... with a concert. This was a group I know, New York Repertory Orchestra, in a venue that I didn’t know, Church of St. Paul the Apostle. It's a pretty church—just not well suited, acoustically, for orchestral/choral music.
The program:
Water Music, Suite No. 2 in D Major (George Frideric Handel)
“Let the Bright Seraphim...” from Samson (Handel)
Gloria in D Major (Antonio Vivaldi)
Water Music, Suite No. 3 in G Major (Handel)
Magnificat in D Major (J.S. Bach)
The opening Handel was played nicely—including the famous Hornpipe movement (Da-da-da-DA-da, da-da-dada-DA-DA). The conductor kept the tempos going, even with the reverberation in the church. There were some slight intonation discrepancies between the winds and the strings in the Minuet, but really very slight.
The soprano, Jennifer Grimaldi, sounded very good in the next piece. Unfortunately, she was placed behind the orchestra, so her sound was a little bit lost. Alas, that was more the room's fault than hers or her placement.
The same was tremendously evident in the choral sections and vocal solos/duets in the Vivaldi. Text was incomprehensible (a key component of vocal music, in my book), choral sound was lost behind the orchestra, etc. In that space, I’m not sure there was a solution.
The second half started with the second “Water Music” suite. Once again, nice playing. Knowing what was in store with the choral and solo movements of the Bach, I packed it in. Listening to vowel sounds à la Rachmaninoff’s Vocalise is not my cup of tea.
I’m glad I went; I’ll continue blogging in the new year.
ConcertMeister
Saturday, December 31, 2011
Monday, December 19, 2011
Holiday Cheer
Yesterday (12/18/11) had artists from Harwood Management presenting ‘‘Deck the Halls,’’ a performance of holiday music broken down into Classical and Broadway (at least as listed in the brief artists’ bios). First off, one of the vocalists was down for the count due to the flu—stay healthy out there, kids.
The afternoon began with solos from Händel’s Messiah—Every Valley, O Thou that Tellest Good Tidings to Zion, Rejoice Greatly, The Trumpet Shall Sound, and But Thou Didst Not Leave His Soul in Hell. These were delivered with varying degrees of success, as Harwood’s roster includes established performers and some just arriving here in NYC as recent college graduates. Also included in the Classical half of the program were Noël (Gabriel Fauré), a duet from Hansel and Gretel (Humperdinck), and Domine Deus from Gloria (Vivaldi).
The second half featured lighter fare and (in a general sense) lighter voices. Highlights included Santa Baby, You're a Mean One, Mr. Grinch, White Christmas, The Man with the Bag, What Are You Doing New Year’s Eve?, and Have Yourself a Merry Little Christmas. There was also a spirited version of Go Tell It on the Mountain that encouraged and included audience participation. The program ended with a Christmas medley, signing off with Auld Lang Syne.
There was a bit of a ‘‘Hey, gang, let’s put on a show’’ feeling—not that there’s anything wrong with that. I’m glad I went and I experienced a bit of holiday cheer.
ConcertMeister
The afternoon began with solos from Händel’s Messiah—Every Valley, O Thou that Tellest Good Tidings to Zion, Rejoice Greatly, The Trumpet Shall Sound, and But Thou Didst Not Leave His Soul in Hell. These were delivered with varying degrees of success, as Harwood’s roster includes established performers and some just arriving here in NYC as recent college graduates. Also included in the Classical half of the program were Noël (Gabriel Fauré), a duet from Hansel and Gretel (Humperdinck), and Domine Deus from Gloria (Vivaldi).
The second half featured lighter fare and (in a general sense) lighter voices. Highlights included Santa Baby, You're a Mean One, Mr. Grinch, White Christmas, The Man with the Bag, What Are You Doing New Year’s Eve?, and Have Yourself a Merry Little Christmas. There was also a spirited version of Go Tell It on the Mountain that encouraged and included audience participation. The program ended with a Christmas medley, signing off with Auld Lang Syne.
There was a bit of a ‘‘Hey, gang, let’s put on a show’’ feeling—not that there’s anything wrong with that. I’m glad I went and I experienced a bit of holiday cheer.
ConcertMeister
Sunday, December 11, 2011
Holiday Songbook!
I'm so glad I went today. There's another performance tomorrow, but I need to work 'til 6 p.m. and it starts at 6 p.m. But enough about me.
There were 17 compositions, with various combinations of composers, lyricists and vocalists, so there will NOT be mention of everyone. One composer, who chose to be introduced as Santa, was the weakest link. 'Nuff said.
Very strong included "Christmas Bender" (music: Jacob Yandura, lyrics/performance, Rebekah Melocik). This was a bluesy take on "just get drunk and get through this," but with attendant humor.
Some pieces were from the scores of (hopefully) new musicals and some were stand-alone Christmas/holiday songs by aspiring theater composers. From the former, there were two songs from Christmas Carolyn, a re-telling of Dickens with a been-to-the-top-but-now-back-down diva doing headlining in way, way, way regional theaters. In one, the powerful Janet Dickinson was practically a female Grinch, trying to convince her theater cohorts that Christmas Day should not be a day off, in "What a Waste." This was followed by "A Little Christmas Ain't Gonna Kill Ya," with the ghost of Ethel Merman (Sarah Pesek), as the ghost of Christmas Past, treating Carolyn to words of wisdom. Very funny! (Though I could have done without the cunnilingus reference—but I digress.) From the latter, there was a crooner-style, standard-style stand-alone ballad.
Two "but we're different" songs were included, one involving religion; one involving "my" traditions vs. "your" traditions (they decided to start new traditions).
"Moon in Times Square" featured a Karen Carpenter–esque-turned-belter in a nicely romantic New Year's Eve–themed song. Kudos, also, to "Santa Ain't Black" (darkly ironic, no pun intended) and "Another Tremendous Year" (a commentary on some of the gosh-how-great-the-year-was-my-family-is-perfect letters included in many a Christmas card).
No clunkers, compositionally or performance-wise. The closer was "Blizzard of Peace," by Steven Marzullo and Jennifer Allen*. It was a sentimental anthem-style ballad/belt (that seems to be what the "new" Broadway style is now) revealing how snow—even a blizzard—can make us slow down, relax, and enjoy the season and each other.
A fitting ending to a great concert; a fitting image for you and me this holiday season.
ConcertMeister
*I was fortunate enough to work with Ms. Allen in a touring production of Brigadoon.
There were 17 compositions, with various combinations of composers, lyricists and vocalists, so there will NOT be mention of everyone. One composer, who chose to be introduced as Santa, was the weakest link. 'Nuff said.
Very strong included "Christmas Bender" (music: Jacob Yandura, lyrics/performance, Rebekah Melocik). This was a bluesy take on "just get drunk and get through this," but with attendant humor.
Some pieces were from the scores of (hopefully) new musicals and some were stand-alone Christmas/holiday songs by aspiring theater composers. From the former, there were two songs from Christmas Carolyn, a re-telling of Dickens with a been-to-the-top-but-now-back-down diva doing headlining in way, way, way regional theaters. In one, the powerful Janet Dickinson was practically a female Grinch, trying to convince her theater cohorts that Christmas Day should not be a day off, in "What a Waste." This was followed by "A Little Christmas Ain't Gonna Kill Ya," with the ghost of Ethel Merman (Sarah Pesek), as the ghost of Christmas Past, treating Carolyn to words of wisdom. Very funny! (Though I could have done without the cunnilingus reference—but I digress.) From the latter, there was a crooner-style, standard-style stand-alone ballad.
Two "but we're different" songs were included, one involving religion; one involving "my" traditions vs. "your" traditions (they decided to start new traditions).
"Moon in Times Square" featured a Karen Carpenter–esque-turned-belter in a nicely romantic New Year's Eve–themed song. Kudos, also, to "Santa Ain't Black" (darkly ironic, no pun intended) and "Another Tremendous Year" (a commentary on some of the gosh-how-great-the-year-was-my-family-is-perfect letters included in many a Christmas card).
No clunkers, compositionally or performance-wise. The closer was "Blizzard of Peace," by Steven Marzullo and Jennifer Allen*. It was a sentimental anthem-style ballad/belt (that seems to be what the "new" Broadway style is now) revealing how snow—even a blizzard—can make us slow down, relax, and enjoy the season and each other.
A fitting ending to a great concert; a fitting image for you and me this holiday season.
ConcertMeister
*I was fortunate enough to work with Ms. Allen in a touring production of Brigadoon.
Third in a Series
Yesterday (12/10/11) I attended another program of silent films—this time, four Laurel & Hardy comedies (plus a bonus short "talkie"). These were all from 1928 and 1929—a bit later than the films in the first two events in the series. Also different this time was the live accompaniment; a synthesizer/digital sampler was used, giving the effect of a theater organ instead of piano only. (As an aside, we learned that there is a working theater organ at the Loew's theater in Jersey City, NJ. Who knew?) Ben Model was once again the more-than-able accompanist.
The films were: Leave 'Em Laughing (the boys are overexposed to laughing gas at the dentist), Two Tars (sailors getting into all sorts of fine messes while driving a rental car!), Wrong Again (a mix-up involving the painting Blue Boy and a racehorse named Blue Boy), and Big Business (holiday-themed with the boys as Christmas tree salesmen).
Plenty of laughs and applause, and a great program/series put on by Silent Cinema Presentations, Inc. and supported by the New York Public Library for the Performing Arts. Thanks for such great programming!
