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JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

The New York Philharmonic End the Season with a Turbulent, Epic Coda

In his Brooklyn debut this past evening in Prospect Park, conductor Jaap van Zweden led the New York Philharmonic through an electric, kaleidoscopically detailed, unselfconsciously transcendent version of Rachmaminoff’s Symphony No. 2. It’s impossible to think of a better way to introduce the orchestra to those across the lawn who either hadn’t seen the group before, or couldn’t afford to visit them at their Lincoln Center home base.

There’s a point in the second movement where a bassoon solo signals the symphony’s first bellicose theme. But van Zweden didn’t pull back the string section gratuitously. Resolute yet rather mysterious, it burbled just above the waterline amid a vast, extremely uneasy tide. The Red Sea didn’t part all the way: the orchestra gave this wanderer just enough room to make his way through without much stress. There were innumerable other moments like that throughout the rest of the evening.

The greatest composers like to keep orchestras on their toes and give audiences plenty of bang for their buck along with jokes and insider references for the diehards. Gloomy as most of it is, why is this symphony one of the most popular in the entire repertoire,? For all of those reasons. Rachmaninoff griped to his inner circle about how long it took him to orchestrate it, but as the dominoes fell one by one, the mosaic this orchestra created with it was viscerally breathtaking, in both scope and substance.

It’s a familiar theme in Rachmaninoff: the composer writing his way out of a very dark headspace. The opening movement bristled with a relentless, downcast intensity, livened with endlessly clever exchanges of riffs and a thematic interweave that finally paid off mightily, a wall of pictures at an exhibition, in the concluding movement. In between, the heartbreak of the third movement contrasted mightily with the anger of the fourth, which came across with more aggression than most orchestras tend to give it.

And that ho-ho-ho intro to the last movement? That’s an inside joke, one that may have completely evaded audiences for decades. It’s a reference to the opening motif of his Symphony No. 1, which was infamously performed only once in his lifetime – to a withering critical reaction that devastated him and left him unable to composer for three full years. After dazzling the crowd for the better part of an hour, Symphony No. 2 becomes Rachmaninoff thumbing his nose at anyone who thought he could never pull it off. For the record, the Rachmaninoff 1 is a frequently audacious work, which, had the composer decided to resurrect it during his lifetime, probably would have become a part of the classical canon much earlier than it did.

In front of the orchestra, van Zweden tends to bounce, but not a lot, as if he’s standing on a heavy truck spring that gives way ever so slightly As much strurm ung drang as this piece has, he didn’t exert himself much except when there was a jewel of a detail that had to be pulled from the storm in a split second. And when that happened, van Zweden seized those moments, one by one, whether fluttery ornamentation from the violins after the cartoonish laughter of the final movement, or a suddenly stark, martial stacccato from the cellos in the third. For all the calm in his body language, he’s exceptionally communicative with the orchestra. The audience afterward were marveling about the level of detail, range of dynamics and sheer freshness he and the orchestra had brought to a familiar piece they’d played several times just a few months ago.

There was other material on the bill: operatic buffoonery and jaunty orchestrated bluegrass, along with a couple of miniatures – one unexpectedly close to horizontal music, and the other very baroque – by a pair of gradeschoolers mentored in the orchestra’s Very Young Composers program.

But all that was just a warmup for the crowning jewel in a year that’s seen the ensemble revitalized like never before in this century. Not to be disrespectful to Alan Gilbert, a gifted conductor who in many ways set the scene for van Zweden to take the reins, but over the course of the past season, the Philharmonic’s programming and performances have been more ambitious and relevant than ever. What a great feeling it is to be excited about New York”s hometown orchestra again.

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June 14, 2019 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | Leave a comment

The Da Capo Chamber Players Unveil a Stunningly Diverse, Global Mix of Sounds at Merkin Concert Hall

The Da Capo Chamber Players have an enviable track record performing a vast stylistic range of lesser-known works that deserve to be heard on a much wider scale. Wednesday night at Merkin Concert Hall, the theme was global.

