemporary Classical, Festivals, New York, Opera, Vocals

Compelling and Visceral: “In a Grove” and Arooj Aftab at Prototype

In a Grove at Prototype Festival 2025 (credit Maria Baranova)

PROTOTYPE – OPERA | THEATRE | NOW defines itself as a “festival of visionary opera-theatre and music-theatre works”. Its presentation of In a Grove (January 16 – 19, 2025) was as close as Prototype comes to conventional opera in the context of eschewing tradition. It was also one of the most compelling productions I’ve seen in a long time. The intimate setting at La MaMa’s Ellen Stewart Theater augmented the visceral impact.

The story unfolded in four sections, each expressing a different character’s point of view of a murder in the woods. If that description sounds like the Kurosawa film Rashomon, it’s because that film was based on the same book: In a Grove, a century-old short story by Ryūnosuke Akutagawa.

The four singers: John Brancy, Chuanyuan Liu, Paul Appleby, and Mikaela Bennett, all excellent vocalists and actors, played multiple roles. Surtitles were projected above the stage, but for the most part they were not necessary to decipher Stephanie Fleishman’s effective libretto.

Christopher Cerrone’s melodic material was memorable without being trite. As I left the theatre after the performance, the haunting lament of the last scene continued to ring in my ears. Director Mary Birnbaum’s concept was exceptionally powerful in its simplicity, with no props and no set, save for a large pane of glass that glided in to bisect the stage at certain points. The glass panel also served as a mirror in some scenes.

Cerrone’s vocal score was accompanied by ten instrumentalists of the Metropolis Ensemble, led by Luke Poeppel (standing in for music director Raquel Acevedo Klein on the day I attended). The orchestration included some appropriately eerie effects, such as drawing a violin bow across the edge of a xylophone.

I was very much captivated by this powerful drama and its excellent performance.

The Pakistani-American singer and composer Arooj Aftab’s performance couldn’t be classified as an opera at all, though one can think of her concept album Night Reigns as a dramatic song cycle in the guise of pop culture. She appeared with her band for a one-hour set at HERE’s Dorothy B. Williams Theatre January 15 – 17.

Aftab’s style bridges world music and jazz with an ethereal aesthetic. Her presentation was casual and unusual – she distributed shots of whiskey to the audience in mid-show. It was also transporting; an atmosphere and music that took me out of the real world, and her clear lilting voice had an emotional impact. Never mind that most of the words were in Urdu. The meaning came across easily.

In this intimate space, seeing Arooj and her band – harpist Maeve Gilchrist, bass player Zwelakhe-Duma Bell Le Pere and Engin Kaan Gunaydin on percussion – was a visceral, and, enhanced by whisps of smoke created by dry ice, often ethereal experience.

by Gail Wein
Choral Music, Classical Music, Concert review, File Under?

Musica Sacra at Carnegie Hall (Concert Review)

Photo: Tanya Branganti.

Music Sacra

Classics for Christmas: Mozart, Bach, and Beethoven

Musica Sacra Chorus and Orchestra

Kent Tritle, conductor

Simone Dinnerstein, piano

Susanna Phillips, soprano

Carnegie Hall

December 18, 2024

 

NEW YORK – Musica Sacra, directed by Kent Tritle, gave a concert of Christmas music on Thursday, but you didn’t hear caroling. The group presented choral pieces with Christmas texts, and topped things off with the Beethoven Choral Fantasy, a piece premiered in December 1822 but having little to do with the holiday. Still, the work, which is part piano concerto and part choral cantata, is festive and was jubilantly performed. 

 

Three movements from Bach’s Christmas oratorio started the concert by displaying the group’s radiant sound, from impressive high sopranos to sepulchral second basses. 

The orchestra acquitted themselves well, with bright trumpets and thrumming timpani drums creating a joyous atmosphere in Jauchzet, frohlocket, aur, preiser die Tage.

 

Francis Poulenc’s motet Hodie Christus natus est resembles the  language of his larger work, Gloria; both give tenors high melodic lines and the whole choir unorthodox, at times jazzy, harmonies to sing. Morten Lauridsen’s O magnum mysterium is now thirty years old, and has become a staple of choirs, especially at Christmastime. It was one of a few color chord pieces, with stacks of seconds added to triads, that were performed by the choir. Tritle takes it slightly faster than I am accustomed to hearing it, which better accommodates the chamber character of his choir. I liked that it had a sense of momentum.

