Oberon's Grove

Bach ~ Sato ~ Netherlands Bach Society

A 2015 performance of Bach's Violin Concerto in E-major BWV 1042 with soloist Shunske Sato (above) and the Netherlands Bach Society.

Watch and listen here.

ASO Presents A Taneyev Rarity

Above: composer Sergei Taneyev

Friday July 15th, 2022 - Leon Botstein's American Symphony Orchestra presenting the US premiere of Sergei Taneyev’s cantata, At the Reading of a Psalm; this was the composer's final work. 

The performance had originally been scheduled for last season, but was postponed due to complications arising from the COVID pandemic. As time passed, I began to wonder if the performance might never come to fruition; but tonight - at long last - this Taneyev masterpiece proved worth the wait. It is thoroughly engrossing, making me curious as to why it is so rarely heard. To me, it stands in the same echelon of such great choral works as the Verdi Requiem, Britten's War Requiem, and the Vaughan Williams Sea Symphony.

The Psalm referenced in the work's title is No. 50 in the King James Bible: ‘The mighty God, even the Lord, hath spoken’. God appears through a storm to chastise those who believe that superficial sacrifices and ritual offerings are of more value to faith than prayer and thankfulness. The poet and theologian Alexey Khomyakov wrote his poem At the Reading of a Psalm in 1856. The poem tells us that the outward trappings of religion are as nothing compared to simple truths, and that brotherly love and goodness of heart -‘a heart purer than gold’ - are the attributes God values. Khomyakov’s poem inspired the composer Taneyev, who used it for the cantata he completed in 1915, in the last months of his life.

Above: the America Symphony Orchestra and Maestro Botstein; performance photo by Matt Dine

Taneyev's epic work unfolds in three movements. The first movement, in three parts, is a choral feast, served up this evening by the excellent Bard Festival Chorale, under the direction of James Bagwell. A deep drum roll and a bass clarinet solo set the mood for "The Earth is Trembling", which comes alive with driving energy and brass fanfares. The chorus sings fervently in great dramatic outbursts: this is big, thrilling music.

By contrast, part II of the first movement - "Israel, You Build Temples for Me" - commences with a gentle theme for female voices; later, the men join in the flowing melody. The harp chimes in, and there is a sense of the ecstatic. Then, a wonderful passage for cellos and string basses leads on to a gorgeous finish.

The first movement concludes with "What Good Are Magnificent Temple Vaults?"; with glorious brass phrases. The music is forward-moving and affirmative, in celebration of God's creation. The string basses provide a deep undercurrent, leading to a march-like refrain. Drums sound as the music builds to a grand finale. 

The cantata's second movement has a rather ominous start. The poem begins "What Good Is Gold To Me?", and the music is full of drama and strife; it actually gets quite wild before a sudden ending.

Above, the evening's soloists: basso Christian Zaremba, tenor Terrence Chin-Loy, Maestro Botstein, soprano Mané Galoyan, and mezzo-soprano Eve Gigliotti; photo by Matt Dine

At this point, we finally hear from the vocal soloists, who til now have been sitting patiently onstage. Armenian soprano Mané Galoyan, who I heard in a 'Russian evening' at Chamber Music Society of Lincoln Center in 2019, has a full lyrical sound, with a charming gift for colouring the vocal line, and a soaring high range. Eve Gigliotii, whose performance in Nico Muhly's Dark Sisters, given by Gotham Chamber Opera in 2011, first drew me to her as a passionate and alluring singer, sounded superb tonight (more about her later...) while Jamaican-American tenor Terrence Chin-Loy put me in mind - both physically and vocally - of the young George Shirley with his poignant timbre and lovely dynamic shadings. The tall, handsome basso Christian Zaremba, who made a distinct impression as Angelotti in Tosca at The Met in 2018, sang clearly, with a pleasing expressiveness. This vocal quartet passed melodies from voice to voice to fine effect, and harmonized beautifully.

The soloists and the chorus join forces in "Wherefore The Lights?" which ends the cantata's second movement. Here the principal vocalists had many opportunities to delight us, most notably as their voices entwined during the sustained final passages. A special bravo! to Mr. Chin-Loy for some wonderfully sustained phrasing here.