ConcertMeister
The films were: Leave 'Em Laughing (the boys are overexposed to laughing gas at the dentist), Two Tars (sailors getting into all sorts of fine messes while driving a rental car!), Wrong Again (a mix-up involving the painting Blue Boy and a racehorse named Blue Boy), and Big Business (holiday-themed with the boys as Christmas tree salesmen).
Plenty of laughs and applause, and a great program/series put on by Silent Cinema Presentations, Inc. and supported by the New York Public Library for the Performing Arts. Thanks for such great programming!
ConcertMeister
Monday, December 5, 2011
Two Traditional Christmas Programs (Part Two)
Carl Schurz Park Christmas Tree Lighting and (I'm NOT making this up, you know) Ye Olde Annual Holiday Carol Sing Along.
Kids, strollers, dogs, Cantori New York, Orbital Brass, politicians, outdoor sound system—everything pointing toward disaster.
Still, it works.
Schurz Park means a lot to me. It's a place where Michael and I spent many a weekend walk. We watched the seasons turn (and turn and turn—well, you get my drift).
It's also a place Michael wanted to visit when he was very, very ill. We actually took a cab over (three blocks) walked around for ten or fifteen minutes, then took a cab home.
So, the tree lighting. Candles were lit. The politicians spoke. The brass played. The vocalists sang. The tree was lit—five-four-three-two-ONE!
Carols and holiday songs were sung.
I'll probably go next year, too.
ConcertMeister
(Part 2 of 2)
Kids, strollers, dogs, Cantori New York, Orbital Brass, politicians, outdoor sound system—everything pointing toward disaster.
Still, it works.
Schurz Park means a lot to me. It's a place where Michael and I spent many a weekend walk. We watched the seasons turn (and turn and turn—well, you get my drift).
It's also a place Michael wanted to visit when he was very, very ill. We actually took a cab over (three blocks) walked around for ten or fifteen minutes, then took a cab home.
So, the tree lighting. Candles were lit. The politicians spoke. The brass played. The vocalists sang. The tree was lit—five-four-three-two-ONE!
Carols and holiday songs were sung.
I'll probably go next year, too.
ConcertMeister
(Part 2 of 2)
Sunday, December 4, 2011
Two Traditional Christmas Programs (Part One)
This afternoon found me wa-a-a-y over on the lower west side—at the World Financial Center, in the Winter Garden. I'd never been there before, and it's a nice venue—really looks like a greenhouse/conservatory and has large palm trees inside. The program was traditional—traditional Irish, that is.
The group: Danú; the program: Christmas in Ireland: An Nollaig in Éirinn; the cast: Muireann Nic Amhlaoibh (Flute, Whistles), Benny McCarthy (Button Accordion, Melodeon), Donal Clancy (Guitar, Vocals), Liam Flanagan (Fiddle, Tenor Banjo), Éamon Doorley (Irish Bouzouki, Backup Vocals), and Martin O'Neill (Bodhran (Irish Drum), Piano).
No printed program, so the only titles I actually remember were Miz Fogarty's Christmas Cake (apparently fruitcake gets a bad rap in lot of cultures) and Apples in Winter. There were some of the de rigeur snippets of humour (Scots' tight-fistedness) including a wee story from Mr. McCarthy. It seems that on a Christmas shopping trip to Dublin, he found a perfect parking space but inadvertently left his accordion on the back seat. When he returned—yep, back window was busted out, and on the back seat ... two accordions.
The music included traditional reels, jigs, and other dances all played with, what seemed to these ears, extreme authenticity. Unfortunately, Ms. Amhlaoibh was suffering from bronchitis and slight laryngitis (she was also scheduled for Lead Vocals).
Not my cuppa tea, but I'm glad I broadened my Christmas/Nollaig horizons.
ConcertMeister
(Part 1 of 2)
The group: Danú; the program: Christmas in Ireland: An Nollaig in Éirinn; the cast: Muireann Nic Amhlaoibh (Flute, Whistles), Benny McCarthy (Button Accordion, Melodeon), Donal Clancy (Guitar, Vocals), Liam Flanagan (Fiddle, Tenor Banjo), Éamon Doorley (Irish Bouzouki, Backup Vocals), and Martin O'Neill (Bodhran (Irish Drum), Piano).
No printed program, so the only titles I actually remember were Miz Fogarty's Christmas Cake (apparently fruitcake gets a bad rap in lot of cultures) and Apples in Winter. There were some of the de rigeur snippets of humour (Scots' tight-fistedness) including a wee story from Mr. McCarthy. It seems that on a Christmas shopping trip to Dublin, he found a perfect parking space but inadvertently left his accordion on the back seat. When he returned—yep, back window was busted out, and on the back seat ... two accordions.
The music included traditional reels, jigs, and other dances all played with, what seemed to these ears, extreme authenticity. Unfortunately, Ms. Amhlaoibh was suffering from bronchitis and slight laryngitis (she was also scheduled for Lead Vocals).
Not my cuppa tea, but I'm glad I broadened my Christmas/Nollaig horizons.
ConcertMeister
(Part 1 of 2)
Saturday, December 3, 2011
Two Venues Revisited (Part Two)
Austrian Cultural Forum NYC (I found this one during Open House New York, remember?). Under the aegis of the Argento Performance Series, I attended a cello/piano concert—a mix of mostly new composers with some established folks thrown into the mix.
The performers: Jay Campbell (cello); Conor Hanick (piano).
The composers: Marcus Lindberg, Morton Feldman, David Hertzberg (apparently in the house), J.S. Bach, Matthias Pintscher, Anton Webern, and Charles Wuorinen.
With seven works on the program, I'll just hit the highlights (and maybe throw in an extra comment or two).
Three solo cello performances—Lindberg, Stroke, very modern, the bowing seeming to indicate the strokes; Bach, Suite No. 1 BWV 1007 (you'd recognize the theme of movement one from various luxury car commercials); and Pintscher, Figura V / Assonanza (my least favorite—sounded like cello sounds for cello sounds' sake—I understand that there is musicality, I just don't understand that version of musicality).
Of the duos, Hertzberg's Vocalise appealed to me a great deal—melodic, rhythmic, more conventional in scope. The Wuorinen, An Orbicle of Jasp, had much more of an arc than some other pieces on the program, with a little more substance and a good mix of contrasts. The Webern, Drei kleine Stücke, were extremely kleine—like micro miniatures that were pretty much inconsequential to these ears.
A shout out to the planners—they had locally produced beer afterwards, preceding an audience/artists discussion. Props to the guys from BrewHeister (www.brewheister.com). Gotta love that name!
ConcertMeister
(Part 2 of 2)
The performers: Jay Campbell (cello); Conor Hanick (piano).
The composers: Marcus Lindberg, Morton Feldman, David Hertzberg (apparently in the house), J.S. Bach, Matthias Pintscher, Anton Webern, and Charles Wuorinen.
With seven works on the program, I'll just hit the highlights (and maybe throw in an extra comment or two).
Three solo cello performances—Lindberg, Stroke, very modern, the bowing seeming to indicate the strokes; Bach, Suite No. 1 BWV 1007 (you'd recognize the theme of movement one from various luxury car commercials); and Pintscher, Figura V / Assonanza (my least favorite—sounded like cello sounds for cello sounds' sake—I understand that there is musicality, I just don't understand that version of musicality).
Of the duos, Hertzberg's Vocalise appealed to me a great deal—melodic, rhythmic, more conventional in scope. The Wuorinen, An Orbicle of Jasp, had much more of an arc than some other pieces on the program, with a little more substance and a good mix of contrasts. The Webern, Drei kleine Stücke, were extremely kleine—like micro miniatures that were pretty much inconsequential to these ears.
A shout out to the planners—they had locally produced beer afterwards, preceding an audience/artists discussion. Props to the guys from BrewHeister (www.brewheister.com). Gotta love that name!
ConcertMeister
(Part 2 of 2)
Two Venues Revisited (Part One)
Saturday afternoon found me at Bargemusic again. Some sad news—Olga Bloom (the founder) passed away on Thanksgiving day at the age of 92. The current head of Bargemusic, who worked very closely with her for many years, Mark Peskanov, violin, played a movement of the solo Bach Sonata in g-minor (Siciliane) as a tribute. Lovely.
One of the interesting things about the Saturday Bargemusic concerts is their informality—they announce the program from the stage. As a result, unfortunately, I don't know the last name of today's pianist/composer, Natalya _____. She played one of her own compositions, a slight work reminiscent of Debussy, and then we got to the meat of the concert.
Movement one from Mozart's G-Major Sonata. (Disclaimer: I am not a huge Mozart fan.) Interesting piece, with the equivalent of a pedal point (one note, sustained, while other chords, arpeggios, etc., surround it) in the violin! Nice effect. Just not in every repetition of every section of the movement.
Then we had Grand Duo Sonata in A-Major of Schubert. Four movements that were more expansive/lush than the Mozart. Very nice playing throughout.
As a pseudo-encore, the second (final) movement of the Mozart was played. Clean lines, of course, but it seemed almost austere after the Schubert.
ConcertMeister
(Part 1 of 2)
One of the interesting things about the Saturday Bargemusic concerts is their informality—they announce the program from the stage. As a result, unfortunately, I don't know the last name of today's pianist/composer, Natalya _____. She played one of her own compositions, a slight work reminiscent of Debussy, and then we got to the meat of the concert.
Movement one from Mozart's G-Major Sonata. (Disclaimer: I am not a huge Mozart fan.) Interesting piece, with the equivalent of a pedal point (one note, sustained, while other chords, arpeggios, etc., surround it) in the violin! Nice effect. Just not in every repetition of every section of the movement.
Then we had Grand Duo Sonata in A-Major of Schubert. Four movements that were more expansive/lush than the Mozart. Very nice playing throughout.