The coda was a richly noir, relentlessly shifting narrative that frequently resembled Bernard Herrmann’s best work. But Reinaldo Moya‘s Cronica de una Muerta Anunciada was much more of a horror soundtrack than a suspense theme. The full ensemble – Steven Beck on piano, Chris Gross on cello, Curtis Macomber on violin, Patricia Spencer on flute, Nuno Antunes on bass clarinet and clarinet, and Michael Lipsey on vibraphone and percussion – reveled as much as  a group can revel in a story about a grisly murder. Fleeting quotes from a couple of familiar wedding themes appeared early on. before a couple of chase scenes and a sharp, stomping finale illustrating the savage public stabbing immortalized in Gabriel Garcia Marquez’s Chronicle of a Death Foretold. Aptly, a recurring, dancing riff for the violin and piano spelled out the name of the murder victim, Santiago Nasar, who’d been the illicit lover of a young woman in a rural Colombian village.

The opening piece – for cello, violin, flute and piano – was Chinary Ung‘s Child Song, interpolating several Asian modes around a lively pentatonic theme based on a surrealistic Cambodian nursery rhyme. The quartet wove a series of graceful exchanges punctuated by sudden dramatic bursts and a moody cello solo as the tonalities cleverly drifted further into western territory. Historically, this 1985 piece was a triumphant return to composition for Ung, who’d spent much of the previous ten years simply trying to stay alive in his native Cambodia while so many of his colleagues were murdered.

While Chou Wen-chung‘s Ode to Eternal Pine celebrates a Korean longevity archetype , it’s written in a western idiom. The ensemble rose from spacious, spare exchanges to a serene majesty in tribute to rugged mountaintop greenery, mysetrious ambience alternating with echo phrases and a sudden, striking coda.

Gabriela Lena Frank’s four-part suite Cuatro Bosquejos sent a shout out to now-vanished civilizations on the Peruvian and Colombian coast. Gross’ cello, in particular, stood out through acerbic chromatic passages in lively, shapeshifting depictions of an ancient, insistent group of flutists, the contrasting cascades in a portrait of a pre-Colombian man-bird, seaside calls into a desert wind, and a methodical disassembly of a panpipe-influenced tune.

Also on the bill were also a brief, elegant partita for solo flute by Noel Da Costa, and a persistently unsettled, steady, occasionally noirish Second Viennnese School trio for clarinet, violin and piano by Pablo Ortiz.

June 9, 2019 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

The New York Philharmonic Premiere David Lang’s Chillingly Relevant New Opera

David Lang has more contempt for a police state than he does for capital letters. That’s a lot. A sold-out audience last night were treated to the New York Philharmonic‘s world premiere of his sometimes allusively haunting, sometimes horrifyingly realistic new opera “enemy of the state” [all lowercase, as is the style throughout his catalog]. It’s easy to read Lang’s new take on the theme Beethoven followed in his lone opera, Fidelio, as a Julian Assange parable. Although with the iconic Wikileaks founder reportedly near death from mysterious causes in a British prison, he doesn’t seem to have anyone as willing amd able to spring him as the central prisoner’s wife is in Lang’s new magnum opus. It’s an important work for our time: $34 tickets are still available for tonight and tomorrow night’s 8 PM performances. You should see it.

Lang has always been an anomaly, a brilliant tunesmith in a field too often dominated by both pigheaded obscurantism and twee amateurishness. The music of this new work (Lang also wrote the lyrics) resembles the Hindustani-influenced art-rock of singer Peter Gabriel, the late 70s recordings of the rock band King Crimson at their most purposeful, and the anthemic, artsy side of 80s new wave, more than it recalls Beethoven. Strings and percussion dominate throughout. Late in the narrative, a trumpeter perched on one of the balconies will sound a particularly sardonic variation on an already cynical fanfare. The sheer gorgeousness of the vocal overlays and harmonies of singers Julie Mathevet, Eric Owens and Alan Oke offer cruelly sarcastic contrast with a relentlessly grim, profoundly philosophical narrative that quotes Arendt and Macchiavelli and coldly references Bentham on what the ideal prison should be.