An orchestral interlude opens the final movement of the cantata. The music has a sense of urgency, and there's an oboe solo which Keisuke Ikuma phrased to perfection. 

As the interlude came to its end, Eve Gigliotti (above, photo by Matt Dine) rose to sing the cantata's only extended vocal solo: "There Is a Precious Gift that God Needs". As the aria begins, a sense of calm and reassurance fills the Hall. Ms. Gigliotti's rich, expressive singing is so perfect for this music, and her voice meshed perfectly with the sound of concertmaster Cyrus Beroukhim's spun-out phrases. The mezzo's sense of the text - "I Need a Heart Purer Than Gold, and a Will That is Strong in Labor. I Need a Brother that Loves His Brother..." was underscored as she seemed to shape the phrases with her expressive hands. The voice came forth in a wondrous outpouring of warmth and beauty, the singer's face aglow with the power of love.

For the cantata's finale, the chorus take up the words "I Need a Heart Purer Than Gold" in a marvelous hymn, with a shimmering obbligato from Mr. Beroukhim s violin. As the work comes to its mighty finish, the four soloists joined the chorus: a powerful end to an extraordinary evening.

Above: during the bows, ASO concertmaster Cyrus Beroukhim, Mr. Zaremba, Mr. Chin-Loy, and Maestro Botstein; photo by Matt Dine

Special thanks to Maestro Botstein for bringing this rarity to us in all its glory; it reminds us, in these chaotic times, what religion is really all about.

At the Reading of a Psalm (1915)

First Movement
i. Chorus (Allegro tempestoso)
ii. Double Chorus (Andante sostenuto)
iii. Chorus. Triple Fugue (Fuga a tre soggetti, Andante – Allegro molto)

Second Movement
iv. Chorus (Allegro moderato) – Fuga. (Allegro tenebroso)
v. Quartet (Andante)
vi. Quartet and Chorus (Adagio ma non troppo)

Third Movement
vii. Interlude (Allegro appassionato)
viii. Aria (Alto Solo) (Adagio piu tosto largo)
ix. Double Chorus (Finale) (Adagio pietoso e molto cantabile – Allegro moderato – Allegro molto)

American Symphony Orchestra/Leon Botstein, Conductor

Mané Galoyan, Soprano
Eve Gigliotti, Mezzo-Soprano
Terrence Chin-Loy, Tenor
Christian Zaremba, Bass

Bard Festival Chorale/James Bagwell, Director

Performance photos by Matt Dine.

~ Oberon

Britten: Four Sea Interludes ~ BBC Proms 2010

Benjamin Britten's Four Sea Interludes from PETER GRIMES played by the BBC Symphony Orchestra, conducted by Edward Gardner, at the Proms 2010

Watch and listen here.

CMS: Summer Evenings 2022 ~ Concert III

Above: clarinetist Sebastian Manz

Wednesday July 13th, 2022 - The third and final concert of Chamber Music Society of Lincoln Center's summer series brought together the eminent Finnish pianist Juho Pohjonen and an ensemble of the Society's top-notch wind players.

The playing all evening was impeccable, and highly enjoyable. Musically, the program's second half was infinitely more appealing to me than the first half. 

Composer Anton Reicha was born in Prague on February 26th, 1770. As a teacher, his pupils included, Franz Liszt and Hector Berlioz. As a composer, he made a substantial contribution to the catalog of works for wind quintet. Reicha moved to Paris in 1808, became a naturalized citizen of France in 1829, and died in Paris on May 28th, 1836.

This evening, Reicha's Quintet in E-minor, Op. 88, No. 1, opened the program. The musicians were Tara Helen O'Connor (flute), Hugo Souza (oboe), Sebastian Manz (clarinet), Marc Goldberg (bassoon), and David Byrd-Marrow (horn).

This work was composed in 1811-1817, and it brings forth wonderful blendings of timbres and interesting rhythmic variety; but it seldom if ever touches the heart. Commencing with a descending unison passage, the individual voices are then introduced, and the music rolls along thru four movements. The Andante poco Allegretto introduces a Spring song for Mr. Manz's handsome-toned clarinet, and later has a theme and variations feeling. The following Minuetto & Trio  features a pulsing beat and lovely passages for Ms. O'Connor's silky-sweet flute. Each movement felt a bit longer than necessary, and in the end it all seemed pleasantly decorative but inconsequential.

