Oberon's Grove

Graham Gala @ The Joyce ~ 2023

Above: Ying Xin of the Martha Graham Dance Company; photo by Melissa Sherwood

Author: Oberon

Thursday April 20th, 2023 - The Martha Graham Dance Company are at The Joyce for a couple of weeks, and tonight was their gala evening. The program offered Graham's All-City Panorama and Embattled Garden book-ending three excerpts from Canticle for Innocent Comedians (choreographed by Sonya Tayeh with the individual sections by Jenn Freeman, Martha Graham, and Micaela Taylor).

All-City Panorama is a re-take on Martha Graham's 1935 work, Panorama, which premiered at a summer retreat in Bennington, Vermont. The original Panorama was 45 minutes long, set to a score by Norman Lloyd, and was performed by student dancers, It served as a rallying call to for social change. Panorama was lost until 1992, when an early film was discovered; from this, the dancework was reconstructed by Yuriko, who passed away in 2022 at the age of 102.

Above: from All-City Panorama, photo by Rosalie Banner

Tonight's performance boasted a large ensemble of teen-aged dancers, all clad in red (Martha Graham had designed the original costumes). Heralded by drums, they take the stage with a youthful energy that is exhilarating. Forming and re-forming in various sub-groups, they move in compelling design patterns - from runabouts to noble processions - employing classic Graham steps and gestures.  

A central quintet was impressively danced, and at one point, everyone musters into a moving, stage-filling circle: a celebration of community. Following a finale filled with traveling leaps, the stage is emptied. The dancers took their bows to a vociferous ovation from the packed hall.

Janet Eilber then appeared onstage, hailing the young dancers as the future of Graham; later in the evening, the past was also honored as veteran dancers among the audience were cheered. Overall, the evening felt like a celebration of the proud continuum of the Martha Graham Dance Company, now in their 97th season. It all left me wondering if I will live to see the 100th season.

I was not impressed with Canticle for Innocent Comedians when I first saw it a year ago at City Center; but last week, I had a chance to see a studio rehearsal which made me alter my opinion. The choreography is demanding and often quite beautiful. I enjoyed it much more with the dancers in practice clothes; the costumes, while visually striking, seemed to detract from rather than enhance the movement, and they sometimes affect the dancers' line. Tonight, the music, by pianist Jason Moran, also seemed more captivating than I remembered.

Performed this evening, a suite of excerpts from the work opened with the breath-takingly lyrical duet Moon, choreographed by Martha Graham herself - apparently the only portion of her 1952 the work to have survived more or less intact. Tonight, it was hypnotically danced by So Young An and Jacob Larsen with a gentle sensuality and a feeling of tenderness and trust. 

Stars, choreographed by Michaela Taylor, was brilliantly danced by two of Company's charismatic Italian stars, Marzia Memoli and Alessio Crognale. Their partnering is effortless, and their personalities meld persuasively to illuminate the dance.

The beauteous Ying Xin then appeared for the solo Death/Rebirth, choreographed by Jenn Freeman. This solo is a profound depiction of loneliness, and Ying Xin's suppleness of movement - and her expressive face - made for a captivating dance experience: paradoxically draining emotionally and uplifting spiritually. 

Minutes later, Ying Xin was back onstage, portraying Eve in Graham's iconic Embattled Garden

At the same rehearsal where Innocent Comedians gave me a second look, Graham's Embattled Garden had been danced, complete with sets and costumes. The work is always stunning to see, but up close it was simply thrilling. The cast of four must not only be dancers, but also acrobats, actors, and possessed of vibrant personalities.

Tonight, in the theatrical setting, a slightly different cast made a most powerful impression. The Noguchi sets are masterpieces in their own right, and the Carlos Surinach score seemed fresh and vivid. Ying Xin's Eve is the epitome of feminine grace, and her partner Lloyd Knight's Adam is magnificent both as a presence and as a mover.

Above, trouble in paradise: Leslie Andrea Williams and Lorenzo Pagano in a Hibbard Nash image

Observing Adam and Eve from his perch in a fanciful Noguchi tree is the Stranger, danced by Lorenzo Pagano; lounging in the shade, fanning herself, is Lilith, danced by Leslie Andrea Williams. These intruders in Eden are hellbent on destroying the happiness of the young couple...just because they can. Aside from the astonishing flair and virtuosity of their dancing, Leslie and Lorenzo communicate volumes with their facial expressions and especially with their ever-observant, knowing eyes. Brilliant!