 

Susanna Phillips sang the soprano solo in Mozart’s Exultate, jubilate with a warm tone and impressive coloratura. She returned to sing one of the soprano solo parts in the Beethoven Choral Fantasy. Two more a cappella works were shared. James Bassi, a talented choral composer, was in attendance for the performance of his Quem pastores laudavere, volubly applauding along with the enthusiastic acclamation that greeted his work, a mix of humming and singing with supple harmonies. Franz Biebl’s Ave Maria is another popular offering, with a similar, though more restrained, use of added-note chords to the preceding two contemporary works. It is the memorable and tuneful melodic writing, however, that makes it a special piece.

 

The piano soloist in Beethoven’s Choral Fantasy, Simone Dinnerstein, kept in mind that Beethoven had improvised the solo in the first performance, and played with supple rubato and surprising dynamic shifts. When the orchestra joined, her soaring melody lines and virtuosic scales and arpeggios accompanied the singing, carrying brilliantly to be heard over both the chorus and orchestra. The tune given to the singers is originally from a Beethoven lieder, and sounds close to the one used in the composer’s Ninth Symphony. Indeed the piece feels in many ways like a sketch for the larger work. It was a rousing way to end the concert, and one felt suitably ushered into the season.

 

-Christian Carey

by Christian Carey
CD Review, Concert review, File Under?, Piano, Twentieth Century Composer

Jeremy Denk at 92nd Street Y (Concert Review

Jeremy Denk, piano
Kaufmann Concert Hall
92nd Street Y

 

92nd Street Y

Thursday, December 2024

Photos courtesy of Joseph Sinnott

 

NEW YORK – When devising a recital program, pianist Jeremy Denk always provides thematic interest to abet the musical diversions. The centerpiece and entire second half of his performance at the 92nd Street Y was the Concord Sonata by Charles Ives, a totemic work in the repertoire of twentieth century piano music. Denk is an Ives specialist, having recorded both the piano and violin sonatas for Nonesuch (more on that later). 

 

The first half of the recital complemented Ives with a composer he revered (and quoted in the Concord Sonata), Beethoven. The Opus 90 Piano Sonata in E-minor is a two movement piece that moves to E-major in the second movement. It is relatively brief but chock full of mercurial scalar passages in its first movement. The second movement, at a slower tempo but still played with quicksilver ornaments, is a theme and variations of a fetching melody, “to be played in a singing manner.” The recital’s first half concluded with a sonata from Beethoven’s late period, his second to last to be written, Op, 110 in A-flat Major. The first movement, marked moderato cantabile, is slower than the usual allegro one finds in this part of a sonata. However, it has two distinct themes and a minor key development, keeping it in the sonata genre. It’s no accident that during this time period Beethoven was also working on the Missa Solemnis. The incisive second movement features bold attacks and anapestic cascades of short motives. The finale is fascinating, with material that imitates recitatives and quotes Bach’s St. Matthew Passion, which is followed by a fugue in the tonic key. Denk played both sonatas fluently, occasionally looking out at the audience to share Beethoven’s mood with a bold visage.

 

Sandwiched between the sonatas was a group of miniatures that explored Black American musical genres. Scott Joplin’s rag Bethena began the group with characteristically syncopated rhythms and imaginative chord progressions. This was followed by The Banjo, a piece by Louis Moreau Gottschalk that Denk took at a spirited pace. Its refrain is a keen imitation of the African instrument transplanted to the US, but the piece takes off into stratospheric arpeggios and nimble runs that transform the material into a virtuosic vehicle. William Bolcom was a pivotal figure in the ragtime revival, and one of his rags, “Graceful Ghost Rag,” provided a stylistically true homage to the composer. A musical theater song, “Just in TIme,” by Jule Styne was presented in an extroverted arrangement by the pianist Ethan Iverson of Nina Simone’s iconic recording. 

Piano Sonata No. 2, “Concord, Mass., 1840-1860,”  pays tribute to the American transcendentalists, an important philosophical movement for Ives. Its gestation is a moving target, the first edition composed between 1916-1920 and the piece, characteristic of Ives, being edited over and over until the premiere in 1938 by John Kilpatrick. It is intricately notated, with few barlines, complex rhythms, and overlapping lines and chords. Ives felt that the lack of conventional structuring would help the music to flow.

 

The first movement, “Emerson,” introduces the opening motive of Beethoven’s Fifth Symphony as an idée fixe that interpenetrates other movements of the sonata, but is developed, treated in counterpoint, and presented in the midst of shards of dissonance. As is Ives’s practice, frequent incongruous asides occur, including a stride passage in the middle of the movement and quotations of hymns and popular songs. This persists throughout.