As a pseudo-encore, the second (final) movement of the Mozart was played. Clean lines, of course, but it seemed almost austere after the Schubert.
ConcertMeister
(Part 1 of 2)
Friday, December 2, 2011
Poetry
To quote the Bard (and paraphrase Anna Russell—Google her, she's a funny gal): "If music be the food of love, play on—but they don't say play on WHAT!!!"
Today was a poetry reading sponsored by a very earnest group—Toward International Peace through the Arts ("TIPA"). Unfortunately, earnest does not always equate with a great experience. They included a questionnaire, and my response was (in addition to not wanting to be on their mailing list or to volunteer with them), "Very entertaining, but needs some logistics assistance." The venue was The Actors' Chapel, St. Malachy's (RC) on West 49th Street. (I'm embarrassed to say that in my 35 years in NYC, this was my first visit.) They had an acrylic podium with a standing cordless microphone. It couldn't really be placed near enough to the podium for the few who needed amplification.
The poetry readers, in order, were: Conrad Rothbaum, Tammy Grimes, John S. Major, Betsy von Furstenburg, Bess Rous, Ronald Rand, Fritz Weaver, Lee Grant, and Stan Tannen. Whew!
I'll just hit highlights. Ms. Grimes (she walks with a walker these days) read three poems by W.B. Yeats. In an aside, she mentioned that her husband introduced her to Yeats' poetry, a rather touching aside. She was subdued, yet very effective. (She also fell afoul of the logistics, with a body mic and a standing mic.)
Ms. Rous was very effective—using her natural voice and nice modulations—in poetry of Vasko Papa, Robert Penn Warren, and Boris Pasternak.
Mr. Rand's rendition of "Very Like a Whale," by Ogden Nash was also very effective—with the poet taking a crack at poets.
Mr. Weaver was quite the orator (without being over the top) in "Waiting for the Barbarians" and "Fern Hill."
Ms. Grant's readings (despite a bit of laryngitis) were very clear and natural. And she wove in a great story about being blessed by a St. Malachy's priest once, when she suffered from stage fright.
Worth seeing? Yes. Seek out again? Not so sure. And HELLO!, if you're going to a poetry reading in a church space, turn off your cell phone!
ConcertMeister
Today was a poetry reading sponsored by a very earnest group—Toward International Peace through the Arts ("TIPA"). Unfortunately, earnest does not always equate with a great experience. They included a questionnaire, and my response was (in addition to not wanting to be on their mailing list or to volunteer with them), "Very entertaining, but needs some logistics assistance." The venue was The Actors' Chapel, St. Malachy's (RC) on West 49th Street. (I'm embarrassed to say that in my 35 years in NYC, this was my first visit.) They had an acrylic podium with a standing cordless microphone. It couldn't really be placed near enough to the podium for the few who needed amplification.
The poetry readers, in order, were: Conrad Rothbaum, Tammy Grimes, John S. Major, Betsy von Furstenburg, Bess Rous, Ronald Rand, Fritz Weaver, Lee Grant, and Stan Tannen. Whew!
I'll just hit highlights. Ms. Grimes (she walks with a walker these days) read three poems by W.B. Yeats. In an aside, she mentioned that her husband introduced her to Yeats' poetry, a rather touching aside. She was subdued, yet very effective. (She also fell afoul of the logistics, with a body mic and a standing mic.)
Ms. Rous was very effective—using her natural voice and nice modulations—in poetry of Vasko Papa, Robert Penn Warren, and Boris Pasternak.
Mr. Rand's rendition of "Very Like a Whale," by Ogden Nash was also very effective—with the poet taking a crack at poets.
Mr. Weaver was quite the orator (without being over the top) in "Waiting for the Barbarians" and "Fern Hill."
Ms. Grant's readings (despite a bit of laryngitis) were very clear and natural. And she wove in a great story about being blessed by a St. Malachy's priest once, when she suffered from stage fright.
Worth seeing? Yes. Seek out again? Not so sure. And HELLO!, if you're going to a poetry reading in a church space, turn off your cell phone!
ConcertMeister
Wednesday, November 30, 2011
Songbook—Broadway's Future (Redux)
NOT re-ducks (if you get my drift). Picture it – Monday, 10/31/11 (wavy picture/ahhh, ahhh, music)
Now – Monday, 11/28/11 – saw the November Songbook program featuring Drew Fornarola (http://www.drewfornarola.com/). Am I the only person without my own website? But I digress.
Mr. Fornarola is a composer/lyricist and playwright. In addition, he collaborates with others (a good thing). He seems to have some good ideas. Some are in the – gosh, how do I say it – nascent stage. The writing is a little on the young side – not that there's anything wrong with that. I believe that we're seeing a talent that will only continue to grow.
First off, he writes harmony. Really – honest-to-goodness two-, three-, and four-part harmony. Big plus in my book. The opening number was actually written for last year's Christmas Songbook (more about that later) – a nice duet titled "Prayer for Faith". This was followed by a stand-alone song, "All of My Friends", including a patter section and a recurring lyric "All of my friends are whores." Gotta laugh.
Then two numbers from Super Claudio Bros.*, a video game musical, and two from Vote for Me: A Musical Debate – "The Global Warming Song" (There's no global warming on FOX) and "Middle East Policy" (the cure-all is a Disney park). Why, yes, Mr. Fornarola did study political science at Princeton!
From COLLEGE The Musical, we had "Generation Meh" – I'd comment on it, but really I can't be bothered. Oh, wait, I just did.
"Eight and Five" was one song from a song cycle. Unfortunately, the only one. Let's hope he revisits the cycle.
The program was rounded out with four pieces from Tiananmen, described as a theatrical opera. We shall see. There are some nuggets worth exploring, though the last stand-and-sing anthem "They Will Hear Us" was a little predictable, both compositionally (style-wise) and harmonically (a little bit rudimentary and cliché).
Still, it's great to hear a new theater composer actually using real vocal harmonies and clever lyrics. With a little more seasoning, this fellow can go a long way. IMHO.
ConcertMeister
*co-written with Marshall Pailet
Christmas Songbook 2011 on 12/11 and 12/12. ('Tis the season, yanno?)
Now – Monday, 11/28/11 – saw the November Songbook program featuring Drew Fornarola (http://www.drewfornarola.com/). Am I the only person without my own website? But I digress.
Mr. Fornarola is a composer/lyricist and playwright. In addition, he collaborates with others (a good thing). He seems to have some good ideas. Some are in the – gosh, how do I say it – nascent stage. The writing is a little on the young side – not that there's anything wrong with that. I believe that we're seeing a talent that will only continue to grow.
First off, he writes harmony. Really – honest-to-goodness two-, three-, and four-part harmony. Big plus in my book. The opening number was actually written for last year's Christmas Songbook (more about that later) – a nice duet titled "Prayer for Faith". This was followed by a stand-alone song, "All of My Friends", including a patter section and a recurring lyric "All of my friends are whores." Gotta laugh.
Then two numbers from Super Claudio Bros.*, a video game musical, and two from Vote for Me: A Musical Debate – "The Global Warming Song" (There's no global warming on FOX) and "Middle East Policy" (the cure-all is a Disney park). Why, yes, Mr. Fornarola did study political science at Princeton!
From COLLEGE The Musical, we had "Generation Meh" – I'd comment on it, but really I can't be bothered. Oh, wait, I just did.
"Eight and Five" was one song from a song cycle. Unfortunately, the only one. Let's hope he revisits the cycle.
The program was rounded out with four pieces from Tiananmen, described as a theatrical opera. We shall see. There are some nuggets worth exploring, though the last stand-and-sing anthem "They Will Hear Us" was a little predictable, both compositionally (style-wise) and harmonically (a little bit rudimentary and cliché).
Still, it's great to hear a new theater composer actually using real vocal harmonies and clever lyrics. With a little more seasoning, this fellow can go a long way. IMHO.
ConcertMeister
*co-written with Marshall Pailet
Christmas Songbook 2011 on 12/11 and 12/12. ('Tis the season, yanno?)
Sunday, November 27, 2011
Post-Turkey Day Piano Concert
This is a pianist I have heard before—Benjamin Bradham. The program today was a bit difficult, for me. It started with a Beethoven piano sonata, Op. 110, A-flat major. I found the composition a little bit rambling and non-cohesive. As well, there may have been some memory slips. (Note: I did not know any of the works on the program, and all were played from memory.)
Next up was a contemporary work (composed in 1956), Sonata No. 2 by George Walker (b. 1922), a composer I don't know. I found it very difficult to follow (movement one had nine variations—I couldn't keep track of them). There were a few interesting ideas, but I found it fairly scattered.
The first half finished with Johannes Brahms' Rhapsody in b minor. This worked for me. More lush, more of an arc, with definite sections linked together pretty well.
Second half—big improvement. Ravel, Liszt, and Rachmaninoff. The Ravel (Sonatine, Modéré) had washes of color, reminiscent of Impressionism, though with definite melodies—not just wispy, nebulous nothingness. This was followed by Funérailles* (Liszt). There were many shifting moods—angst, martial, hope, melodies over ostinatos, etc.
The concert finished with Four Preludes of Sergei Rachmaninoff. Op. 23, No. 7 (c minor); Op. 32, No. 12 (g-sharp minor), No. 6 (f minor), and No. 13 (D-flat major). These were four jewels. The first two were similar—rippling arpeggios, with overall structure. The f minor was a bit more robust and the D-flat major was expansive, major (duh!) and a positive way to end the concert.
There was one encore that sounded suspiciously like Bach.