~ Oberon

Aigul Akhmetshina ~ Mon coeur s’ouvre a ta voix

The delicious mezzo-soprano Aigul Akhmetshina (above) sings “Mon coeur s’ouvre a ta voix” from Saint-Saens' SAMSON ET DALILA at a concert given at the 2019 Moscow Music Festival, with Vladimir Spivakov conducting.

Watch and listen here.

Ms. Akhmetshina recently made her debut at the Metropolitan Opera as Maddalena in RIGOLETTO, proving herself to be not only in possession of a gorgeous voice but also a spirited actress, and a delightful person to meet.

Ensemble Connect: Coleman & Dohnányi

Above: Cort Roberts and Yasmina Spiegelberg of Ensemble Connect; photo by Fadi Kheir

Author: Oberon

Tuesday April 18th, 2023 - Ensemble Connect at Weill Hall, offering a program of works by Valerie Coleman, Antonín Dvořák, Johann Strauss Jr, and Ernst von Dohnányi. This evening's concert marked the final performance by the current roster of Ensemble Connect. The players waxed nostalgic as some of them spoke of what it has meant to them to be part of this program. They are all exceptional artists, and I am sure we will be hearing more about them in the coming years as they pursue their careers.

Valerie Coleman's Rubispheres, a series of chamber trios depicting urban life and landscapes in the world, opened the evening, performed by Amir Farsi (flute), Jasmina Spiegelberg (clarinet), and Nik Hooks (bassoon). In the first movement, DROM, Mr. Hooks leads off with a deep bassoon passage, which transitions into a unison theme. Flute and clarinet warble and screech at times, and they converse with one another over a jazzy bassoon rhythm. The music slows and quietens only to bounce back in agitation. A super-sustained clarinet tone is taken up by the flute, and a gentle sway develops. A repeated 2-note bassoon motif leads to a snappy finale. 

In the second movement, Serenade, a lullaby atmosphere is embellished by a sinuous melody from Ms. Spiegelberg; trills from Mr. Farsi's flute lead to a passage in which we can relish Mr. Hooks' plush timbre. Fragments of melody are passed among the three players.  

Revival, the final movement, commences with a rather hesitant fanfare, and then a unison melody bursts forth. A wandering bassoon line underscores searing sounds from flute and clarinet. After a lull, a droll bassoon theme becomes a unison theme as the piece move on to a relentless finish.

The Dvorák Terzetto is a true delight; the trio brought together the Connect's wonderful violinist, Rubén Rengel, and violist, Halam Kim, with guest artist Stephanie Zyzak on 2nd violin. The Introduzione opens with a sweet, poignant melody which will recur throughout the movement, interspersed with lively dance passages.

The Larghetto's opening melody, is marked "dolce, molto espressivo" intertwines the three voices to captivating effect, and Ms. Kim gives us a marvelous viola theme. Dotted rhythms announce a contrasting interlude, and then the wistful mood is restored.

Dvorák's folk style comes into play with the Scherzo, a furiant with agitato plucking.The music has a lightness here, lending a Mendelssohnian air. A lovely, harmonized interlude ensures before the dance resumes, pulsing along to the finish.

The dramatic start of the final movement soon develops into a theme-and-variations affair, Mr. Rengel's  violin singing over swirling figurations from his colleagues. Ten brief variations blend from one to the next, until six chords introduce a return to dancing.

Following a longish interval, Johann Strauss Jr's "Kaiser" Waltz, in Arnold Schoenberg's arrangement, was played by a fabulous ensemble with Ms. Zyzak taking the lead, and Connect alums Suliman Tekalli (violin) and Caeli Smith (viola) joining the Ensemble's excellent pianist (Joanne Kang) and cellist (Laura Andrade (she of the enviable timbre) with Ms. Spiegelberg and Mr. Farsi returning to further delight us with their nimble playing.