From Beethoven, we heard the Quintet in E-flat major for Oboe, Clarinet, Bassoon, Horn, and Piano, Op. 16 (composed 1796) with Mssres. Souza, Manz, Goldberg, and Byrd-Marrow joined by Mr. Pohjonen at the Steinway. The work's slow introduction, marked Grave, commences with fanfare-like motifs with the winds playing in unison. Then the piano asserts itself in a solo passage, with Mr. Pohjonen's mastery of dynamics brilliantly evident. The exceptional beauty and clarity that each player brings to his part makes for gratifying musical experience. Mr. Manz's clarinet sounds especially dulcet, and Mr. Pohjonen's pianissimi  are extraordinary.

The Andante cantabile gives each instrumental voice golden opportunities to sing, both in solos and as members of the ensemble. The delicate theme introduced by the piano returns after each player has had his say, creating the feeling of a conversation among friends.

The concluding Rondo gathers speed as its theme is progressively embellished by the various players. Beethoven finds a place for a piano cadenza, lovingly played by Mr. Pohjonen, before the quintet sweeps on to a happy end.

Despite the overwhelming pleasantness of the music - and the very appealing playing of all involved - I was not deriving any emotional rewards from the evening so far. But that changed radically after the intermission, when music from Hungarian- and French-born composers delighted me thoroughly.

Following the interval, the opening of György Ligeti's Six Bagatelles for Flute, Oboe, Clarinet, Bassoon, and Horn (1953) swept thru the hall like a breath of fresh air. Each of the six movements is very short, being of two or three minutes duration. The first bagatelle, Allegro con spirito, is fast and fun, with Ms. O'Connor piping up on the piccolo.

Next, Mr. Souza's sorrowing oboe opens the Rubato Lamentoso, taken up by Mr. Goldberg's bassoon; the music becomes dramatic, and strange harmonies are heard before the music resolves on a pure chord. The marking Grazioso is true to itself in the third bagatelle; clarinet, bassoon, and flute are heard in turn, and the horn joins the duetting clarinet and oboe in a bubbling motif.

Bagatelle number four, Presto Ruvido, commences with a dissonant chord; it then becomes quite lively. Dotty chords mark the fifth bagatelle, dedicated to the memory of Béla Bartók. The forlorn flute gives way to the blazing horn. After a full stop, trills are heard; then the oboe produces an uncannily long note before a final 'amen'.

The last bagatelle, Molto vivace, is a bustling affair; Mr. Manz's impetuous clarinet playing delighted the crowd, and Ms. O'Connor has again taken up her piccolo. The composer indicated that the concluding measures should be played "as though insane"; but the piece ends with a muted horn solo from Mr. Byrd-Marrrow. Thank you, Maestro Ligeti, for giving us this brilliant collection of musical gems!

Jean Françaix's L’heure du berger for Flute, Oboe, Clarinet, Bassoon, Horn, and Piano (composed in 1947) consists of three character sketches drawn from Parisian café life. Françaix described his style as "...la musique sérieuse sans gravité" ("...serious music without weight...").

The first movement is Les vieux beaux (The Old Dandies). The piano plays an off-kilter waltz, and the oboe seems to meow; the music moves briskly along, with skittering horn, jovial clarinet, and...a sudden end.

Mr. Manz's clarinet steals the scene in Pin-Up Girls, slow harmonies underlining his cordial playing, replete with cadenza and trill. The flute replies and..."è finito!

The set ends with Les petits nerveux (Nervous Children), a romping dance with the instruments skittering about, as in a free-for-all. Nervous excitement builds, then everything collapses. It's all in good fun.

To close the program, Francis Poulenc's Sextet for Flute, Oboe, Clarinet, Bassoon, Horn, and Piano (1932-39), a lighthearted and satiric work. The first movement, Allegro vivace, is vibrant and rhythmical; all the players are fully engaged...and engaging. After a sudden stop, Mr. Goldberg gives us an absolutely gorgeous bassoon solo, and then from Mr. Pohjonen's keyboard comes a heavenly waltz.