How did maestro Jaap van Zweden tackle the music? Bouncing on his heels as he pulled subtle variations on Lang’s tersely expanding, cellular, Glass-ine themes from the orchestra, he validated every claim about his dedication to new music. Lang’s metrics are challenging, to say the least, and the conductor had those rhythms in his pocket. He was having as much fun as anyone can have leading an orchestra, choir and soloists through the story of a potentially averted execution (you will not find out here how it ends).

The acting is as strong as the singing. Mathevet’s tantalizingly brief flights upward are matched by a resolute presence (as in Fidelio, we are expected to believe that in costume she can pass for a boy, a real stretch). Owens is almost as imperturbable as a would-be Eichmann, just doing his job, but not 100% completely devoid of humanity. Oke, as prison honcho, exudes pure evil as coldblooded sociopath and executioner.

We never even get to see the titular Prisoner, played with depleted, almost-out-of-gas determination by Jarrett Ott, until the third movement. Nor do we ever learn why he’s behind bars – although, as the Jailer avers, he probably has powerful enemies. The difference between life behind bars and outside, as the Prisoner puts it, is that inside, you can see the bars. In this Hobbesian terror state, ruled by greed, corruption and (allusively) Instagram, the jailers are as much prisoners as those they watch over. And somebody’s always watching.

Behind the scenes, Donald Nally matched van Zweden for mastery of uncanny rhythms, leading the orange-clad prisoner choir personfiied by the many men of the Concert Chorale of New York. Elkhannah Pulitzer’s direction sets the stage aptly, with imaginative use of projections and a Guantanamo-like set. When van Zweden emerged from an unexpected entry point, he set off the lone flicker of laughter in this otherwise chillingly relevant retelling of an all-too-familiar story.;

June 7, 2019 Posted by | avant garde music, classical music, concert, Live Events, Music, music, concert, New York City, opera, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Yelena Grinberg Rescues Rare Classical Treasures from Obscurity

For the last six years, pianist Yelena Grinberg‘s salon has become an Upper Westside institution. The lost treasures of the classical world couldn’t wish for a more enthusiastic, insightful advocate. The energy she put into finding them, and then bringing them back to life is astonishing. For context, she mixes in some of the more popular chamber works that you might see at Lincoln Center or Carnegie Hall, although, realistically, all of this repertoire deserves such a wide audience. Grinberg is a generous hostess and fascinating to talk to. So many professional musicians are blase about their work. Grinberg is 180 degrees the opposite, a tirelessly passionate historian and interpreter of forgotten gems..

At Salon number 186 last weekend, Grinberg’s focus was on works for piano, flute and viola. She explained that she’d found exactly one, from an unexpected source: Tatiana Nikolayeva, best known as a virtuoso concert pianist and major interpreter of Shostakovich. Alongside that one, Grinberg added a piano/flute/viola arrangement of Mieczyslaw Weinberg’s Trio for Flute, Viola and Harp. There was also music for flute and piano, and flute and viola, delivered in high resolution. In addition to an extensive concert program, Grinberg gave the audience a detaiiled rundown of each work: she’s as entertaining a tour guide as the tour itself.

The musicianship was topnotch. Flutist Jessica Taskov played meticulously, from ripe, full-toned lows to sturdy swaths of sound and bright, sharply executed accents. This concert was also a rare opportunity to see the great violist Ljova, a.k.a. Lev Zhurbin playing other peoples’ music: he’s been one of New York’s leading composer-performers for over a decade.