 

The second movement, “Hawthorne,” begins with scherzo-like figures and continues to introduce sprightly material, even including a bit of ragtime, and later sonorities that are meant to evoke a church service, including bell sounds created by pressing the black keys with a block of wood. The Beethoven theme is only joined by the “main theme” of the piece in the third movement, “The Alcotts.” The polytonal voicing of the variations on Beethoven 5 move it into the harmonic world of Stravinsky. In the final movement, “Thoreau,” Claire Chase was the guest flutist that is an optional component of the sonata, providing a mischievous cameo. The piano meanwhile, incorporates snatches of popular music from the 1910s all the way back to the Civil War, the two themes, and Protestant hymnody into impressionist water music that signifies Thoreau’s residence at Walden Pond. 

This was an authoritative performance, unbelievably accurate and technically assured despite its herculean challenges. Denk is one of the great Ives interpreters of our time. The audience applauded for more, but how do you follow the Concord Sonata? Denk took off his jacket and picked up his wood block to indicate that the memorable evening was concluded. 

The 150th anniversary of Ives’s birth is being celebrated this year by a number of concerts and recordings. Denk’s recorded contribution is Ives Denk (Nonesuch). A double disc, it includes a remastered version of his benchmark recording of the piano sonatas as well as a recording of the violin sonatas with Stefan Jackiw. The violinist is an excellent partner, understanding the roles of quotation, collage, the doppler effect, and dissonance in these pieces. The revival meeting movement of the second sonata is incandescent, and the final movement of the first sonata opens with a thrill ride redolent with popular music. Its central section is slow, with folk melodies haloed by ambiguous arpeggiations. A gradual accelerando returns the music to its earlier demeanor, then the sonata concludes with a tremolandos and a fade. The entire Fourth Sonata, “Children’s Day at the Camp Meeting,” is delightful. 

 

Denk’s traversal of the piano sonatas displays dazzling playing and thoughtful interpretations. Ives has emphatic tendencies, but his music can also display great tenderness. Denk embodies all of the contrasting shifts that result, providing detailed dynamic and articulative contrasts, shading the music with myriad tone colors. Ives Denk is one of my favorite recordings of 2024.

 

-Christian Carey



by Christian Carey
Choral Music, Concert review, early music, File Under?

Two Early Music Groups Visit New York (Concert Review)

PHOTO CREDIT – Richard Termine

Two Early Music Ensembles Visit New York

Iestyn Davies, countertenor, Fretwork, viols, and Silas Wollston, organ and virginal, Carnegie Hall’s Zankel Hall, December 3rd, 2024

The Tallis Scholars, presented by Miller Theatre’s Early Music Series at Church of St. Mary the Virgin, December 5th, 2024

NEW YORK – This past week’s concert schedule featured two early music ensembles, one specializing in early baroque music, and the other known for renaissance repertoire but presenting a more wide-ranging program. 

The countertenor Iestyn Davies is a highly regarded interpreter of Handel’s operas. He also appeared in Claire van Kempen’s play Farinelli and the King, which bowed at London’s Globe Theatre and on Broadway. At Carnegie’s Zankel Hall, he joined the viol quintet Fretwork – Emilia Benjamin, Jonathan Rees, Joanna Levine, Sam Stadlen, and Richard Boothby – and Silas Wollston, who played organ and virginals, for a program of seventeenth century cantatas. Much of the program was from the CD Lamento (Signum Classics, 2021), and was organized as a geographical tour of repertoire. 

Franz Tunder (1614-1667) was from Northern Germany, and a talented, underappreciated composer. His Salve mi Jesu and An Wasserflüssen Babylon began the concert. The sense of connection among the musicians was immediately apparent. Davies has a remarkably even and sleek-toned voice. Throughout his entire range in an extensive program of challenging repertoire, the countertenor never showed a hint of difficulty. 

The viols, arranged from small to large in size, are fascinating instruments to watch being played, and Fretwork’s long acquaintance – they have performed together for four decades – was immediately apparent. They elicited tone colors that were alternatingly sweet, boisterous, and tinged with melancholy. After the Tunder, they performed a Canzon á 5 by Samuel Scheidt (1587-1654), which alternated between contrapuntal passages and vibrant tutti. A still more elaborate Canzona by the composer was included in the second half. Also on the first half was a suite of dances by Johann Hermann Schein (1586-1630), who was cantor at the Thomaskirche in Leipzig, where J.S. Bach later worked. These elegant works embodied the various demeanors listed above with rhythmic suavity. An additional suite by Shein, with a more doleful cast, was performed on the second half. 

