Lincoln Center

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.

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.

February 20, 2025February 20, 2025 by Christian Carey

Classical Music, Commissions, Composers, Concerts, Contemporary Classical, Events, Lincoln Center, Music Events, New York, Orchestral, Women composers

NY Philharmonic – Unpacking the Spring 2024 Season for New Music Lovers

A few months ago, I wrote an article that distilled the New York Philharmonic Fall 2023 season into enticing programs for contemporary music lovers.

“When you see New York Philharmonic’s glossy brochures and online ads, you might be hard pressed to spot the new music offerings that are in nearly every program. For instance, “Trifonov Plays Schumann” hides the fact that there is a work for strings by the Lithuanian composer Raminta Šerkšnytė, a composition which Gidon Kremer referred to as ‘the calling card of Baltic music.'”

Here is my annotation of Philharmonic concerts in Spring 2024 for the tiny niche of new music fans.

February 20, 2024 – Lunar New Year Hidden beneath Bruch and Saint-Saëns are two composers who are very much alive. The young Hong Kong-born composer Elliot Leung is making his mark in the Hollywood film scoring world, and the world premiere of his Lunar Overture leads the program. Grammy-nominated Chinese-American composer Zhou Tian is showcased with excerpts from Transcend, which was commissioned by over a dozen orchestras to commemorate the 150th Anniversary of the Transcontinental Railroad’s completion.

February 22-24 – Emanuel Ax, Hillborg, and Rachmaninoff This one’s right there in the tease: Hillborg. It would be natural to assume that Mr. Ax would be playing Rachmaninoff, and we’d get a five-minute piece by the Swedish composer Anders Hillborg. Nope. Hillborg wrote a 22 minute concerto: Piano Concerto No.2 – the MAX Concerto for Emanuel Ax, and we get to hear the New York premiere of the piece. San Francisco Chronicle’s Joshua Kosman said it was “vivacious, funny, heroic, eloquent, plain-spoken, thoughtful and wholly irresistible”. Now, don’t you want to go hear it?

February 29 – March 1 – Émigré The concert program title “Émigré” could mean just about anything. Here, it is the name of a “semi-staged musical drama” that weaves the true tale of German Jewish brothers who fled Nazi Germany and wound up in Shanghai. It was performed in Shangai in the fall, and the New York Philharmonic and conductor Long Yu give us the first American performances. Music by Aaron Zigman and lyrics by Mark Campbell.

March 7-9 – Sol Gabetta, Elim Chan, and Scheherazade Sure, cellist Sol Gabetta is great, and I’ll look forward to seeing the conductor Elim Chan who is making waves in Europe. The part of the program I am especially excited about is the world premiere by the Chickasaw composer Jerod Impichchaachaaha’ Tate. Pisachi, Tate’s tribute to Hopi and Pueblo Indian music, was commissioned by the New York Philharmonic. I’ve been a fan of Tate since a National Symphony premiere performance knocked my socks off 20 years ago.

March 21-24 – Mendelssohn, Tan Dun, and Joel Thompson A rare instance in which the new music is all in the program title. Joe Alessi plays the New York premiere of Tan Dun’s Trombone Concerto: Three Muses in Video Game. The thought of hearing it makes my heart go aflutter. Music by the Atlanta composer Joel Thompson seems to be everywhere lately, and the world premiere of To See the Sky (a NY Phil co-commission) is on this program.

April 4-6 – Alice Sara Ott Performs Ravel He’s dead, but you’d probably want to know that Anton Webern’s Six Pieces for Orchestra, Op. 6 is on this program. With any luck, the orchestra will play these shorties twice. Also dead: Scriabin. But as I recall, his Poem of Ecstasy is pretty trippy.

April 12-14 – Beatrice Rana Plays Rachmaninoff In addition to heavy hitters Rachmaninoff and Tchaikovsky, we get to hear the New York premiere of a new work by Katherine Balch, co-commissioned by the Philharmonic.

April 18-20 – Olga Neuwirth and Prokofiev’s Fifth Symphony Okay, Olga Neuwirth’s name is front and center. The US Premiere of Keyframes for a Hippogriff — Musical Calligrams is settings of texts by Ariosto, Emily Dickinson, Walt Whitman, Friedrich Nietzsche, graffiti artists, and Neuwirth. Brooklyn Youth Chorus sings. This is one of the NY Phil’s Project 19 commissions.