In the Divertissement: Andantino, amazing textures emerge; after a sudden rush, the movement ends abruptly. The Finale: Prestissimo veers from lyrical to lively as the tempo accelerates. Jazz influences pop up, as well as rich themes, and the music becomes cinematic.

At the music's end, the audience leapt up to cheer the evening's six super-stars as another sensational summer series from Chamber Music Society of Lincoln Center came to an end. My special thanks to Beverly Greenfield of Kirshbaum Associates for arranging everything all season long, and to the fine folks at the Alice Tully Hall box office. Enjoy the rest of the summer, everyone!

~ Oberon                                                                                                                                      

Radovan Vlatković ~ Brahms Horn Trio

Myself being a horn player of the Wishful Thinking School, Radovan Vlatković is one of my idols. I have heard him play several times with Chamber Music Society of Lincoln Center, and I am endlessly impressed by his splendid tone and peerless musicianship.

Here Mr. Vlatković is joined by Susanna Yoko Henkel (violin) and Ian Fountain (piano) for a simply gorgeous performance of Johannes Brahms' Horn Trio, Opus 40.

The concert took place at the 14th Zagreb International Chamber Music Festival on October 13th, 2019. Watch and listen here.

Gloria Davy ~ Britten's LES ILLUMINATIONS

Soprano Gloria Davy sings Benjamin Britten's Les Illuminations from a 1957 live radio broadcast by the Orchestra Sinfonica della Rai di Roma, conducted by Sergiu Celibidache.

Listen here.

CMS: Summer Evenings 2022 ~ Concert II

Above, the artists of the Calidore String Quartet: Ryan Meehan (violin), Estelle Choi (cello), Jeremy Berry (viola), and Jeffrey Myers (violin)

Sunday July 10th, 2022 - This evening at Alice Tully Hall, the Calidore String Quartet regaled us with music by three masters: Haydn, Mendelssohn, and Brahms. Pianist Wu Qian was at the Steinway for the Mendelssohn, Opus 3, playing brilliantly.  This was the second of three summertime concerts being offered by Chamber Music Society of Lincoln Center.

The Haydn Quartet in C-major for Strings, Hob. III:32, Op. 20, No. 2 (1772) made for an elegant opening work tonight. Right from the start, Haydn provides a showcase for the cello in this quartet, and Estelle Choi relished every opportunity the composer offers; her tone is rich and honeyed, and her technique is impeccable. The Calidore's blend is most congenial, and their wide range of dynamics gives the music a wonderful freshness. At one point in the opening Moderato, the music veers into the minor, which is very affecting, before restoring the major for a sweet finish.

The ensuing Capriccio: Adagio, opens with a unison passage decorated by lovely trills. The cello is again prominent, singing a rather doleful song, and the first violin shimmers on high. Things get dramatic, then the cellist resumes her sad melody. Violinist Jeffrey Myers has a gorgeous cantabile all to himself, with a subsequent cadenza. The music merges into the Minuet without pause, before the scurrying music of the final fugue - a light-hearted and subtle affair - carries us swirling along to the finish.

Pianist Wu Qian (above) now joined three members of the Calidore for Mendelssohn's Quartet in B-minor for Piano, Violin, Viola, and Cello, Op.3. Ryan Meehan took the violin lead here, with violist Jeremy Berry, and Ms. Choi.

In March 1825, Mendelssohn's father had agreed to allow Felix to pursue a career in music, provided the boy's potential was recognized by professional musicians. So the young composer brought his Piano Quartet in B- minor to the Paris Conservatory, where it was played by the director, Luigi Cherubini, and the concertmaster of the Paris Opéra, Pierre Baillot. At the work's end, Baillot came up to Mendelssohn and, without saying a word, simply embraced him.

Deep phrases from the Steinway, and a feeling of restlessness from Mr. Berry's viola set the opening Allegro molto on its way. With rich playing, the musicians underscore the mood shifts of the music, and its highly emotional quality. Cascading keyboard figurations are heard, and brisk string passages. There is a sustained cello theme accompanied by the rippling piano before the movement reaches its tempestuous conclusion.