The highlight of the program was the Weinerg piece, opening with troubled, slowly unfolding exchanges between flute and viola over an ominous implied pedalpoint. Grinberg’s spiky accents and occasional glissandos energized the desolate call-and-response, up to what came across as a twisted parody of a klezmer dance. Clearly, the horrors the composer had survived, first from the Nazis, and then the Soviets, still lingered when he wrote it in 1979. Having witnessed the Philharmonic playing Corigliano’s terrifying Symphony No. 1 the previous night, this carried even more of a wallop.

Nikolayeva’s eight-part suite turned out to be as delightful a mix of flavors as a composer can possibly pack into about twenty minutes: baroque dances, a puckishly precise scherzo, moody contemplation from flute and viola, allusions to a Balkan bagpipe tune, a slow, starry waltz and finally a clever, Spanish-tinged variation that brought the music full circle. Was this a New York premiere? Or even a North American one?

Likewise, Schnittke’s Suite in the Old Style for Violin and Piano (flute playing the violin part) explored familiar tropes from the baroque and onward: a lilting Sicilienne, a strutting ballet and n unexpectedly serioso duet with more than a hint of Mozart. The fugue was where Grinberg’s passion for Bach made itself the clearest, with perfect articulation on the keys that managed at the same time not to be fussy.

Grinberg characterized Alexander Zhurbin‘s piano and viola arrangement of the Waltz from his opera Doctor Zhivago, as “buoyant and passionate,” and she nailed its dynamic neoromanticisms in tandem with the younger Zhurbin (Ljova is Alexander’s son). The two closed with Anton Rubenstein’s Viola Sonata in F Minor, which as Ljova explained, is full of “macho energy.” The violist went deep into the composer’s rich low-register sonics, contrasting with the deviously sotto-voce harmonics of the third movement. And the piece is just as much of a concerto for piano, but Grinberg dug in for its cruelly challenging, stabbing, Schumann-style chordal runs.

The next salon is sold out; after that, Grinberg is offering a fantastic program on June 19 at 7 and the June 23 at 5 PM, with Rachmaninoff’s shattering Trio Elegiaque, along with the famous Arensky piano trio plus lesser known works by Tschaikovsky and Myaskovsky. The salon webpage accepts reservations; you can email the impresario for additional information. If you’re coming from outside the neighborhood, it’s about two minutes from the 96th St. stop on the 1/2/3 – exit at the front of the train.

June 4, 2019 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , | Leave a comment

Bewitching Detail and Thunderous Power from Pianist Karine Poghosyan at Carnegie Hall

Last night the thunderstorm over Carnegie Hall was no match for what Karine Poghosyan was doing inside. New York’s most charismatic classical pianist played for more than two hours, completely from memory – including five pieces by Liszt. Flinging her hair back, swaying on the piano bench, she embodied the grace of a gymnast and also the strength and stamina of a boxer. Her response to the standing ovation at the end was to flex her biceps and give everybody the revolutionary salute, left fist triumphantly in the air. She’d earned it.

There’s a fleeting moment in Liszt’s Rhapsodie Espagnole where instead of a new thematic variation, the composer offers a split-second shadow of a doubt: are we really going in the right direction, toward real Romany-inspired bliss, he asks? Other pianists capable of playing the piece would likely burn through that moment. But Poghosyan caught it, as she did so many similar instances throughout the rest of the program.

Poghosyan has a righthand with a quicksliver precision but also crushing power, and a left hand so ferocious that she could ride the pedal, as she frequently did throughout the show, and still Liszt’s stabbing low-register chords would resonat cleanly. But ultimately, what differentiates her from the hundreds of other hotshot pianists around the world who can play on her level is that that she goes much deeper into the music, for narrative, and emotion, and especially amusement.

This bill was conceptual, springboarded by an epiphany she had after an apparently disheartening meeting with a top agent a couple of years ago. After that, Poghosyan swore off trying to please people and instead decided to concentrate on what she likes playing most. She offered this program simply as a collection of works that make her feel the most alive. Truth in advertising: she could have woken the dead.