April 20 – Young People’s Concert: Composing Inclusion Yes, it’s a concert for kids, and the hall will be full of families. Show up to hear world premieres by Andrés Soto and Nicolás Lell Benavides, co-commissioned by the Philharmonic.

May 10 – Sound On This one is probably on your radar already. Another Project 19 commission, the world premiere of an as yet unnamed work by Mary Kouyoumdjian. Kwamé Ryan conducts.

May 23-28 – The Mozart Requiem and Sofia Gubaidulina’s Viola Concerto Finally. The title says it all.

January 26, 2024February 16, 2024 by Gail Wein

Classical Music, Concerts, Contemporary Classical, Lincoln Center, Music Events, New York, Orchestral

NY Philharmonic: Unpacking the fall season for new music lovers

When you see New York Philharmonic’s glossy brochures and online ads, you might be hard pressed to spot the new music offerings that are in nearly every program. For instance, “Trifonov Plays Schumann” hides the fact that there is a work for strings by the Lithuanian composer Raminta Šerkšnytė, a composition which Gidon Kremer referred to as “the calling card of Baltic music.”

I mentioned this in passing to a staffer at the Philharmonic, and referred to it as a slam on marketing. I immediately regretted uttering that phrase, because it’s not really about that. Marketing managers do what they need to – it’s their job to sell tickets. Schumann sells, Šerkšnytė does not.

Here is my annotation of this fall’s Philharmonic concerts for the tiny niche of new music fans.

September 29-October 1, 2023 “Joshua Bell, Copland, and The Elements”

This program description does in fact put the featured player of the new work front and center. On the other hand, you have to dig deeper to discover the fact that “The Elements” is a US premiere, and is a compilation of new works by five living American composers (Jake Heggie, Jennifer Higdon, Edgar Meyer, Jessie Montgomery, and Kevin Puts).

Footnote: brought to my attention by the illustrious Steve Smith in his Night After Night newsletter, you can watch a video of the world premiere of this work, available til October 1, here (courtesy of The Violin Channel’s VC Live).

October 5-7 “Beethoven’s Emperor, Schubert’s Unfinished, and Steve Reich”

Here we DO get a clue right away about Steve Reich. Yay! Only needs a bit of clicking to learn that it’s a world premiere co-commissioned by the NY Phil.

October 11 -14 “Trifonov Plays Schumann”

The aforementioned “calling card of Baltic music” is on offer: “De profundis” by the Lithuanian composer Raminta Šerkšnytė.

October 19 – 21 “Bronfman, Brahms, and Ligeti”

Ligeti makes it onto the headline, yay! But deeper in the description is the fact that we get to hear Yefim Bronfman plays the New York premiere of a concerto written for him by the Russian-born Elena Firsova.

October 26 “Kravis Nightcap: Apollo’s Fire”

Jeannette Sorrell directs the Philharmonic in the Handel epic, “Israel in Egypt” – – and also brings her great early music band Apollo’s Fire to a late night show. I’m pointing this out because – while its not contemporary music, their unusual program explores music of ancient Jewish and Arabic origin with virtuosos on violin, Middle Eastern flute, oud, zither, and percussion.

October 27 “Sound On: Zorn, Azmeh, Chaker, and Chin”

If you’re hot on new music, you’ve already got this on your calendar. Music by John Zorn and Unsuk Chin, and a NYP co-commission by Kinan Azmeh and Layale Chaker.

November 2-4 “Mälkki Conducts Pictures at an Exhibition”

We can count Ligeti as new music, right? He’s only been gone for 15 years. This year, everyone including NYP is celebrating his centennial. And so now you know you’ll hear his Piano Concerto played by Pierre-Laurent Aimard.

November 4 “Kravis Nightcap: Pierre-Laurent Aimard and Joachim Kühn”

PLA teams with jazz pianist Joachim Kühn, and they’ll use Ligeti’s Études as a jumping off point for improvision.

November 7 “Artist Spotlight: Pierre-Laurent Aimard”

Since we’re counting Ligeti above, here’s PLA playing the Etudes, “juxtaposed with works reflecting their cultural inspirations” (not sure what exactly that means, but I’m sold).

November 9 – 12 “Szeps-Znaider Plays Beethoven’s Violin Concerto”

The thirty-something composer Carlos Simon is one hot item lately, and you’ll get to hear his “Fate Now Conquers”, which was inspired by something Beethoven wrote in his journal.