Originally conceived for The Philharmonics – a chamber ensemble of musicians from the Vienna Philharmonic – arrangements of Strauss waltzes by Arnold Schoenberg, Anton Webern, and Alban Berg were prepared in 1921 as a way to raise money for The Philharmonics concerts. The four Strauss waltz settings were first performed in May of 1921, with the composers themselves playing: Berg on the harmonium, Schoenberg on first violin, and Webern on the cello.

The Strauss/Schoenberg gem was so much fun to experience. especially as played by tonight's super-artists. Droll hints of Schoenberg spiced up the familiar melodies of the waltz. The musicians all entered into the spirit of the music, enjoying every opportunity the music affords them to display their high-quality playing.

Saving the best for last, the Sextet in C-Major, Opus 27, of Ernst von Dohnányi closed the program. What a spectacular piece this is, and what a performance of it we heard tonight: Mlles. Kang, Spiegelberg, Kim, and Andrade and Mr. Rengel were joined by Cort Rogers, the Ensemble's phenomenal horn player.

I have to admit, as a failed horn player myself, that Mr. Roberts completely mesmerized me with the sonorous beauty of his timbre: the kind of sound that always eluded me. The Dohnányi sextet is a gift to the horn player, and Mr. Roberts gave a thrilling performance. And through the four movements, each player has many chances to shine. 

The opening Allegro appassionato is a lush and, at times, turbulent movement. It begins on a heroic note, immediately signalling Mr. Roberts' prominence in the music. A dramatic quality - and a prevailing darkness - draws us in as the musicians summon their communicative powers to keep us enthralled.

The second movement, Intermezzo/Adagio, the darkness lingers on with the piano playing a rising series of chords, which underline the sustained string parts. After some while, a slow march is introduced; the movement ends quietly,.

The third and fourth movements - Allegro con sentimento and Allegro vivace - are presented in a single long span. The horn is used tellingly to create a sense of weight in the slower passages, and then we move into the world of European jazz of the 1930’s, at once playful and oddly unsettling. A coda mingles jazz elements with a waltz, and brings back a echo of the work's heroic opening.

~ Oberon

Christa Ludwig as Amneris

Christa Ludwig (above) sang three performances of Amneris in Verdi's AIDA at the Metropolitan Opera: one in 1960, and two in 1970.

Here is her exciting Judgement Scene from one of the 1970 performances, with Richard Tucker as Radames and Ezio Flagello as Ramfis. Fausto Cleva conducts.

Listen here.

Vuyani Dance Theatre @ The Joyce

Above: from Cion: Requiem of Ravel’s Boléro; photo by John Hogg

Author: Oberon

Sunday April 16th, 2023 matinee - Vuyani Dance Theatre presenting Cion: Requiem of Ravel’s Boléro at The Joyce. Choreographed by South Africa's Gregory Vuyani Maqoma, the dancework - set in a graveyard - features music in the Isicathamiya style, which originated among the Zulu people. Inspired by Zakes Mda’s novel Cion and by Maurice Ravel’s immortal Boléro, the choreographer describes his work as “a lament, a requiem required to awaken a part of us, the connection to the departed souls.”

This dancework is absolutely stunning musically: shortly after curtain-rise, we first hear the iconic rhythmic figuration that permeates the Ravel score, and soon after the two 18-bar melodies which are endlessly repeated in Ravel's setting make their appearance. As Cion: Requiem of Ravel’s Boléro unfolds, both the rhythm and the tunes go thru various transfigurations.

A fantastic quartet of vocalists - Xolisile Bongwana, Simphiwe Bonongo, Thabang Mkhwanazi, and Sbusiso Shozi - covered a vast range, from the deepest bass to the airy heights, displaying incredible breath control, intrinsic rhythmic surety, sonics that ranged from whispers to shouts, and harmonies that constantly lured the ear. 

The cast of nine dancers were so powerful in their moves and in their commitment, enacting rituals that honor the dead, whilst sometimes seeming to seek their own deaths. The piece, with extraordinary lighting by Mannie Manim, opens in a midnight graveyard, with the sound of desolate weeping drawing us into the realm of death and its attendant mourners. A lone drummer initiates the Boléro rhythm and the dancing commences: the mourning rites, expressed in unison gestures, alternate with fleeting solos; a fight breaks out, and at one point the singers join in the dance, with shifting movement patterns.  