Wu Qian opens the Andante with a sublimely sorrowful solo passage; the melody continues over rocking string rhythms, and then piano and strings switch roles. Mr. Meehan's cadenza was beautifully polished, followed by music moving slowly - and gorgeously - forward.

A second Allegro molto brings delicate fiorature from the pianist. The music broadens and becomes more passionate, and there a reminders (previews, really) of the composer's Midsummer Night's Dream along the way; nothing could be more delightful to my ear, especially in such a superb interpretation.

By now, I'm thoroughly intoxicated with Mendelssohn's musical magic potion, and so the final Allegro vivace becomes the quartet's crowing glory. Agitato strings set the mood; a spectacular sustained note from Mr. Meehan's violin enchants me, as does Wu Qian's uncanny ability ability to make her music sound like she is being pursued. This was Mendelssohn in all his restless, mysterious, passionate, and vibrant glory. And it was spectacularly played.

This composer's music always brings me great joy, and this evening's performance of the piano quartet gave me a much-needed elevation of mood in the wake of recent world tragedies. The audience seemed thoroughly delighted, giving the players a shouting ovation and calling them back for a second bow.

Following the interval, the Calidore offered Brahms' Quartet in B-flat major for Strings, Op. 67 (1875). In recent years, I have found my interest in the music of Brahms waning, to the extent that I now tend to avoid programs which include his works. There are exceptions, of course: the Alto Rhapsody, the 4th Symphony, and much of the lieder...these will always draw me in.

The Calidore played the Brahms to perfection, but after the glorious Mendelssohn, the music seemed so overwhelmingly...pleasant. I wanted to feel my emotions soaring, as they had during the program's first-half, but instead I remained firmly earth-bound, though definitely appreciating the beauty of the Calidore sound..

The rest of the crowd clearly felt very much the opposite: they stood up - cheering - while the last echo of the Brahms lingered on the air, demanding an encore from the musicians.

~ Oberon

Flower Duet

In Act II of Puccini's MADAMA BUTTERFLY, Cio-Cio-San and her maid Suzuki place flowers throughout the house, in anticipation Pinkerton's return.

Eleanor Steber & Jean Madeira - Flower Duet ~ MADAMA BUTTERFLY

Britten's Hymn to Saint Cecilia

The Gabrieli Consort and Players, conducted by Paul McCreesh, perform Benjamin Britten's Hymn to Saint Cecilia the 13th-century Saanen Church, Switzerland, in 2016.

Watch and listen here.

CMS: Summer Evenings 2022 ~ Concert I

Above: clarinetist Tommaso Lonquich, photo by Andrej Grilic

Wednesday July 6th, 2022 - It's always exciting to welcome clarinet virtuoso Tommaso Lonquich back to Alice Tully Hall. In recent seasons, his appearances with Chamber Music Society of Lincoln Center have been red-letter dates; tonight, playing works by Paul Schoenfield and Ernő Dohnányi, Mr. Lonquich upheld his sterling reputation, to the delight of the crowd. 

The evening commenced with Mozart's Quartet in G-minor for Piano, Violin, Viola, and Cello, K. 478 (1785), which is widely considered the first major piece composed for piano quartet in the chamber music repertoire; Mozart wrote it on a commission from Franz Hoffmeister in 1785. At the time the piece was written, the harpsichord was still widely used, though there is evidence that Mozart preferred the forte-piano.

For this evening's performance of the Mozart, pianist Michael Stephen Brown was at the Steinway, joined by Chad Hoopes (violin), Tien-Hsin Cindy Wu (viola), and Keith Robinson (cello).  In the quartet's opening Allegro, the piano and the unison strings exchange phrases. The blend of the string voices this evening was especially congenial, with Mr. Hoopes' soft-grained playing mixing nicely with the rich tone of Ms. Wu's viola and the always welcome warmth and clarity of Mr. Robinson's cello. Mr. Brown's playing was especially lovely here, and all of the musicians were adept at the shifts in dynamics which keep the music vivid.