November 16 – 18 “Paavo Järvi Conducts Britten and Prokofiev”

You’ll get to a chance to determine whether Veljo Tormis (who died in 2017) lives up to the reputation of excellence in Estonian composers, when you hear his Overture No. 2 on this program.

November 22 – 25 “The Planets and Atmosphères”

Though she died 50 years ago, we hardly ever get to hear music by the African-American composer Julia Perry. You will on this program (her Stabat Mater). Also, more Ligeti (I’m not complaining!).

November 30 – December 02 “Strauss, Rachmaninoff, and Bryce Dessner”

Bryce Dessner makes it onto the headline! The NY premiere of his concerto for 2 pianos, written for, and played by the Labèque sisters.

September 28, 2023September 28, 2023 by Gail Wein

Chamber Music, Commissions, Concert review, Concerts, Contemporary Classical, Lincoln Center, Strings, Women composers

An Ayre Apparent: Emerson String Quartet / Chamber Music Society of Lincoln Center

Emerson SQ w Sarah K Snider-2. — Emerson String Quartet with Sarah Kirkland Snider (credit Gail Wein)

Sarah Kirkland Snider’s Drink the Wild Ayre for String Quartet is the last work commissioned by the venerable Emerson String Quartet. The group – who plans to disband after 47 years of recitals and recordings – gave the New York premiere at one of their last concerts in New York City. It was a tidy closing of a loop. Early in Snider’s compositional career, two decades ago, performances by the Emerson String Quartet inspired her to write her own first quartet.

The ten minute work led the second half of the Chamber Music Society of Lincoln Center program at Alice Tully Hall on Sunday. It instantly brought to mind a bucolic scene of nature and forest, evoking sounds of birds. The title of the work refers to a quote from Ralph Waldo Emerson: “Live in the sunshine, swim the sea, / Drink the wild air’s salubrity.” Snider’s “Ayre” embraces the clear melodic lines of instrumental airs from the 17^th century. In the program note, she wrote, “The title seemed to be an apt reference not only to the lilting asymmetrical rhythms of the music’s melodic narrative but also to the questioning spirit sense of adventure and full hearted passion with which the Emerson has thrown itself into everything it has done for the past 47 years.” Compositionally, the work was the simplest on this program of 20th century classics – but concert music does not need to be complicated or thorny to be a success, which this clearly was.

The Emerson String Quartet opened the program with what I consider to be one of the best works in the repertoire, Maurice Ravel’s Quartet in F major for Strings. (In fact, the melancholy theme is still running through my head). Ravel’s composition is about as perfect a string quartet as one can get – but maybe it’s that the Emersons make everything they play seem so. At the work’s conclusion, wildly enthusiastic cheers abounded from the audience.

The sleeper hit of the afternoon was Anton Webern’s Six Bagatelles for String Quartet, Op. 9. ESQ gave an exceptionally musical reading of this set, infusing the long phrases of these short works with dramatic nuance and contrast. The quartet’s interpretation gave the music such purpose that it came off almost as a miniature opera, highlighting different characters and moods. A wonderful example: The fifth bagatelle clearly ended in a question, and was followed by a resolute response in the final bagatelle.

Quartet No. 2 for Strings, BB75, Op. 17 by Bela Bartok was written in the 1910s, about 15 years after Ravel’s, and the group played it with the same lush romantic flair. The final work on the printed program was Dmitri Shostakovich’s rousing Quartet No. 12 in D-flat major for Strings, Op. 133, composed in 1968. After a number of ovations, the Emersons offered a generous encore: A luxurious reading of the slow movement of the String Quartet No. 1, Lyric, by George Walker. The beautiful chorale-like music was a rich and sweet dessert.

May 9, 2023 by Gail Wein

Classical Music, Composers, Concert review, Concerts, Contemporary Classical, Lincoln Center, New York, Review

Turangalila at New York Philharmonic / Nightcap with Gamelan Dharma Swara

Just before the NY Philharmonic concert began playing Turangalila by Olivier Messiaen at David Geffen Hall on Saturday, the stranger sitting next to me asked if I thought he would like it. I told him it’s very different and very thrilling. Just keep an open mind.