*Composed as homage to those killed in the Hungarian Revolution of 1848-49 (program notes, not me.)
ConcertMeister
Next up was a contemporary work (composed in 1956), Sonata No. 2 by George Walker (b. 1922), a composer I don't know. I found it very difficult to follow (movement one had nine variations—I couldn't keep track of them). There were a few interesting ideas, but I found it fairly scattered.
The first half finished with Johannes Brahms' Rhapsody in b minor. This worked for me. More lush, more of an arc, with definite sections linked together pretty well.
Second half—big improvement. Ravel, Liszt, and Rachmaninoff. The Ravel (Sonatine, Modéré) had washes of color, reminiscent of Impressionism, though with definite melodies—not just wispy, nebulous nothingness. This was followed by Funérailles* (Liszt). There were many shifting moods—angst, martial, hope, melodies over ostinatos, etc.
The concert finished with Four Preludes of Sergei Rachmaninoff. Op. 23, No. 7 (c minor); Op. 32, No. 12 (g-sharp minor), No. 6 (f minor), and No. 13 (D-flat major). These were four jewels. The first two were similar—rippling arpeggios, with overall structure. The f minor was a bit more robust and the D-flat major was expansive, major (duh!) and a positive way to end the concert.
There was one encore that sounded suspiciously like Bach.
*Composed as homage to those killed in the Hungarian Revolution of 1848-49 (program notes, not me.)
ConcertMeister
Sunday, November 20, 2011
Pairings
The "Lecture/Recital" is something that doesn't come along very often. And today's was not, strictly speaking, a Lecture/Recital, but the pianist Alexander A. Wu did give some spoken insights into the pieces on the program. The program's title was Bach to the Future: Classical and Jazz Piano. I probably won't mention every piece, as some were just single movements of larger pieces.
The curtain raiser was L'Union (1862), Louis Moreau Gottschalk, (Concert Paraphrase on the National Airs). Gottschalk was of British/Creole parentage and supported the North in the Civil War. This was not the ragtime Gottschalk—more the classicist. The Star Spangled Banner and Yankee Doodle made appearances; it was an effective curtain raiser.
Here's where the pairings began:
I. Italian Concerto BWV 971, First Movement (1735), J.S. Bach; Concerto for Cootie (1940), Edward "Duke" Ellington.
After a brief explanantion of the concerto format, both pieces were played/contrasted. And both were very well played. So, now we have the format.
II. Two Chopin Etudes were followed by two Earl Wild (1915–2010) Etudes based on George Gershwin songs – Somebody Loves Me and Fascinatin' Rhythm (both 1924). The first Chopin featured the study (étude) of legato, while the second featured molto allegro/presto even-handed control. So did the Earl Wild pieces—it was like listening to a technically brillant cabaret pianist.
III. Spanish nationalistic/territorial pieces—one movement from Isaac Albéniz' 1896 Cantos de España, followed by "Chick" Corea's 1972 La Fiesta. La Fiesta was my least favorite piece on the program—just a little too formulaic and repetitive for me.
IV. Evocatory pieces contrasted—Debussy's Clair de Lune (1890) and Bill Evans's B minor Waltz (for Ellaine, 1962). Hel-lo-o-o-o! Look up Clair de Lune in the dictionary and you'll see "evocative piano piece suggesting impressionistic moonlight." Evans was a jazz pianist who changed the shape of jazz piano trios, equalizing the forces and letting each shine individually, as well as forming a real group sound. His piece was quite ethereal—a loving tribute to his common-law wife.
V. (Gotta Dance! Gotta Dance!) A spiky (1918) Gavotte frome Sergei Prokofiev was paired with "Cool" from West Side Story (1957), Leonard Bernstein. Interestingly, Mr. Bernstein was born in 1918, the same year as the Gavotte's composition. The Gavotte was spiky and dissonant; "Cool" (in an arrangement by jazz pianist Frank Ponzio) was slightly spiky and more jazzy.
VI. A la Turk (the happening thing in Mozart's time)—Mozart's Sonata no. 11 in A minor, K. 331, Third Movement (1783) is something you'd recognize. Dave Brubeck's (b. 1920) Blue Rondo A la Turk probably less so. Brubeck's was a riff on middle Eastern rhythms (specifically the base rhythm of belly dancing) in a Ravel-like (think Bolero) rondo with a blues-y middle section thrown in.
Throughout, Mr. Wu's playing was just great, and his commentary/stage demeanor are to be commended. An encore of The Girl from Ipanema (also arranged by Mr. Ponzio) rounded out the afternoon. I now see more clearly how current jazz themes are closely connected to the past.
ConcertMeister
The curtain raiser was L'Union (1862), Louis Moreau Gottschalk, (Concert Paraphrase on the National Airs). Gottschalk was of British/Creole parentage and supported the North in the Civil War. This was not the ragtime Gottschalk—more the classicist. The Star Spangled Banner and Yankee Doodle made appearances; it was an effective curtain raiser.
Here's where the pairings began:
I. Italian Concerto BWV 971, First Movement (1735), J.S. Bach; Concerto for Cootie (1940), Edward "Duke" Ellington.
After a brief explanantion of the concerto format, both pieces were played/contrasted. And both were very well played. So, now we have the format.
II. Two Chopin Etudes were followed by two Earl Wild (1915–2010) Etudes based on George Gershwin songs – Somebody Loves Me and Fascinatin' Rhythm (both 1924). The first Chopin featured the study (étude) of legato, while the second featured molto allegro/presto even-handed control. So did the Earl Wild pieces—it was like listening to a technically brillant cabaret pianist.
III. Spanish nationalistic/territorial pieces—one movement from Isaac Albéniz' 1896 Cantos de España, followed by "Chick" Corea's 1972 La Fiesta. La Fiesta was my least favorite piece on the program—just a little too formulaic and repetitive for me.
IV. Evocatory pieces contrasted—Debussy's Clair de Lune (1890) and Bill Evans's B minor Waltz (for Ellaine, 1962). Hel-lo-o-o-o! Look up Clair de Lune in the dictionary and you'll see "evocative piano piece suggesting impressionistic moonlight." Evans was a jazz pianist who changed the shape of jazz piano trios, equalizing the forces and letting each shine individually, as well as forming a real group sound. His piece was quite ethereal—a loving tribute to his common-law wife.
V. (Gotta Dance! Gotta Dance!) A spiky (1918) Gavotte frome Sergei Prokofiev was paired with "Cool" from West Side Story (1957), Leonard Bernstein. Interestingly, Mr. Bernstein was born in 1918, the same year as the Gavotte's composition. The Gavotte was spiky and dissonant; "Cool" (in an arrangement by jazz pianist Frank Ponzio) was slightly spiky and more jazzy.
VI. A la Turk (the happening thing in Mozart's time)—Mozart's Sonata no. 11 in A minor, K. 331, Third Movement (1783) is something you'd recognize. Dave Brubeck's (b. 1920) Blue Rondo A la Turk probably less so. Brubeck's was a riff on middle Eastern rhythms (specifically the base rhythm of belly dancing) in a Ravel-like (think Bolero) rondo with a blues-y middle section thrown in.
Throughout, Mr. Wu's playing was just great, and his commentary/stage demeanor are to be commended. An encore of The Girl from Ipanema (also arranged by Mr. Ponzio) rounded out the afternoon. I now see more clearly how current jazz themes are closely connected to the past.
ConcertMeister
Saturday, November 12, 2011
Silent Films and Sacred Music
Actually, two different programs/venues. Silent films—The Loopy Legacy of Lupino Lane (their title, not mine), and The 5th Festival of Universal Sacred Music.
Names get a little dicey here with the films—Lupino Lane (star billing) is the brother of Wallace Lupino (who also appeared in all five silents I saw this afternoon). With me so far? According to progam notes, sans genealogy, "Lane was part of the Lupino family – a famous theatrical clan ... in the 1600s. Stanley and Barry Lupino ... were cousins, and Stanley's daughter Ida Lupino became a big movie star in America."
Anyhoo, Lupino Lane (a trained vaudevillian) was a comedic actor/dancer/acrobat—as a result, some of the stunts in his films were astonishing. Seeing five in a row, though, was a bit of overkill. Maid in Morocco (1925) (my favorite); Hello Sailor (1927); Roaming Romeo (1928); Be My King (1928); Good Night Nurse (1929). The films were funny; the piano accompaniment superb—just a little too much same ol', same ol'.
The Sacred Music Festival was a Wall-to-Wall–style Symphony Space extravaganza. Started at 2pm (I wasn't there; I was watching silent movies) and ran 'til I-don't-know-when; I left around 8:15pm.
I heard the Brahms Four Serious Songs (Thomas McCargar, baritone; Brent Funderburk, piano); multiple selections sung by The Western Wind Vocal Ensemble; and part of a set by Anonymous 4.
Mr. McCargar sang well, though the audience noise was pretty atrocious. Western Wind (two sopranos, countertenor, two tenors, baritone) started out with a little bit of a balance problem—I found the tenor sound a little less blended and a little too pronounced (been there, done that). Things settled down after that. I still would have preferred a real bass presence, though the baritone of the group also composed/arranged several of the works on the program.
Anonymous 4. Nice vocal sound. Less blend than I would have liked, but then, their schtick (for this concert, at least) was Americana folk/sacred/religious tunes. Just a bit too much "authentic" twang and scooped pitches for me. And verse after verse after verse wears thin, thin, thin for me.
Hey! I'm opinionated.