The dreamy sounds Mr. Brown drew from the Steinway set the tone for the ensuing Andante, wherein Mr. Robinson's dusky timbre and some very subtle playing from Mr. Hoopes held us under a Mozartean spell. A steady cello pulse accompanies some poignant harmonizing from Mr. Hoopes and Ms. Wu; and then Mr. Robinson's cello embarks on a 'wandering' motif, curling up and down the instrument's range; Mr. Hoopes then adopts this appealing venture for his violin. Cello and violin trade descending scale passages as the movement concludes.

A familiar piano theme, soon taken up by the strings, launches the Allegro moderato finale.The music rolls along blissfully and then is re-launched after a brief piano cadenza. Throughout, Mr. Brown's virtuosity is to the fore. Things seem headed to a fine finish when an unexpected modulation of key gives a bit of a jolt to the proceedings. All's well that ends well, and the three players drew warm applause from the full house. 

Above: composer Paul Schoenfield

Mr. Lonquich then appeared, joined by Mssrs. Hoopes and Brown for Paul Schoenfield's Trio for Clarinet, Violin, and Piano (1986), which is in four movements: Freylakh, March, Nigun, and Kozatske.

The Freylakh has an exuberant start, and soon Mr. Lonquich's clarinet is wailing away; the music is bluesy and insistent. A slow dances commences, building in speed to a sudden end. The March is a bit creepy, with glissandi from Mr. Brown's keyboard. Clarinet and violin take up a dirge-like theme, which has a tongue-in-cheek drollery about it. Piano solo gives way to some moaning and sighing from Mssrs. Hoopes and Lonquich. With the music dancing once again, there are some sizzling clarinet trills and then Mr. Lonquich sustains an incredibly long note...astounding, really.

Mr. Lonquich has more magic for us: the super-pianissimo opening  of the Nigun is breathtaking, as is the feeling of hesitancy he brings to this music. He harmonizes to eerie effect with Mr. Hoopes in a sad song; throughout, the clarinetist's dynamic control is astounding. Now comes the Kozatske, which Mr. Brown ushers in with a rocking rhythm. It becomes a crazy dance, wild and full of energy., carrying us on to a rambunctious finish.   

Above: Kevin Rivard, hornist

To conclude the concert, the Hungarian composer Ernő Dohnányi's Sextet in C-major for Clarinet, Horn, Violin, Viola, Cello, and Piano, Op. 37 (1935); this was my first time to hear this marvelous piece, and the players made a sumptuous treat out of it.

By adding clarinet and horn to an ensemble of strings and piano, Dohnányi is able to bring forth fascinating colours in this music. Joining the line-up tonight, the San Francisco-based horn player Kevin Rivard produced golden sound and a thrilling sense of the music's emotional grandeur. 

In the gorgeous turbulence of the sextet's opening Allegro appassionato, the six musicians immediately found a perfect balance; the distinctive beauty of their individual timbres were woven together with great skill. As melodious phrases were passed from player to player, we could savour the composer's inventiveness - a passage for horn with agitato cello, a rocking viola rhythm - as the music becomes cinematic, reaching an ecstatic climax.

The Intermezzo: Adagio finds Mr. Brown's playing at its most hauntingly luminous, meshed with the poetis grace of the strings. Things turn a bit sinister as the piano shifts colour to join with the wind voices. The music turns grand, with a rich blend of sounds over rippling piano figurations, reaching a subdued ending.

In the Allegro con sentimento, Mr. Lonquich's clarinet sings a gentle song over commenting strings, then suddenly a military parade seems to march thru; Mr. Robinson's cello restores a sense of romance. From bustling rhythms, clarinet and horn emerge to allure our senses with the sheer beauty of their sound. 

The concluding Allegro vivace (also marked giacoso - "playful") alternates between an amiable, scurrying feeling and a big, waltzy trend. Violin and viola harmonize charmingly. Mr. Brown at the Steinway introduces a grand swaying motif. What feels like a dash to finish line is briefly interrupted for a waltz-reprise, and then the ending takes a final twist.

A full-house standing ovation greeted the six musicians, which they richly deserved.

~ Oberon