For classical music enthusiasts of a certain ilk, a performance of Turangalila is a hotly anticipated special occasion. It doesn’t get performed all that often, perhaps because it requires additional personnel on stage (ten percussionists!), it takes up an entire program, AND you have to find an ondes martenot (an early 20^th century electronic instrument) and someone to play it. Although it was written nearly 80 years ago, it still sounds radical.

Hearing the Philharmonic perform the 80 minute piece, led by Jaap van Zweden with pianist Jean-Yves Thibaudet and Cynthia Millar playing ondes martenot, was indeed a thrill. The music is full of contrasts, which the Philharmonic’s musicians brought out well. Sweet winds, acerbic brass, sharply staccato percussion and thunderous tympani. And that was just in the Introduction, the first of ten movements. By the end of Turangalila II, the seventh section, the ensemble was whipped into a frenzy, the music resolving into a massive major chord in a flourish of brass, strings and winds. Throughout the work, every section of the orchestra was used to maximum potential, practically a concerto for orchestra.

During the long and wildly enthusiastic ovation, the gentleman next to me turned to me and said he liked it! He described it as Holst fighting against Stravinsky, with Bartok poking at them. That sounded pretty accurate to me.

After the performance, I lingered in Geffen Hall’s lobby, sipping a cappuccino and admiring the sizeable crowd in a post-concert schmooze – a new experience since the recent renovation now boasted a comfortable space with generous seating and a cash bar that was still open after the concert.

*Gamelan Dharma Swara at Lincoln Center (credit Gail Wein)*

Next, I planned to attend the Philharmonic’s “Nightcap” concert, scheduled for 10:30 pm in the Sidewalk Studio, an intimate space created during the 2022 renovation of the building. Performing in this small space was Gamelan Dhamra Swara, a New York-based Balinese gamelan ensemble. The musicians gathered around two dozen gendèr (Indonesian xylophones), with four suling (flute) players and a couple of performers at drums and gongs. From the first rhythmic clanks of metal on metal, I was taken back to 2010, when I travelled with group to Bali (and filed this report on NPR).

It’s a lot of noise for the small space, and the sound of the percussion was loud and visceral. Once I got past the ear-pounding volume, the effect was mesmerizing. Through several selections, some modern, some traditional, the group showed off its musical mettle, along with performances by two dancers clad in ornate traditional costumes. Through the floor to ceiling windows looking out over Broadway, I could see passersby stopping to listen, gaze over the line of taxis on the street and hear the sirens of the inevitable emergency vehicles.

March 19, 2023March 19, 2023 by Gail Wein

CDs, Composers, Concerts, Contemporary Classical, Interviews, Lincoln Center, Performers, Violin

Violinist Isabelle Faust charms in Bartok

Violinist Isabelle Faust may have impressed you in Mozart last week at the Mostly Mozart Festival. She’ll be back in New York for Beethoven and more next January! Her latest recording explores the sound world of Bela Bartok, including both of his violin concertos, now out on Harmonia Mundi.

“If you talk with a living composer, of course (s)he will be very clear and explain what kind of atmosphere, what kind of sound (s)he wants produced,” says Faust. The importance of new music is profound with Isabelle, who says this interaction between composer and performer is key, and influences how she plays older music.

Hear the entire interview with Isabelle Faust with John Clare, talking about each concerto, creating fresh sounds in programming, and the importance of composers here.

August 15, 2013August 15, 2013 by John Clare

ACO, BAM, Bang on a Can, Concerts, Lincoln Center, New York

Kraft, Transit, Talea, ACO, BAM

There are a few more concerts happening in New York this week that you should know about, and then I’ll give the concert updates a rest for a while. Promise.

Tonight (Tuesday, October 12), is your last chance to see the New York premiere of Kraft by Magnus Lindberg. 7:30pm, New York Philharmonic, Avery Fisher Hall. If you somehow haven’t heard about this, you can read the s21 posts about it here, here, and here; the New York Times articles and videos here, and here. You can even find some info over at Huffington Post. Check on ticket availability here, and see you tonight!

Thursday (October 14), like most nights here, is full of fantastic concerts to check out. Here are two that I strongly recommend: Option #1, Transit presents So Percussion, Tristan Perich, and Corps Exquis (a collaboration between Daniel Wohl and six video artists) at Galapagos (8pm). Option #2, Talea Ensemble is presenting a concert called KINETICS (also at 8pm at the Rose Studio at Lincoln Center); they will perform music by Philippe Leroux, Luciano Berio, Frank Denyer, Manfred Stahnke, and a world premiere by Alexandre Lunsqui appropriately titled Kineticstudies. Good luck choosing!