Variations on the Boléro theme grown faster, until there's a sudden stop. A new song commences, the dancers pray, and then comes a rite of stomping seems intent on raising the dead. The kneeling dancers beat the floor with heavy towels, conjuring up a fresh rhythm. A man consoling a woman seems like a prelude to sex, but turns into a tug-of-war. The woman speaks, telling of wandering from plantation to plantation; with a laugh, she eludes the man. Deep vibrations from the bass voices bring on a humming song, interrupted by barking dogs in search of escapees fleeing into the woods.  

The dancers rush about, waving black flags; the presiding mourner is held aloft, observing a wandering madman. Clicking tongues create a new rhythm. Rejoicing bursts forth, with people yelling as the pace speeds up. Then slowly the graveyard is abandoned, and silence falls.

The large audience seemed spellbound by the dancing and the music; there was nary a peep out of anyone as the 75-minute work progressed. At the end, a rip-roaring ovation: the dancers basked in waves of applause and cheers...and then the singers stepped forward and it felt like the roof might cave in.

~ Oberon

Noise Catalogue @ Sō Percussion Studio

Above: violinist Madeline Hocking and percissionist Dániel Matei

Author: Shoshana Klein

Thursday April 13th, 2023 - The Sō Percussion Studio in Brooklyn is a rehearsal space full of interesting percussion odds and ends that is turned into a concert venue every once in a while. The result is an intimate and casual performance for a small audience. They have a series called “Sō Labs” in which one of their interns is given a concert to curate. This one was done by percussionist Dániel Matei, who brought in three sets: his new group Noise Catalogue, composer and singer/songwriter Jemina Brechoire, and vocalist Gabriel Garcia. The small venue lent itself to a casual atmosphere (it didn’t hurt that they were selling beer for $5, either). Sets and pieces were announced as the ensemble members set up for the next piece, in true small new music do-it-yourself group fashion.

Jemina and Gabriel each did a set of a few pieces, with Noise Catalogue performances interspersed; all the performers came together at the end to perform a fun game piece by Pamela Z.

 

We started with a piece by Jason Treuting - one of the members of Sō, which they played with three percussionists, violin, and flute. An energetic way to open the concert, this piece brought us all in to the concert space. This is the second show for Noise Catalogue, a “New York-based contemporary music collective” that is organized by violinist Madeline Hocking and percussionists Dániel Matei and Jon Collazo. With another show slated for May 20th, I’d say they are off to a pretty exciting start as an organization, with these three performances in the span of a couple of months.

 

The second piece was a premiere of a solo prepared vibraphone piece by Erich Barganier, "Red Green Intestines of Ember", played by Matei. The vibraphone was prepared with different objects, giving the instrument a unique sound as it was played with many active passages, along with an electronics track that was often unassuming but built up energy towards the end of the piece. There was also a live reactive video being projected directly onto Matei and the vibraphone, which added an otherworldly quality to the piece. 

 

 

Next was the set by Jemina Brechoire (above), who is trained in both jazz and classical. With only a keyboard and her voice, she plays these semi-improvised pieces that blend the genres in a unique way. The music strikes me as kind of innocent and sincere, though maybe that can be attributed to the experience of someone playing their own music directly to an audience.

 

Between the Brechoire and Garcia sets was a duo called “Csitari” by Daniel Matei, joined by Madeline Hocking. The piece was based on a Hungarian folk tune, but with electronics and transformed into a virtuosic and full length (10 minutes maybe) piece. The result was fantastic - the style went from a kind of minimalist ostinato to virtuosic melody and back, expertly supported by the electronics and marimba, and played incredibly by Hocking on violin.

 

 

Above: Eduardo Mu and Gabriel Garcia

 

Gabriel Garcia sang a set next - pieces by Julius Eastman and Eduardo Mu. He chose to have the lights off during his set, so we were all incredibly engaged in his performance, almost ghostily illuminated by some small stand lights. The Eastman, “Prelude to the Holy Presence of Joan d'Arc”, was hypnotic - a big arc of a piece with lots of repetition, slowly winding down after a long and intense crescendo. Mu’s piece, employing many extended techniques, was equally engaging, though intense in a different way.

 

Ending the concert with all the performers was a satisfying way to wrap up the event - this piece by Pamela Z employed magic 8 balls, contact mics, and a set of cards for each performer. The result was, unsurprisingly, somewhat whimsical. It was a nice way to end, with the entire concert encompassing a large range of styles and instrumentations.