Sporting a crimson jumpsuit, she leapt from the piano after nimbly negoatiating the cruelly challenging octaves and jackhammer flamenco passages of the night’s first number, DeFalla’s Fantasia Betica. After changing to a shiny copper dress for the second half of the program, she closed with two pieces by Khachaturian, a composer whose work she has fiercely advocated. An arrangement of the adagio from his opera Spartacus came to life as a coy flirtation, a cat-and-mouse game between possible lovers, jaunty precision against airy, balletesque joy laced with caution and bittersweetness..

Khachaturian’s 1961 Piano Sonata was a study in far more intense contrasts, from gorgeously glittering yet enigmatic Near Eastern tonalities, a Debussy-esque garden in a hailstorm, and finally the crushing volleys of a dance with far heavier artillery than mere sabres. And she approached the Liszt with almost shocking sensitivity and attention to detail. Poghosyan shifted with seamless verve between angst and exhilaration, dazzling upper righthand constellations and stygian terror from the low left, in the Hungarian Rhapsody No. 7, the Grande Etude de Paganini, No, 3 and the lilting Spozalizio, from his Annees de Pelerinage. And as hubristic as Liszt’s arrangemetn of Bach’s Prelude and Fugue in A Minor, BWV 543 was, Poghosyan was undaunted as she worked the counterpoint with High Romantic flair. She encored with the romping finale from Stravinsky’s Firebird.

In academia, both piano faculty and students refer derisively to “sovietization:”a cookie-cutter approach to performance. Last night, Poghosyan reaffirned her status as the least Sovietized pianist in the world.

May 31, 2019 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , | Leave a comment

The Chelsea Symphony Celebrate Audacity in the Face of Terror

The New York Philharmonic’s newfound dedication to socially aware programming is a welcome development, but among New York orchestras, the Chelsea Symphony got there first. This year their entire season has been devoted to music celebrating freedom fighters and the struggle against fascism. The coda of Saturday night’s program, Shostakovich’s audaciously transgressive Symphony No. 5, was arguably the most deliciously redemptive piece they’ve played in the last several months, at least from this perspective.

It was a loud yet remarkably distinct performance. It often makes perfect sense for an orchestra to play the lulls close to the vest, in order to max out the dynamics, but conductor Reuben Blundell did the opposite, right from the somber opening riffs, a paraphrase nicked from Beethoven’s Fifth Symphony. The effect was the same: gloom and doom, in your face, and the rest of the symphony was as impossible to turn away from.

One by one, the ensemble absolutely nailed many of the composer’s future signature tropes: a creepy, satirical danse macabre, buffoonish phony pageantry, cynically strutting militarism and the terror and soul-depletion all those things create. In moments of guarded hope, the brass section, in particular, distinguished thesmelves with their lustrous clarity. Solos throughout the performance – notably from Michael Dwinell’s oboe, Sarah Abrams’ flute, Hannah Murphy’s harp and Tyler Hefferon’s timpani – had guided-missile precision.

The piece was an enormous gamble for the composer. In 1937, Stalin’s secret police were rounding up and murdering his friends; meanwhile, he was under fire from the censors for drifting too close to the Second Viennese School, i.e. ‘western” sounds, notwithstanding that so many of the leading figures in that movement were also Slavic. Shostakovich’s response was this wickedly catchy, emotionally panoramic, occasionally harrowing masterpiece.

Notwithstanding all its drama and hope against hope, the one section that might have been the group’s greatest triumph could have been the surreal, atmospheric interlude in the third movement, one which often gets away from other orchestras. Blundell seemed to offer contrasting hope with the robustness of the conclusion, which others often leave much more unsettled.

One thing that did get away from the orchestra was beyond anyone’s control. The DiMenna Center’s air conditioning kicked in hard and sent the string sections’ tuning awry as Nell Flanders led the ensemble matter-of-factly through Dvorak’s Violin Concerto in A Minor. Soloist Bryn Digney played it from memory. She knew what she was doing, but stringed instruments tend not to adjust well to unexpectedly cold air on a warm night.