Friday (October 15) is the season opener for the American Composers Orchestra (7:30pm. Zankel Hall). Their program is called “Mystics & Magic” and they will present John Luther Adams, Jacob Druckman, Wang Jie (winner of ACO’s 2009 Underwood New Music Readings Commission), Alvin Singleton, and Claude Vivier. And they will also be welcome two truly amazing soloists: soprano Susan Narucki (for Claude’s piece), and pianist Ursula Oppens (for Alvin’s piece).

Saturday (October 16) I’ll be checking out A House in Bali over at BAM. Of course, this is actually being presented the 14-16th, so take your pick. There’s no need to go into details about it here, you can read my earlier post for more information.

October 12, 2010October 11, 2010 by James Holt

CDs, Concerts, Contemporary Classical, Downtown, Festivals, Lincoln Center, Music Events, New York, Performers

Hitting the Asphalt

In this space just a year ago we told you about Asphalt Orchestra‘s Lincoln Center Out of Doors hit-the-streets, in-you-face debut last summer. Well, what a year they’ve had! In August they performed during lunchtime at Philadelphiaʼs 30th Street Amtrak Station; it’s a testament to the band’s transcendence of genre that The Philadelphia Inquirer named that show one of the 10 Best Classical Performances of 2009, even though it took place in a train station and featured almost no classical music! In late 2009 the band was selected to play the official opening of Lincoln Centerʼs newest space, the David Rubenstein Atrium, and garnered even more critical hoo-hahs. Their ever-changing set list now includes commissions from Tyondai Braxton of Battles, Stew and Heidi Rodewald of The Negro Problem and Passing Strange, celebrated Balkan musician-composer Goran Bregovic, as well as new arrangements of Björk, jazz legend Charles Mingus, Swedish metal pioneers Meshuggah, the eminent American experimental composers Conlon Nancarrow and Frank Zappa, the playful Brazilian songwriter Tom Ze and the iconic Zimbabwean artist Thomas Mapfumo.

AO brings together some of the best rock, jazz and classical musicians in New York City and beyond: Jessica Schmitz (piccolo), Ken Thomson (saxophone), Peter Hess (saxophone), Alex Hamlin (saxophone), Shane Endsley (trumpet), Stephanie Richards (trumpet), Alan Ferber (trombone), Jen Baker (trombone), Kenneth Bentley (sousaphone), Yuri Yamashita (percussion), Sunny Jain (percussion) and Nick Jenkins (percussion). Is it classical? Yes. Is it rock, prog, jazz, world-party street band? Yes. Is it useless to try and pigeonhole this vital bridge between the arty and the party? Yes.

All this is to tell you that Lincoln Center Out of Doors is back starting tomorrow, Aug 4th, and AO can be found there again doing their gloriously noisy thing Wednesday through Sunday this week. Head to AO’s website for daily event details.

Among their here-there-and-everywhere, they’ll be premiering new commissions by David Byrne and Annie Clark, and Yoko Ono (they’ve been rehearsing with both Ono and Byrne the past weeks). If that weren’t enough, following their own set on August 5th they’ll be featured in the Taylor 2 performance of Paul Taylor’s piece “3 Epitaphs,” in celebration of Taylor’s 80th birthday. Appearing with the company’s dancers, the band will premiere new arrangements of pieces originally played by the Laneville-Johnson Union Brass Band.

But wait, there’s still more! AO’s eponymous first CD on Cantaloupe Music just dropped today, allowing happy listeners around the world to hear much of this music. The recording was made live-in-studio at Water Music Studios, Hoboken, NJ, in August 2009; here’s the tracklist:

1. Frank Zappa: Zomby Woof
2. Goran Bregovic: Champagne
3. Charles Mingus: The Shoes of the Fisherman’s Wife Are Some Jive Ass Slippers (arr. Jose Davila)
4. Meshuggah: Electric Red (arr. Derek Johnson)
5. Bjork: Hyperballad (arr. Alan Ferber)
6. Stew and Heidi Rodewald: Carlton
7. Tyondai Braxton: Pulse March

August 3, 2010 by Steve Layton