 

~ Shoshana Klein (who also took the photos)

Domenico Zipoli ~ Missa Brevis

Above: Domenico Zipoli (1688 – 1726)

A performance of Domenico Zipoli's MISSA BREVIS given by the Coro de Niños Cantores de Córdoba and the EIyma EnsembIe, conducted by GabrieI Garrido.

Listen here.

Domenico Zipoli was born at Prato, Italy, in 1688. He was a respected church organist in Rome. Then, as a Jesuit missionary, he traveled to South America where he served in Paraguay, Peru, and Argentina. He composed sacred works for the local choirs, some of which are still performed at South American churches.

Zipoli had prepared for the priesthood, but in 1726, he died in Argentina of tuberculosis before he could be ordained.

Coronation Concert @ Carnegie Hall

Author: Oberon

Thursday April 13th, 2023 - In anticipation of the coronation of King Charles III on Saturday, May 6th, my companion - a longtime monarchist - and I had been referring to tonight's all-Handel program at Carnegie Hall as the "coronation concert". The Orchestra of St. Luke's, under the baton of their Principal Conductor Bernard Labadie, were joined by soloists Joélle Harvey (soprano), Iestyn Davies (countertenor), and Sumner Thompson (baritone) and the vocal ensemble La Chapelle de Québec for one of the most delightful evenings of music-making in recent memory.

Maestro Labadie spoke briefly before commencing the opening piece: "Zadok the priest," HWV 258. This work was composed by Handel for the coronation of King George II in 1727 and has been sung at every coronation of a British monarch since. Maestro Labadie said just enough about the music - and about the impending coronation - to whet our appetite.

The maestro then turned to the beloved musicians of the Orchestra of St. Luke's and the splendid singers of of La Chapelle de Québec and the evening took off in high style; the renowned Carnegie acoustic seemed more alive than ever, and the vast audience were immediately under a Handelian spell, our thoughts diverted - for two precious hours - away from school shootings, banned books, leaked documents, and other un-American activities of a political party that seems intent on making people's lives miserable.

Another coronation anthem followed immediately: "Let thy hand be strengthened," HWV 259, with its beauteous andante second movement. The voices of La Chapelle de Québec fell graciously on the ear, the orchestra lending de luxe support.

Then the orchestra took up Handel's famed Music for the Royal Fireworks which was composed in 1749, at King George II's command, to celebrate the signing of the Treaty of Aix-La-Chapelle, which ended the Austrian War of Succession. The work's official premiere drew an audience of 12,000 people at London's Green Park, and caused a traffic jam that shut down London Bridge for several hours.

The music itself takes the form of a Baroque dance suite in six movements, commencing with an Ouverture that is heralded by beating drums. Next come the blithe, elegant Bourrée and the calm beauty of La Paix. In the lively La réjouissance, John Feeney's double bass stood out in rapid figurations. The suite closes with two Minuets, played to perfection. 

Following the interval, the coronation anthem "My heart is inditing," HWV 261, showed off the lovely harmonies of the choral voices to sublime effect.

Two lutenists - one of them, Adam Cockerham, who I'd met before - and the three vocal soloists now appeared for the Ode for the Birthday of Queen Anne, HWV 74, one of Handel's earliest "English" works (1713). The work is also known by the title ‘Eternal source of light divine’, the first line of the text. Appreciative of Handel's great talent, Queen Anne subsequently granted the composer a ‘pension’ of two hundred pounds a year for life.

Of the soloists, we first hear the unique sound of countertenor Iestyn Davies, joined by the Orchestra's brilliant trumpeter Kevin Cobb. Their performance was simply magical, with Mr. Davies' sustained tones floating on the air to spine-tingling effect. As the work progressed, it seemed that Mr. Davies was perhaps experiencing a slight indisposition - his lower range was not achieving full resonance - but his mastery of the voice allowed him to make a sublime effect in phrase after phrase. During the bows, the charismatic countertenor was sneezing and suppressing a cough. My diagnosis: allergies. That he still managed to make such a marvelous impression is testimony to his artistry. 