Another northerner, Christian Geist (ca. 1650-1711) was represented by Es war aber an der Stätte, which featured tasteful organ playing by Wollston on an extended recitative. The first half ended with a composer in the prolific Bach line, Johann Christoph (1642-1703), the first Southerner represented, who spent his career in Eisenach. Ach, dass ich Wassers gnug hätte, subtitled Lamento, is a moving work, with harmonic swerves and chromatic embellishments that emphasize its grief-stricken text. Davies embodied the work’s sense of pathos with an emotive but elegantly rendered performance. 

The second half first returned to a Northern German composer, Dietrich Buxtehude (ca. 1637-1707), whose Jubilate Domino, omnis terra changed the mood to one of ebullience. Davies fluidly sang the piece’s melismatic lines, while the syncopated rhythms of the viols and the organ’s ornaments emphasized the text’s joyous mood. The composer was also represented by Klage Lied, which returned to the mood of lamentation. 

A program of seventeenth century music wouldn’t seem complete without Heinrich Schütz (1585-1672), and he was represented with Erbarm dich mein, O Herre Gott. In its tragic mood, one could hear the pain and suffering inflicted during the Thirty Years War, which virtually cleared Dresden’s choir loft and left the composer to write many solo cantatas and duos. 

The program concluded with O dulce nomen Jesu, by the Italian composer Giovanni Felice Sances (ca. 1600-1679), who worked in Vienna at the Imperial Palace.  The piece was quite akin to early opera, with the mellifluous repeated trills used by Monteverdi, triple dance rhythms, and dashes of modal writing. Davies’ operatic background made him right at home. 

There were two encores, the first a surprise, Dave Brubeck’s “Weep No More” (arranged by Jonathan Rhys), which was performed with a bluesy,noirish feel. Fretwork proved that viols can play West Coast Jazz, and Davies adopted a cornet-like tone. The second, Wer sich dem Himmel immergëben by Philipp Heinrich Erlebach (1657-1714) left the audience basking in the ambience of the German baroque.

Tallis Scholars
Photo: Hugo Glendinning

On December 5th at Church of St. Mary the Virgin in midtown, Miller Theatre’s Early Music Series presented The Tallis Scholars, directed by Peter Phillips. A nearly annual occurrence, the group often performs Renaissance music with a Marian subject.Last year the visit of angels to the shepherds provided different repertoire that included stirring music by Clemens non Papa. This year, the group focused on chant and chant-inspired pieces from the Christmas season that ranged in date from the 11th to the 21st centuries. 

The theme for the concert was In dulci jubilo, and it began with two verses from the eponymous work by Hieronymous Praetorious (1560-1629). The plainchant In principio omnes by the cloistered nun and polymath Hildegard von Bingen (1098-1179) followed, with sopranos from the choir performing the chant and the rest holding a drone in octaves. Shifting to the later Renaissance, Salve Regina by Giovanni Pierluigi Palestrina (c. 1525-1594) alternated between canonic and tutti passages. It was followed by another chant by Hildegard, O virtus sapientiae, performed by the group’s women. Hildegard’s chants can be rangy, and the solid tone from top to bottom was impressively blended. Two more were featured later on the program, O ignis spiritus, in a poised solo by alto Elisabeh Paul, and a group performance of O ecclesia oculi tui. 

Peter Phillips has written about the difficulties posed by the music of Orlando de Lassus (c. 1532-1594). Its ranges benefit from the incorporation of instruments on some of the parts, but the composer’s Nunc dimittis ‘Il Magnanimo Pietro’ sounded incredibly assured. Its performance was one of the best of the polyphonic music on the program.

The works of a living composer were also included. The Estonian Arvo Pärt (b. 1935) has been championed by the Tallis Scholars, who have recorded a disc of his music. Pärt writes in a bespoke style he calls tintinnabuli, where the titular bell sounds are created by two voices, one singing a linear, chant-like part, and the other arpeggiating triads. The result is lustrous with tangy dissonances. Magnificat is one of his best known pieces, and the Tallis Scholars performed it with superb tuning and imposing fervor. Da Pacem Domine was written in 2004, and dedicated to victims of the Madrid train bombings. Chords cascade between voices, including a downward lamento motive. 

The program’s subordinate theme was Salve Regina, one of four antiphons dedicated to the Virgin Mary. In addition to the Palestrina motet, the group sang the antiphon and two other motets incorporating the chant. Salve Regina by Hernando Marco (c. 1532-1611) is among the first music written in Guatemala, and formidable in its demands. Tomás Luís de Victoria’s Salve Regina is a double choir piece in which the chant’s incipit begins the piece and the chant is threaded throughout the polyphony, ricocheting between the singing groups. 