ConcertMeister
Names get a little dicey here with the films—Lupino Lane (star billing) is the brother of Wallace Lupino (who also appeared in all five silents I saw this afternoon). With me so far? According to progam notes, sans genealogy, "Lane was part of the Lupino family – a famous theatrical clan ... in the 1600s. Stanley and Barry Lupino ... were cousins, and Stanley's daughter Ida Lupino became a big movie star in America."
Anyhoo, Lupino Lane (a trained vaudevillian) was a comedic actor/dancer/acrobat—as a result, some of the stunts in his films were astonishing. Seeing five in a row, though, was a bit of overkill. Maid in Morocco (1925) (my favorite); Hello Sailor (1927); Roaming Romeo (1928); Be My King (1928); Good Night Nurse (1929). The films were funny; the piano accompaniment superb—just a little too much same ol', same ol'.
The Sacred Music Festival was a Wall-to-Wall–style Symphony Space extravaganza. Started at 2pm (I wasn't there; I was watching silent movies) and ran 'til I-don't-know-when; I left around 8:15pm.
I heard the Brahms Four Serious Songs (Thomas McCargar, baritone; Brent Funderburk, piano); multiple selections sung by The Western Wind Vocal Ensemble; and part of a set by Anonymous 4.
Mr. McCargar sang well, though the audience noise was pretty atrocious. Western Wind (two sopranos, countertenor, two tenors, baritone) started out with a little bit of a balance problem—I found the tenor sound a little less blended and a little too pronounced (been there, done that). Things settled down after that. I still would have preferred a real bass presence, though the baritone of the group also composed/arranged several of the works on the program.
Anonymous 4. Nice vocal sound. Less blend than I would have liked, but then, their schtick (for this concert, at least) was Americana folk/sacred/religious tunes. Just a bit too much "authentic" twang and scooped pitches for me. And verse after verse after verse wears thin, thin, thin for me.
Hey! I'm opinionated.
ConcertMeister
Wednesday, November 9, 2011
Mixed Bag from Sunday, Nov. 6, 2011
First off, this was a Carnegie Community Concert—a great program (sponsored by Carnegie Hall, underwritten by Target) that brings classical/jazz/community sings concerts to all five boroughs for free. Props to all! Sunday's concert was at the Brooklyn library branch right near Prospect Park.
Mixed bag because the "heart" was in the right place while the execution didn't quite live up to the promise. The performing group was Manhattan Brass, a quintet (two trumpets, French horn, trombone, bass trombone) that has been around for the past 20 years. They pointed out that Sunday was their first concert of the new season; I hope that explains some of the errant performances I experienced.
Highlight: Stuffy Turkey (Thelonius Monk)—this was the last piece on the program and a great finish. The opening, not so great. The Prologue and Tonight from Bernstein's West Side Story suffered from an arrangement that hinted at what should have been there but wasn't.
Two J.S. Bach transcriptions (by the group's bass trombonist—hmm, alto flute and bass trombone in one weekend!) were interesting, especially for their adherence to form.
I found form to be a little less apparent in Vincent Persichetti's Parable II for Brass Quintet, Op. 108 (1968). It had the loud, splashy outbursts I associate with compositions of that era, along with an aleatoric section (characterized by chance or indeterminate elements: <aleatoric music> first known use: 1961)—everybody plays their own little snippets in their own way for a specified portion of the piece—and a generally rambling quality that left me a little, how do I say? meh.
Two Madrigals (Carlo Gesualdo) displayed his penchant for exploring/expanding the boundaries of harmony in the 16th century; three contemporary works (Jan Bach, Peter Maxwell Davies, Kitty Brazelton—a commission) were a bit of a mixed bag as well.
The playing was pretty good (one trumpeter seemed to be having an off day with his instrument as well as his technique and breath control), but over all I was a little underimpressed. Still, the commitment from the Carnegie Hall group is to be commended, and I hope to attend at least one Carnegie Community Concert in each borough this season.
Kudos to Carnegie and Target!
ConcertMeister
Mixed bag because the "heart" was in the right place while the execution didn't quite live up to the promise. The performing group was Manhattan Brass, a quintet (two trumpets, French horn, trombone, bass trombone) that has been around for the past 20 years. They pointed out that Sunday was their first concert of the new season; I hope that explains some of the errant performances I experienced.
Highlight: Stuffy Turkey (Thelonius Monk)—this was the last piece on the program and a great finish. The opening, not so great. The Prologue and Tonight from Bernstein's West Side Story suffered from an arrangement that hinted at what should have been there but wasn't.
Two J.S. Bach transcriptions (by the group's bass trombonist—hmm, alto flute and bass trombone in one weekend!) were interesting, especially for their adherence to form.
I found form to be a little less apparent in Vincent Persichetti's Parable II for Brass Quintet, Op. 108 (1968). It had the loud, splashy outbursts I associate with compositions of that era, along with an aleatoric section (characterized by chance or indeterminate elements: <aleatoric music> first known use: 1961)—everybody plays their own little snippets in their own way for a specified portion of the piece—and a generally rambling quality that left me a little, how do I say? meh.
Two Madrigals (Carlo Gesualdo) displayed his penchant for exploring/expanding the boundaries of harmony in the 16th century; three contemporary works (Jan Bach, Peter Maxwell Davies, Kitty Brazelton—a commission) were a bit of a mixed bag as well.
The playing was pretty good (one trumpeter seemed to be having an off day with his instrument as well as his technique and breath control), but over all I was a little underimpressed. Still, the commitment from the Carnegie Hall group is to be commended, and I hope to attend at least one Carnegie Community Concert in each borough this season.
Kudos to Carnegie and Target!
ConcertMeister
Sunday, November 6, 2011
11/5/11: Bargemusic
Literally. A barge, moored in the DUMBO region of Brooklyn, with music. Most Saturday afternoons there is a free neighborhood concert. Okay, I stretched the concept of neighborhood, but I'm also stretching my neighborhood of venues—specifically being less Manhatan-centric.
Saturday afternoon's performers were Brandon George (flute), Yuki Numata (violin) and Paul Dwyer (cello), in a program of Haydn and Aaron Jay Kernis (b. 1960).
The opener was Haydn's Divertimento No. 2 in G Major, Op. 100, a delightful piece. Divertimento indeed! A perfect title (from the Italian divertire—to amuse) for a truly fun, yet not trivial, piece. It opened strongly, with a very transparent and delicate (yet clean) second movement that simply dissolved into nothingness. The brief Finale capped the divertimento perfectly.
Mr. Kernis' Delicate Songs was up next. This three-movement work used harmonics from the strings, the de rigeur pizzicato plucked strings, and a nice switch that included the alto flute (used in contemporary composing, but dating back to the musical impressionists—think Ravel), but the piece rambled a bit for my taste. Nice musical ideas—just a bit too many, too widely cast about. The first movement, Floating Dreamsong, was aptly titled for a Bargemusic concert.
Rounding out the program was Haydn's London Trio in C major, Hob IV No. 1. I wanted to like this more than I did. In a Q&A session after the performance, the players said that they felt as though they could just let loose with a more familiar work after the contemporary Kernis piece, but I didn't quite get this. I found the sense of ensemble not quite as strong—a slightly less cohesive performance. Not bad by any means, just not quite divertimento-like. (Did I mention that I really liked the Divertimento?)
ConcertMeister
Saturday afternoon's performers were Brandon George (flute), Yuki Numata (violin) and Paul Dwyer (cello), in a program of Haydn and Aaron Jay Kernis (b. 1960).
The opener was Haydn's Divertimento No. 2 in G Major, Op. 100, a delightful piece. Divertimento indeed! A perfect title (from the Italian divertire—to amuse) for a truly fun, yet not trivial, piece. It opened strongly, with a very transparent and delicate (yet clean) second movement that simply dissolved into nothingness. The brief Finale capped the divertimento perfectly.
Mr. Kernis' Delicate Songs was up next. This three-movement work used harmonics from the strings, the de rigeur pizzicato plucked strings, and a nice switch that included the alto flute (used in contemporary composing, but dating back to the musical impressionists—think Ravel), but the piece rambled a bit for my taste. Nice musical ideas—just a bit too many, too widely cast about. The first movement, Floating Dreamsong, was aptly titled for a Bargemusic concert.
Rounding out the program was Haydn's London Trio in C major, Hob IV No. 1. I wanted to like this more than I did. In a Q&A session after the performance, the players said that they felt as though they could just let loose with a more familiar work after the contemporary Kernis piece, but I didn't quite get this. I found the sense of ensemble not quite as strong—a slightly less cohesive performance. Not bad by any means, just not quite divertimento-like. (Did I mention that I really liked the Divertimento?)
ConcertMeister
Saturday, November 5, 2011
Got a Little Back Blogged
This entry is from a concert on Nov. 2, 2011—violinist Daniel Auner with pianist Robin Green, at the Austrian Cultural Forum. The program:
Fritz Kreisler: Präludium and Allegro (1910)
Katharina Schenk: Transformation (2010, US Premiere)
Richard Strauss: Violin Sonata in E Flat Major, Op. 18 (1888)
Eugène Ysaÿe: Rêve d'enfant Op. 14 (1913)
Alan Ridout: Ferdinand the Bull (1935)
The Kreisler was a good opener—(violin/piano) bright and engaging, though not full-out Kreisler pyrotechnics. Very good playing from both musicians throughout the evening. The Schenk (solo violin) was, once again, the type of "new" composition that seemed more geared toward technique/presentation than musical ideas presented clearly (this is just my take—your mileage may vary).
The centerpiece of the concert was the Strauss, which I enjoyed, though with a few caveats. I found some of the pianissimo violin playing a little on the dry-to-parched end of the listening spectrum; slight intonation bobbles; and the noise from Mr. Green turning his own pages was a bit distracting.