Fortunately, that wasn’t a factor in the beginning and end of the concert, which the group kicked off with minute attention to sudden stylistic shifts throughout Courtney Bryan‘s Sanctum. A portrait of the attempt to stake out solid ground amid relentless police brutality and attacks on black Americans, it requires split-second timing to sync up with a backing track including field recordings  from the Fereguson, Missouri protests. But the Symphony were up to the task of elevating stark bluesiness out of the murk – and vice versa.

The Chelsea Symphony conclude their season on June 29 at 8 PM, repeating on the 30th at 2 at the DiMenna Center with a performance of Cofigliano’s Symphony No. 1 plus the Mendelssohn Violin Concerto in D Minor with soloist Adam von Housen.  For Sunday’s performance, they switch out Mendelssohn for Beethoven’s violin cnncerto in that same key.. Suggested donation of $20 is about half what the Philharmonic is charging for the Corigliano ealier next month. It will be interesting to compare the two.

May 24, 2019 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , | Leave a comment

Marathon Microtonal Magic with Kelly Moran at Roulette

During the momentary pause midway through Kelly Moran‘s riveting, marathon parformance at Roulette Monday night, a handful of audience members went up on the balcony to peer into the concert grand piano she’d been playing. What had she done to get such magically eerie, bell-like, otherworldly pointillistic sounds out of that thing?

Moran never addressed the issue, emerging from the wings for the second half in a new outfit – switching out an airy linen dress for a slightly more fesitve black top and jeans. Had she detuned some of the strings? There were some suspicious coppery objects inside the piano, and people in the crowd were speculating whether she’d put tacks, or similar metal objects, on some of the hammers. And there were a couple of laptops involved. Whatever the case, Moran worked the keyboard hard as she swayed from side to side on the bench, a rugged individualist reveling in her own iminitable sound.

It was a torrentially gorgeous tour through Moran’s two latest albums, plus a lengthy suite of new material. Moran combines the uneasy belltones of Mompou with the Asian inflections and rhythmic complexity of Debussy while adding her own layers of microtonal mystery. She tackled six relatively short pieces from her botanically-themed Bloodroot album with an unexpected vigor. The album is on the delicate side; here, she raised the voltage, anchoring her meticulous, rhythmically perfect righthand articulation with graceful, sparse lefthand accents, a trope that would recur with even more intensity later on. While both the subtle circular shifts of Phlip Glass and the plaintiveness of Chopin seemed to be touchstones, the music was unmistakably Moran’s.

The two new, considerably longer pieces before the intermission were even more dynamic. There was a Glass-ine matter-of-factness in the methodical, outwardly rippling variations of the first two movements of Helix II, while the aptly titled Night Music brought to mind late Ravel.

The second half of the program was more electroacoustic, Moran playing along to videos of underwater imagery in tandem with prerecorded, synthesized orchestration that ranged from low drones to what seemed to be live sampling. Often that increased the psychedelic factor, spinning her celestial curlicues and spirals back kaleidoscopically, although as the thicket of sound grew more dense, it sometimes subsumed what Moran was actually playing. After the better part of two hours onstage, she finally closed with a stately, spacious, echoingly minimalist theme to send the crowd home on a rapt note.

Roulette continues to program the most exciting avant garde and 21st century music of any Brooklyn venue, while staying in touch with their roots in the loft jazz scene. Fans of largescale improvisational music and the AACM canon might want to swing by the memorial concert for the great saxophonist Joseph Jarman this Saturday, May 25 at 2 PM; admission is free with a rsvp.

May 23, 2019 Posted by | avant garde music, classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , | Leave a comment

Loreto Aramendi Delivers Chills and Thrills at Central Synagogue

Musicians may be nocturnal creatures, but church organists have to be on their game at pertty much every hour of the day..So it was no surprkse when Spanish organist Loreto Aramendi played one of the year’s most exhilarating programs in the middle of the day, a couple of weeks ago on the gorgeously colorful organ at Central Synagogue

The highlight of her eclectically thrillling performance was the great organ composer Louis Vierne’s transcription of Rachmaninoff’s iconic C# Minor Prelude. It was a revelation: anchoring its grim counterpoint with a single, blackly portentous pedal note, Aramendi really took her time with it, a dirge to end all dirges.