The program finished with a nineteenth century version of In dulci jubilo by Robert Lucas Pearsall (1795-1856), a colorful anthem featuring a tune that has remained part of the hymnody of various denominations. The encore returned to Praetorious for his setting of Joseph lieber, Joseph mein, concluding in a gently lyrical fashion. The Tallis Scholars at St. Mary’s always brings a welcome start to the season with a bevy of glorious singing.

-Christian Carey 



by Christian Carey
Choral Music, Concert review, Contemporary Classical, early music, File Under?

The Sixteen at St. Mary’s (Concert Review)

The Sixteen, conducted by Harry Christophers

The Deer’s Cry

Miller Theatre Early Music Series at Church of St. Mary the Virgin

Saturday, October 26, 2024

 

NEW YORK – This past Saturday, renowned British vocal ensemble The Sixteen, conducted by Harry Christophers, made their Miller Theatre Early Music Series debut. Presented at Church of St. Mary the Virgin in midtown, the group performed music from their latest recording on Coro, The Deer’s Cry. Consisting of works by English Renaissance composer William Byrd (1540-1623) and Estonian composer Arvo Pärt (1935-), this seemingly eclectic pairing worked well together. Christophers may often be economical in his gestures, but he elicits a beautiful sound and detailed approach from The Sixteen. St. Mary’s is a wonderfully resonant space in which to sing, allowing the ensemble to be shown to its best advantage.

 

Byrd was a recusant Catholic, refusing to join the Church of England at a time when his own faith was frequently persecuted. He was fortunate to have the most influential patron one could hope for: Queen Elizabeth. She gave Byrd and his older colleague Thomas Tallis exclusive rights to publish music in England, and for the most part was able to shield Byrd from the authorities. Some of the biblical texts he set, such as Ab Dominum cum tribular, heard on The Sixteen’s program, were repurposed to comment on the tenuous position of Catholicism in England. 

 

The Sixteen presented a number of Byrd’s Latin motets. The composer delighted in learned devices such as canon. The evening’s opener, the eight-voice motet Diliges Dominum, features a “crab canon,” one in which the tune is designed to be performed forwards and backwards. This complex concoction likely delighted the composer, and was notated in customary fashion, with a poem indicating how to realize the canon; a code to crack for the performers. Miserere nostri is a collaboration between Tallis and Byrd, in which four lines were written by Byrd and another three by Tallis. Once again, canonic procedures are utilized, this time dealing with proportional lengths of melodic  lines and intervallic inversion. Ab Dominum cum tribularer uses imitative motives that move throughout its eight parts to create a contrapuntal web. Christe qui lux es et dies takes a different approach, alternating chant and chordal passages, demonstrating Byrd’s capacity to create a simple, yet poignant, motet as well. 

 

The program’s title work, by Pärt, is a setting of a modern English translation of the Irish prayer also known as St. Patrick’s Breastplate. There is a sustained soprano line with harmony in blocks in the men’s voices. Partway through, all the voices join in a rousing tutti, followed by a long decrescendo to conclude. The Sixteen sings with an extraordinary capacity for dynamic control and nuance, which was amply demonstrated here. Pärt’s Nunc Dimittis, the text a part of the evening prayer service, uses his signature tintinnabuli (bells) style, where some singers perform mostly linear chant-like melodies and others arpeggiate triads, creating both moments of consonance and dissonance in turn. Nunc Dimittis overlaps a number of parts, creating what feels like an entire set of cathedral bells pealing. The Woman With the Alabaster Box recounts the story from the Gospel of Luke, where a woman anoints Jesus’s head with expensive ointment. The disciples object to this opulent gesture, but Jesus tells them that it is appropriate.Here, the musical language is sparer, even severe in the dialogue between Jesus and the disciples. Perhaps Pärt agrees with the commentators who suggest that the anointing is, metaphorically, a preparation for Jesus’s death. The three selections by the Estonian composer showed the multiplicity of elements in his music, a vivid palette that too often has been mislabeled “holy minimalism.”

 

The concert program concluded with Byrd’s Tribue domine, an elaborate six-voice setting of a prayer of supplication, in which there is much alternation between different portions of the ensemble and tutti singing. The encore was Vigilate. which The Sixteen recorded for A Watchful Gaze (2023), another album focused on Byrd’s music. Taken at a brisk tempo with a thrilling conclusion, The Sixteen and Christopher’s rendition of Vigilate was the most dramatically intense performance of Byrd I have ever heard. An untoppable conclusion to their first visit to St. Mary’s under the auspices of Miller Theatre. One hopes they return regularly. 

 

Christian Carey

Sequenza21

 

by Christian Carey