The Ysaÿe was a lovely violin/piano composition and a nice contrast to the Strauss. Which brings us to Ferdinand.
Solo violin with narrator (both, in this case, Mr. Auner). This is a very charming piece relating the story of Ferdinand the Bull who would prefer to sit and smell the flowers rather than fight in the bullring. Of course, on the day the men came to choose the bulls for the ring, Ferdinand (also charming in Mr. Auner's Austrian-accented English—"Fair-deen-and") had managed to sit on (foreshadowed in the violin—bzz! bzzz! bzzz!) a bumblebee. He jumped. He ran. He snorted ferociously.
Well, he was chosen for the ring, but when he got there, he just sat—because the señoritas were all wearing flowers behind their ears!
A very enjoyable concert at a great venue.
ConcertMeister
Fritz Kreisler: Präludium and Allegro (1910)
Katharina Schenk: Transformation (2010, US Premiere)
Richard Strauss: Violin Sonata in E Flat Major, Op. 18 (1888)
Eugène Ysaÿe: Rêve d'enfant Op. 14 (1913)
Alan Ridout: Ferdinand the Bull (1935)
The Kreisler was a good opener—(violin/piano) bright and engaging, though not full-out Kreisler pyrotechnics. Very good playing from both musicians throughout the evening. The Schenk (solo violin) was, once again, the type of "new" composition that seemed more geared toward technique/presentation than musical ideas presented clearly (this is just my take—your mileage may vary).
The centerpiece of the concert was the Strauss, which I enjoyed, though with a few caveats. I found some of the pianissimo violin playing a little on the dry-to-parched end of the listening spectrum; slight intonation bobbles; and the noise from Mr. Green turning his own pages was a bit distracting.
The Ysaÿe was a lovely violin/piano composition and a nice contrast to the Strauss. Which brings us to Ferdinand.
Solo violin with narrator (both, in this case, Mr. Auner). This is a very charming piece relating the story of Ferdinand the Bull who would prefer to sit and smell the flowers rather than fight in the bullring. Of course, on the day the men came to choose the bulls for the ring, Ferdinand (also charming in Mr. Auner's Austrian-accented English—"Fair-deen-and") had managed to sit on (foreshadowed in the violin—bzz! bzzz! bzzz!) a bumblebee. He jumped. He ran. He snorted ferociously.
Well, he was chosen for the ring, but when he got there, he just sat—because the señoritas were all wearing flowers behind their ears!
A very enjoyable concert at a great venue.
ConcertMeister
Monday, October 31, 2011
Songbook—Broadway's Future
Not quite convinced of "Broadway's Future," but this is an incredibly worthwhile series at the Lincoln Center Performing Arts Library. Once a month (in the season) a composer and/or composer/lyricist is featured. I've attended several editions and have heard some very interesting works. And the performers are (usually/always) working theater professionals who are volunteering their time.
Tonight's featured artist was Micah Young—www.micahwyoung.com. I think he's very talented. As our host for the evening said, he mixes classical composition with a Broadway/songwriting blend. He's also a composer/lyricist.
There were snippets of two theater works-in-progress, "Lady of the House" based on the Scottish play, and three songs from a tango-flavored 1920/21-era musical based on another Shakespeare adaptation. Broadway's future? Time will tell.
Most enjoyable for me were the three violin/piano Tangos (part of the second work-in-progress mentioned above) and the song cycle "The Tree Songs" sung by (and apparently collaberated on with) Broadway diva Terri Klausner. Four great songs—through-composed story arc, and very strong compositional techniques (that don't scream technique). These were rumored to be near to a recording session. I hope that happens soon.
A very strong volunteer cast; a very strong compositional technique on display; possibly Broadway's future.
ConcertMeister
Tonight's featured artist was Micah Young—www.micahwyoung.com. I think he's very talented. As our host for the evening said, he mixes classical composition with a Broadway/songwriting blend. He's also a composer/lyricist.
There were snippets of two theater works-in-progress, "Lady of the House" based on the Scottish play, and three songs from a tango-flavored 1920/21-era musical based on another Shakespeare adaptation. Broadway's future? Time will tell.
Most enjoyable for me were the three violin/piano Tangos (part of the second work-in-progress mentioned above) and the song cycle "The Tree Songs" sung by (and apparently collaberated on with) Broadway diva Terri Klausner. Four great songs—through-composed story arc, and very strong compositional techniques (that don't scream technique). These were rumored to be near to a recording session. I hope that happens soon.
A very strong volunteer cast; a very strong compositional technique on display; possibly Broadway's future.
ConcertMeister
Sunday, October 30, 2011
Piano Pleasures
Today's concert was a piano recital via the NYPL—pianist Daniel Beliavsky. I'd heard him before, and when I saw his name on the schedule, I knew I wanted to attend. The composers were compelling: Chopin (1810-1849); Shostakovich (1906-1975); Scriabin (1872-1915); and Rachmaninoff (1873-1943. A broad range.
The Chopin was practically a "Greatest Hits" set. Two introspective Mazurkas followed by fireworks—Fantasy-Impromptu, Op. 66 (think "I'm Always Chasing Rainbows") and a Ballade (Op. 23, No. 1). Then a Nocturne (vaguely familiar) and the Polonaise, Op. 53, "Heroic". You'd know it.
The second half was bookended with two Shostakovich Preludes and Fugues, Op. 87—No. 1, C Major; No. 24, d minor. The first was relatively straightforward, the last dark and insistent.
The Scriabin was two Etudes—one with a dense chordal structure; one bolder, almost effusively Chopin-esque.
The Rachmaninoff was two Preludes—one very familiar to me, with heavy block chords; one very march-like, with a nice lyrical middle section, returning to the military finale.
Mr. Beliavsky made a point of discussing Shostakovich's political riskiness (fear of being "disappeared")—these preludes and fugues, an homage to the Well-Tempered Clavier, were written between Nov. 1950 and Feb. 1951, a particularly worrisome time for Shostakovich. Fortunately for all of us, he was not "disappeared".
And fortunately for all of us, Mr. Beliavsky will continue concertizing.
The Chopin was practically a "Greatest Hits" set. Two introspective Mazurkas followed by fireworks—Fantasy-Impromptu, Op. 66 (think "I'm Always Chasing Rainbows") and a Ballade (Op. 23, No. 1). Then a Nocturne (vaguely familiar) and the Polonaise, Op. 53, "Heroic". You'd know it.
The second half was bookended with two Shostakovich Preludes and Fugues, Op. 87—No. 1, C Major; No. 24, d minor. The first was relatively straightforward, the last dark and insistent.
The Scriabin was two Etudes—one with a dense chordal structure; one bolder, almost effusively Chopin-esque.
The Rachmaninoff was two Preludes—one very familiar to me, with heavy block chords; one very march-like, with a nice lyrical middle section, returning to the military finale.
Mr. Beliavsky made a point of discussing Shostakovich's political riskiness (fear of being "disappeared")—these preludes and fugues, an homage to the Well-Tempered Clavier, were written between Nov. 1950 and Feb. 1951, a particularly worrisome time for Shostakovich. Fortunately for all of us, he was not "disappeared".
And fortunately for all of us, Mr. Beliavsky will continue concertizing.
Wednesday, October 26, 2011
Crackerjack Quartet
Well, that's a bit of a misnomer. In actuality it was the Hugo Wolf Quartet. Founded (and based?) in Vienna, they presented a well-received concert at the Austrian Cultural Forum New York—a venue I recently discovered in my Open House New York weekend. Architecturally, the building is a gem in midtown Manhattan, and the concert space is a warm, intimate (82 seats) setting.
The program:
Werden-Sein-Vergehen, quartet for strings (1905), Anton Webern
String Quartet No. 3, upwards, behind the onstreaming it mooned (2000/2001), Karlheinz Essl
String Quartet No. 4, Le temps ardent (1994), Zbigniew Bargielsky
The Webern was my favorite—I'm sure it was ground-breaking for its time, but it had the most structured concept of the three pieces, in my opinion. The two later pieces had recognizable compositional techniques on display, but I felt as though it was a quiz—and I was supposed to fill out a questionnaire at the end. Motif? check; passing sequences from one instrument to another/all? check; trills/tremolos? check; unisons giving way to microtones? check; pizzicato (some almost violent)? check; a way to round out the end of the work ... ?
Well, see, that's one of the problems. There were no clues, via program notes, as to whether there were two, three, or one through-composed movement(s) for any of the works. And when hearing a 2000/2001 work (or a 1994 one for that matter), you just don't know—is a 15-second silence part of the work (a la John Cage?) or the end of the movement/work? Slightly awkward.
Still, really excellent playing, a beautiful venue (I look forward to a violin/piano concert in early November), and a very pleasant evening. I sat in the small balcony section (16 seats). I think I'll try that again.
ConcertMeister
The program:
Werden-Sein-Vergehen, quartet for strings (1905), Anton Webern
String Quartet No. 3, upwards, behind the onstreaming it mooned (2000/2001), Karlheinz Essl
String Quartet No. 4, Le temps ardent (1994), Zbigniew Bargielsky
The Webern was my favorite—I'm sure it was ground-breaking for its time, but it had the most structured concept of the three pieces, in my opinion. The two later pieces had recognizable compositional techniques on display, but I felt as though it was a quiz—and I was supposed to fill out a questionnaire at the end. Motif? check; passing sequences from one instrument to another/all? check; trills/tremolos? check; unisons giving way to microtones? check; pizzicato (some almost violent)? check; a way to round out the end of the work ... ?