Louis Robillard’s transcription of Saint-Saens’ Halloween classic Danse Macabre was another deliciously phantasmagoriacal treat. Aramendi reveled in a bief volley of sepulchral gliasandos with as much relish as the talse ending and the finale where the ghost goes on its merry way.

She opened the program with a Buxtehude toccata that was more of a song without words, reminding what a paradigm-shifter Bach’s biggest influence was. Another Robillard transcription, Liszt’s Funerailles, aptly foreshadowed the Rachmaninoff, A final Robillard arrangement, the Prelude and Scicilienne from Faure’s Peleas et Melisande matched High Romantic grandeur to lilting grace.

Ligeti’s tensely circling Coulee, from his Etudes for Organ? was the most monochromatically bleak, and in that sensse, darkest piece on the bill. Aramendi closed with a blaze of fury, giving Charles Tournemire’s cult favorite Victiae Paschali chorale every bit of torrential power she could muster. A small but raptly attentive midday crowd gave her a robust standing ovation.

This concert was the ifnal episode of this spring’s series of monthly Prism Organ Concerts in the magnificent Lexington Avenue space just north of 54th Street, programmed by organist Gail Archer, who’s put out an unusually adventurous series of albums over the past several years, ranging from obscure American repertoire to iconic Messiaen works.  Watch this space for news about next season.

May 22, 2019 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, organ music, review, Reviews | , , , , , , , , , , , , , , , , , , | Leave a comment

Brooklyn Rider and Kinan Azmeh Play a Transcendent Coda to a Popular Upper West Side Concert Series

Over the last few years, the mostly-monthly Music Mondays concert series has become an Upper West Side institution. The level of classical talent they’ve been able to lure up to the corner of 93rd and Broadway rivals the programming at Carnegie Hall or Lincoln Center. The final night of this season on May 6, with paradigm-shifting string quartet Brooklyn Rider and haunting clarinetist Kinan Azmeh, was as transcendent as any in recent memory here. And that includes two separate, equally shattering occasions where the East Coast Chamber Orchestra played their towering arrangement of Shostakovich’s harrowing anti-fascist masterpiece, the String Quartet No. 8.

As they’re likely to do , Brooklyn Rider opened the night with a New York premiere, in this case Caroline Shaw‘s Schisma. With equal parts meticulousness and unbridled joy, the quartet – violinists Johnny Gandelsman and Colin Jacobsen, violist Nicholas Cords and cellist Michael Nicolas – stood in a semicircle as they played. Maybe that configuration gave them a jolt of extra energy as they parsed the composer’s development of a series of cell-like phrases, spiced with fleetingly jaunty cadenzas and passages with an unselfconscious, neoromantic attractivness.

The world premiere of Jacobsen’s Starlighter, bolstered by Azmeh’s emphatic drive, was even more fun. The violinist explained to the sold-out crowd that it’s about photosynthesis, which came across as a genuinely miraculous, verdantly triumphant phenomenon. Its deft metamorphosis of riffs within a very traditional sonata architecture made a good pairing with Shaw’s work.

That the concert’s high point was not its centerpiece, a stunningly seamless perrformance of Beethoven’s String Quartet No. 15 speaks to the power of the entire program. Brooklyn Rider’s recorded version has a legato and a stamina that’s remarkable even in the rarified world of those who can play it on that level. But seeing it live drove home just how much of a thrill, and a challenge, it is to play. The contrasts between all the interchanging leaps and bounds and the rapt atmospherics of the adagio third movement, became all the more dramatic.