Well, see, that's one of the problems. There were no clues, via program notes, as to whether there were two, three, or one through-composed movement(s) for any of the works. And when hearing a 2000/2001 work (or a 1994 one for that matter), you just don't know—is a 15-second silence part of the work (a la John Cage?) or the end of the movement/work? Slightly awkward.
Still, really excellent playing, a beautiful venue (I look forward to a violin/piano concert in early November), and a very pleasant evening. I sat in the small balcony section (16 seats). I think I'll try that again.
ConcertMeister
Monday, October 24, 2011
Forgotten Musicals (~1948–1981)
It's rare that I give up a source/venue, but the New York Public Library for the Performing Arts deserves huge kudos for presenting renowned cabaret performer Steve Ross in a program featuring treasures from the library's music division.
It's impossible to list every Broadway show, every song title, every performer presented on Monday night. Here's a sampler. Some you'll know, some you may want to Google—I'm a Yahoo! search guy, myself.
Musicals: Tenderloin; Redhead; Foxy; Lovely Ladies, Kind Gentlemen; The Fig Leaves Are Falling; (whew!) Skyscraper; Golden Rainbow; Maggie Flynn—the list goes on. Literally.
Composers/Librettists: Bock & Harnick; Dorothy Fields, Albert Hague; Anthony Newley and Leslie Bricusse; Ervin Drake; Noel Coward; Matt Dubey; Kander & Ebb—the list goes on. Literally.
So, here's the thing. Is Steve Ross the best piano player/singer/cabaret song stylist out there? Maybe yes, maybe no. Is he a force to be reckoned with? Definite yes. There were at least 17 vocalists involved, so individual props will not be forthcoming. I did, however, read all the bios, and I'll quote my favorite one: "PATRICK MONAHAN likes to sing good songs." 'Nuff said.
This was a well-thought-out program with very good planning (room for a bit of improvement) and the type of programming that adds a great deal to this crazy quilt that is New York. Not just New York of the Algonquin/Oak Room/Feinstein's, etc., but the New York where 250 people can experience an astounding performance and learning experience through the NY public library system.
Major-league congratulations.
CM
p.s. As Mr. Ross said, "We haven't even begun with Off-Broadway."
It's impossible to list every Broadway show, every song title, every performer presented on Monday night. Here's a sampler. Some you'll know, some you may want to Google—I'm a Yahoo! search guy, myself.
Musicals: Tenderloin; Redhead; Foxy; Lovely Ladies, Kind Gentlemen; The Fig Leaves Are Falling; (whew!) Skyscraper; Golden Rainbow; Maggie Flynn—the list goes on. Literally.
Composers/Librettists: Bock & Harnick; Dorothy Fields, Albert Hague; Anthony Newley and Leslie Bricusse; Ervin Drake; Noel Coward; Matt Dubey; Kander & Ebb—the list goes on. Literally.
So, here's the thing. Is Steve Ross the best piano player/singer/cabaret song stylist out there? Maybe yes, maybe no. Is he a force to be reckoned with? Definite yes. There were at least 17 vocalists involved, so individual props will not be forthcoming. I did, however, read all the bios, and I'll quote my favorite one: "PATRICK MONAHAN likes to sing good songs." 'Nuff said.
This was a well-thought-out program with very good planning (room for a bit of improvement) and the type of programming that adds a great deal to this crazy quilt that is New York. Not just New York of the Algonquin/Oak Room/Feinstein's, etc., but the New York where 250 people can experience an astounding performance and learning experience through the NY public library system.
Major-league congratulations.
CM
p.s. As Mr. Ross said, "We haven't even begun with Off-Broadway."
Sunday, October 23, 2011
New Music ...
... well, new to me. This afternoon's concert (5pm) was the Open End ensemble—"Modern Works and In-the-Now Improvisations."
The program was in two parts—three pieces and two improvisations in each half.
The first half included the avant-garde: Olivier Messiaen, Charles Ives, and Elliott Carter. In my estimation, of the six pieces on the program, they rated as follows: Messiaen (Piece pour piano et quator a cordes—piano and string quartet) was #1, Ives (movement IV, from Piano Sonata no. 2) was #2, and Carter (Duettino, for violin and cello) was #5.
The second half included the nouveaux-avant-garde—Andrew Waggoner (b. 1960, one of the violinists of the group and a composer), Shulamit Ran (b. 1949, who composed a commission for the violist who played it here), and Jesse Benjamin James (b. 1978).
Mr. Waggoner's Catenary came in at #6; Ms. Ran's Perfect Storm, #4; Mr. Benjamin's 4 Bagatelles (also a commission and world premiere), #3.
All four improvisations left me a little cool; it seemed as though everyone knew where everyone else was going, i.e., rehearsed—or at least catch phrases and transition elements that everyone was aware of. But that could just be me.
Playing throughout was very good—the pianist played really well, especially in the Ives. The violist shone in the piece that she commissioned. The 4 Bagatelles (via program notes) were presented as pure fun, with musical merit, and I agree.
As with many "new" compositions, there was always the are they done? moment, because two or three seconds of silence could simply be a part of the composition. Still and all, an enjoyable concert in a venue I was familiar with (another church with vastly different acoustics from last night's). I'll be back there again during the concert season.
CM
The program was in two parts—three pieces and two improvisations in each half.
The first half included the avant-garde: Olivier Messiaen, Charles Ives, and Elliott Carter. In my estimation, of the six pieces on the program, they rated as follows: Messiaen (Piece pour piano et quator a cordes—piano and string quartet) was #1, Ives (movement IV, from Piano Sonata no. 2) was #2, and Carter (Duettino, for violin and cello) was #5.
The second half included the nouveaux-avant-garde—Andrew Waggoner (b. 1960, one of the violinists of the group and a composer), Shulamit Ran (b. 1949, who composed a commission for the violist who played it here), and Jesse Benjamin James (b. 1978).
Mr. Waggoner's Catenary came in at #6; Ms. Ran's Perfect Storm, #4; Mr. Benjamin's 4 Bagatelles (also a commission and world premiere), #3.
All four improvisations left me a little cool; it seemed as though everyone knew where everyone else was going, i.e., rehearsed—or at least catch phrases and transition elements that everyone was aware of. But that could just be me.
Playing throughout was very good—the pianist played really well, especially in the Ives. The violist shone in the piece that she commissioned. The 4 Bagatelles (via program notes) were presented as pure fun, with musical merit, and I agree.
As with many "new" compositions, there was always the are they done? moment, because two or three seconds of silence could simply be a part of the composition. Still and all, an enjoyable concert in a venue I was familiar with (another church with vastly different acoustics from last night's). I'll be back there again during the concert season.
CM
Real Double-Header
Concert-style, not baseball-style. Yesterday (10/22) saw an afternoon of "The Songs of Franz Liszt" while the evening brought an orchestral concert with Dvorak, Patterson (more on that later), and Sibelius. [Note to self—bring HTML cheat sheet home from work!]
The lieder concert, on Liszt's 200th birth anniversary!, included 17 songs sung by a soprano, a mezzo, and a tenor, with superb piano accompaniment. Of the three vocalists, I liked the soprano, tenor, and mezzo in that order. The soprano seemed most at ease. The tenor, while good, struck me as more of a technique on display. And the mezzo sort of got short shrift in the programming, though her performance of "Die drei Zigeuner" was quite effective.
Highlights included "Im Rhein im schoenen Strome" and "Die Loreley" (soprano); two (of three) Petrarch Sonnets (tenor—it was here that he created some freer singing); and "Ihr Glocken von Marling" and the aforementioned Gypsy song (mezzo).
It was nice that translations were provided. The concert ended with "O Lieb," a song/tune that most would recognize as Liebestraume #3.
~~~~~~~~~~~~~~~~~~~~~~~~~
Shifting gears, the evening's program consisted of Othello Overture, Op. 93 (Antonin Dvorak), Concerto for Saxophone (Michael Patterson, b. 1947), and Symphony No. 4 in A minor, Op 63 (Jean Sibelius).
The Dvorak was a real winner. In keeping with historical dates (see Liszt, 200, above), the Othello was given its first performance Oct. 21, 1892, in Carnegie Hall with Dvorak conducting—119 years ago, almost to the day.
Michael Patterson is a composer associated with the University of Cincinnati College-Conservatory of Music. This performance was the New York premiere of the piece, so I'm guessing Ohio heard it before we did. I enjoyed the three-movement work, with its jazz influences—and the soloist seemed to take the reverberating church-space sound into consideration, especially in a couple of cadenza passages.
The Sibelius takes a little bit of work to listen to. Even though I had read the program notes and was thus ready for some odd (though not abrupt) movement endings, they were still slightly ... unsettling. The four movements never quite jelled, for me. Some very nice sounds, some very nice playing, yet not quite equalling "very nice". Maybe I just need to give it another try. I mean, the program notes themselves read, "The work...bewildered the audience at its first performance [Helsinki]...[and] met with misunderstanding or outright hostility...in...Gothenburg, London, and Boston."
Yep, I owe it another listen. NY Public Library, can I check out a Sibelius CD, please?
ConcertMeister
The lieder concert, on Liszt's 200th birth anniversary!, included 17 songs sung by a soprano, a mezzo, and a tenor, with superb piano accompaniment. Of the three vocalists, I liked the soprano, tenor, and mezzo in that order. The soprano seemed most at ease. The tenor, while good, struck me as more of a technique on display. And the mezzo sort of got short shrift in the programming, though her performance of "Die drei Zigeuner" was quite effective.