The highlight of the night was the world premiere of The Fence, the Rooftop and the Distant Sea, Azmeh’s duo piece for clarinet and cello. The composert told the crowd how he’d been inspired to write it from the rooftop of a Beirut building after fleeing his native Syria with his wife. It’s about memory, how it can fade and be reinvented, how tricky those reimagining can be – and how they haunt. Azmeh would look out over the ocean and convince himself that he could see his home turf in the far distance. As most exiles would, he clearly misses it terribly. The introduction had plaintively fluttering echoes of Messiaen’s Quartet for the End of Time;. Later passages, for both the duo and each solo instrument, followed a plaintive trajectory that dipped with a murky, almost macabre cello interlude laced with sepulchral harmonics and ended as a poignant Arabic ballad.

All five musicians closed the show with a deliroius romp through Kayhan Kalhor‘s Ascending Bird. On album, with Kalhor playing kamancheh and joined by Brooklyn Rider, it’s a bittersweet, furiously kinetic escape anthem. Here, Azmeh taking Kahor’s place, it was more stark and resonant, even as the piece’s bounding echo effects and sudden, warily intense riffage coalesced.

Music Mondays’ fall season of free concerts typically begins in late September or early October; watch this space. Brooklyn Rider’s next concert is on May 31 at the Oranjewoud Festival in the Netherlands with legendary singer Anne Sofie von Otter. Azmeh’s next show is May 19 at 2 PM at First Presbyterian Church,,201 S  21st Street at Walnut St in Philadelphia with pianist Jean Schneider.

 

May 17, 2019 Posted by | classical music, concert, Live Events, middle eastern music, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

The Minguet Quartet Play Beethoven and More with Vigor and Sensitivity at Lincoln Center

Thursday night, there was fundamental logic for the Minguet Quartet’s concert at Lincoln Center’s atrium space. The string quartet take their name from Pablo Minguet, an 18th century Spanish philosopher dedicated to making the arts accessible to everyone. That’s the agenda at Lincoln Center’s “playground,” as Jordana Leigh, who’d booked this show in conjunction with the ongoing Great Performers series, calls it. Its raison d’etre is transparent: give the public a marathon slate of first-class programming from literally all over the map, and create a brand new supporter base in the process. Considering that these shows routinely sell out, it seems to be working.

The quartet opened with Beethoven’s String Quartet in C-sharp minor, Op. 131. They gathered steam slowly with the stately nocturnal intro to the first movement ; its cleverly shifting voicings brought to mind Vivaldi at quarterspeed. The group – violinists Ulrich Isfort and Annette Reisinger, violist Aroa Sorin and cellist Matthias Diener – dug in harder, but with a striking consistency, as the composer’s rhythm shifted and the exchanges grew more suited to a dancefloor at some European baron’s estate.

But this is a Rubik’s Cube of a piece: there’s symmetry, but it’s always changing. A hypnotically pulsing calm set in as the violins rose further up the scale, until Diener got to puncture it, gently. Beethoven doesn’t let an initial country dance theme cut loose, but he does with a second, which the group attacked with relish. There was puckish joy in fleeting pizzicato moments, but also sotto-voce suspense as the music dipped. And a cruel instant where Beethoven suddenly has the whole quartet shift to high harmonics for a couple of bars didn’t phase them in the least.

Sharp martial motives stood out alongside twilit lustre and dancing rivulets; the innumerable false endings were absolutely conspiratorial. Whoever might think the string quartet repertoire might be stodgy hasn’t heard this group play this piece.

The group closed with a stripped-down arrangement of Mahler’s song Ich bin der Welt abhanden gekommen (I Am Lost to the World), a morosely defiant artist’s kiss-off to a cruel world.

There will also be several hours’ worth of free events to celebrate Lincoln Center’s fiftieth anniversary taking place all over campus today, May 4 starting at around quarter to eleven in the morning: a thunderous all-female troupe playing Brazilian samba reggae, and a couple of Haitian ensembles, kick off the festivities on the plaza

May 4, 2019 Posted by | classical music, concert, Live Events, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , | Leave a comment