Highlights included "Im Rhein im schoenen Strome" and "Die Loreley" (soprano); two (of three) Petrarch Sonnets (tenor—it was here that he created some freer singing); and "Ihr Glocken von Marling" and the aforementioned Gypsy song (mezzo).
It was nice that translations were provided. The concert ended with "O Lieb," a song/tune that most would recognize as Liebestraume #3.
~~~~~~~~~~~~~~~~~~~~~~~~~
Shifting gears, the evening's program consisted of Othello Overture, Op. 93 (Antonin Dvorak), Concerto for Saxophone (Michael Patterson, b. 1947), and Symphony No. 4 in A minor, Op 63 (Jean Sibelius).
The Dvorak was a real winner. In keeping with historical dates (see Liszt, 200, above), the Othello was given its first performance Oct. 21, 1892, in Carnegie Hall with Dvorak conducting—119 years ago, almost to the day.
Michael Patterson is a composer associated with the University of Cincinnati College-Conservatory of Music. This performance was the New York premiere of the piece, so I'm guessing Ohio heard it before we did. I enjoyed the three-movement work, with its jazz influences—and the soloist seemed to take the reverberating church-space sound into consideration, especially in a couple of cadenza passages.
The Sibelius takes a little bit of work to listen to. Even though I had read the program notes and was thus ready for some odd (though not abrupt) movement endings, they were still slightly ... unsettling. The four movements never quite jelled, for me. Some very nice sounds, some very nice playing, yet not quite equalling "very nice". Maybe I just need to give it another try. I mean, the program notes themselves read, "The work...bewildered the audience at its first performance [Helsinki]...[and] met with misunderstanding or outright hostility...in...Gothenburg, London, and Boston."
Yep, I owe it another listen. NY Public Library, can I check out a Sibelius CD, please?
ConcertMeister
Sunday, October 16, 2011
OHNY
10/16/11 – "Let's start at the ver-y be-gin-ning, a ver-y" ... er, rather, let's start at the end of Open House New York weekend. At St. Ann and the Holy Trinity church in Brooklyn Heights, there was an organ mini-recital that included Saint-Saens' "The Swan," Scott Joplin's "The Entertainer," J.S. Bach's "Sheep May Safely Graze," and an Edward Elgar "Pomp and Circumstance" march (not the one you're thinking of). The playing was OK – but I'm somewhat prejudiced.
As for the rest of OHNY, I saw an architectural firm, the Austrian Cultural Forum (with a way cool piano storage device!), the American Irish Historical Society (floor 2 only), a 34th-floor, $3,500/mo. one-bedroom apartment with terrace (and the roof and other common areas of the double-towered residential rental building), an 1890-era midtown building with a skylight over the main reading room, and a really, really great Architectural Arts firm. I learned about Venetian plaster and the ways to create faux wood graining and other designs, all sealed with wax. And that was just Saturday!
Today was a visit to a blacksmithing forge, two artists' studios at the Brooklyn Navy Yards and the aforementioned organ recital, which followed a guided tour of the church's 1847/8 stained-glass windows.
The ConcertMeister is a tired little teddy-bear!
As for the rest of OHNY, I saw an architectural firm, the Austrian Cultural Forum (with a way cool piano storage device!), the American Irish Historical Society (floor 2 only), a 34th-floor, $3,500/mo. one-bedroom apartment with terrace (and the roof and other common areas of the double-towered residential rental building), an 1890-era midtown building with a skylight over the main reading room, and a really, really great Architectural Arts firm. I learned about Venetian plaster and the ways to create faux wood graining and other designs, all sealed with wax. And that was just Saturday!
Today was a visit to a blacksmithing forge, two artists' studios at the Brooklyn Navy Yards and the aforementioned organ recital, which followed a guided tour of the church's 1847/8 stained-glass windows.
The ConcertMeister is a tired little teddy-bear!
Sunday, October 9, 2011
A Two-Fer (Not Quite a Double-Header)
Saturday brought a program of silent films – with a spooky theme. One short and four two-reelers, all with live piano accompaniment.
Short: "Koko's Earth Control" – A Max Fleischer Inkwell animated. Very funny – and still relevant!
Two-Reelers: "Haunted Spooks" (1920), Harold Lloyd; "The Haunted House" (1921), Buster Keaton; "Shootin' Injuns" (1925), Our Gang comedy; and "Who's Afraid?" (1927), Lupino Lane.
Lupino Lane was new to me, and the November afternoon in the series features him prominently.
There were some real out-loud laughs – the piano scoring was superb. With haunted houses as an overriding theme, there was a bit of repetition in the gags and the set pieces. Still, a really fun afternoon.
Sunday was chamber music – The Con Brio Ensemble. Four selections from Max Bruch, Eight Pieces, Op. 83. The players were violin, viola and piano. Very nice playing, especially the unison/octaves from the string players.
The next two pieces added 'cello to the mix – a three-movement Quartet in A minor, Op. 67 by Joaquin Turina (a Spanish composer, 1882–1949, new to me); and a four-movement Brahms Quartet in G minor, Op. 25.
Lest I sound like a broken record, the playing was of uniformly high quality. Minor quibbles were a bit of spotty ensemble playing (a few hiccups), some rough unisons/octaves when all four players were going at it, and a few patchy sounding exposed 'cello lines. But those were EXTREMELY minor.
The players received a well-deserved lengthy ovation.
CM
Short: "Koko's Earth Control" – A Max Fleischer Inkwell animated. Very funny – and still relevant!
Two-Reelers: "Haunted Spooks" (1920), Harold Lloyd; "The Haunted House" (1921), Buster Keaton; "Shootin' Injuns" (1925), Our Gang comedy; and "Who's Afraid?" (1927), Lupino Lane.
Lupino Lane was new to me, and the November afternoon in the series features him prominently.
There were some real out-loud laughs – the piano scoring was superb. With haunted houses as an overriding theme, there was a bit of repetition in the gags and the set pieces. Still, a really fun afternoon.
Sunday was chamber music – The Con Brio Ensemble. Four selections from Max Bruch, Eight Pieces, Op. 83. The players were violin, viola and piano. Very nice playing, especially the unison/octaves from the string players.
The next two pieces added 'cello to the mix – a three-movement Quartet in A minor, Op. 67 by Joaquin Turina (a Spanish composer, 1882–1949, new to me); and a four-movement Brahms Quartet in G minor, Op. 25.
Lest I sound like a broken record, the playing was of uniformly high quality. Minor quibbles were a bit of spotty ensemble playing (a few hiccups), some rough unisons/octaves when all four players were going at it, and a few patchy sounding exposed 'cello lines. But those were EXTREMELY minor.
The players received a well-deserved lengthy ovation.
CM
Wednesday, October 5, 2011
Quite Enough with Calvin Trillin
Okay, this was not technically a concert. It was a talk at a book signing at a venue I'd never been to before – the Tenement Museum. The entire endeavor looks quite interesting and Mr. Trillin was a very engaging speaker. He writes, in addition to books, columns and poems for The Nation.
Hmmm, poems – set to music – equals songs. So while there was no instrumental music, there was the music of poetry and the music of language. I'm including it in ConcertMeister. Besides, it's not every evening you get to hear a published poet rhyme regalia with genitalia when speaking of a political candidate! And don't get him started on tranquilizer darts for hummingbirds and slapping their little cheeks to revive them.
I did not purchase a book or get an autograph, but I got one heck of a learning expeience and lots of laughs. That's an A+ in my book.
CM
p.s. This was a freebie. Fortunately I got there early, as the venue was fairly small. Though anyone who really knows me knows that I'll be early, rather than late.
Hmmm, poems – set to music – equals songs. So while there was no instrumental music, there was the music of poetry and the music of language. I'm including it in ConcertMeister. Besides, it's not every evening you get to hear a published poet rhyme regalia with genitalia when speaking of a political candidate! And don't get him started on tranquilizer darts for hummingbirds and slapping their little cheeks to revive them.
I did not purchase a book or get an autograph, but I got one heck of a learning expeience and lots of laughs. That's an A+ in my book.
CM
p.s. This was a freebie. Fortunately I got there early, as the venue was fairly small. Though anyone who really knows me knows that I'll be early, rather than late.
Sunday, October 2, 2011
Saturday, 10/1/2011
Hello, all.
I'm the ConcertMeister. I like to find free (or very inexpensive) concerts in NYC. Periodically I'll check in -- not with a review, per se, but with a chronicle and a few observances.
On Saturday, I attended a piano concert -- Amber Liao. The program was varied, including Faure (I'll get an HTML cheat sheet later), Schubert, Handel, and Scriabin. Surprisingly, the Handel was my favorite. I guess I liked the clean order that was easy to follow and just made the most sense to me.
The playing (all from memory) was very fine with, what appeared to my non-pianistic ears, just a few minor slips. All in all, a great freebie concert in NYC. This one was in Manhattan -- but I'll keep you posted on the other boroughs as best I can.
CM
I'm the ConcertMeister. I like to find free (or very inexpensive) concerts in NYC. Periodically I'll check in -- not with a review, per se, but with a chronicle and a few observances.
On Saturday, I attended a piano concert -- Amber Liao. The program was varied, including Faure (I'll get an HTML cheat sheet later), Schubert, Handel, and Scriabin. Surprisingly, the Handel was my favorite. I guess I liked the clean order that was easy to follow and just made the most sense to me.
The playing (all from memory) was very fine with, what appeared to my non-pianistic ears, just a few minor slips. All in all, a great freebie concert in NYC. This one was in Manhattan -- but I'll keep you posted on the other boroughs as best I can.
CM
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