I've become a great admirer of soprano Joélle Harvey in recent seasons, and tonight she sang with her customary warmth, clarity, and persuasive phrasing. She and Mr. Davies harmonized to radiant effect, including trading sustained, heavenly tones at one point. Sumner Thompson's baritone provided a fine contrast to the higher voices, and he sang with authority.

The concert ended, appropriately, with the anthem "The king shall rejoice," HWV 260, alive with some dazzling trumpets sounding, and a flurry of Alleluias to finish. The audience expressed their thanks for this glorious Handel evening with vociferous applause.

And now we await the coronation, the second such ritual in my lifetime.

~ Oberon

YCA: Pianist Zhu Wang @ The Morgan Library

Above: pianist Zhu Wang; photo by Kevin Condon

Author: Oberon

Wednesday April 12th, 2023 - Young Concert Artists presenting pianist Zhu Wang in the last of the season's noontime concerts at The Morgan Library. Following a beloved Beethoven sonata and a world premiere from composer Steven Banks, the pianist was joined by guest artists Risa Hokamura (violin), Hsin-Yun Huang (viola), and Marcy Rosen (cello) for the Dvořák Piano Quartet in E-flat Major, Op. 87.

Beethoven's Piano Sonata in G-Major, Op. 31, opens with a lively Allegro vivace in which Zhu Wang's expert command of dynamics was soon evident. Cascades of notes that sweep up and down the keyboard display the pianist's nimble technique, and touches of wit are introduced. The is a dancelike feel to the music, which alternates between major and minor passages.

Finely honed trills open the Adagio grazioso which interrupts alternates waltzlike passages with pensive, reflective pauses; the music has a sentimental air about it. Soft, florid phrases are woven in, again demonstrating Zhu Wang's sure control throughout the dynamic range. Ornamentations and brief cadenza-like moments were deftly handled by the pianist.

The final Rondo brings a sense of youthful enthusiasm, A single simple theme is explored, with syncopations and decorative touches adding to the music's appeal. After briefly lingering in a thoughtful adagio section, the piece ends with a flashy presto, brilliantly illuminated by Zhu Wang's mastery of the keyboard.

The Banks premiere, entitled Fantasy on Recurring Daydreams, came next. Zhu Wang gave a brief spoken introduction to the work, for which the composer was inspired by pieces from the pianist's repertory. Like a slow awakening from a dream, the music unfolds thru various moods: from dramatic to quietude...from somber and pensive to intense and restless. Persistent deep chords introduce a cinematic lushness, the music getting quite grand. 

Gentle trills are played over dark-hued motifs in the lower range, and then jangling sounds emerge, underlies by dense low rhythms; the music has a deep ending.  Zhu Wang played with total commitment, savouring the score's wealth of colours and its rhythmic richness. 

The guest artists then joined Zhu Wang for the Dvořák, with Ms. Hokamura in a ruby-red gown and jeweled slippers, Hsin-Yun Huang in an elegant black frock, and Ms. Rosen in a soft, multi-hued jacket. The four players made a most appealing ensemble, their timbres and assured techniques meshing to fine effect.

The opening Allegro con fuoco sets forth grandly with a theme for the strings to which the piano responds. Hsin-Yun Huang's viola sound is so appealing - each time I have heard her play, I am so impressed with her artistry - and the unison passage for strings leads to fanfare-like motif from the piano as the music enter a new phase: restless, with sharp attacks. Calming, the string trio blends persuasively as Zhu Wang adds a filigree of notes from the keyboard. Mlles. Hokamura and Huang harmonize over a yearning theme from Ms. Rosen's dusky cello. The violinist commences an ascending set of trills, and the music literally blooms with fabulous playing from all four artists.

The extended Lento commences with a heartfelt theme from Ms. Rosen's cello. The piano takes on a dreamy expressiveness, with violin and viola gently plucking and then harmonizing. A sudden eruption of passion bursts forth: turbulence ensues, with Ms. Hokamura reveling in her virtuosic playing. Calm is restored with Zhu Wang playing gently over the plucking cello. Gorgeous, melodious passages ensue, with Ms. Rosen wonderfully expressive and the pianist displaying heartrending lyricism. Following a second outburst, a drawn out ascending passage carries us to a gentle ending.

The quartet's last two movements are rather similar: the Allegro moderato (often described as a Ländler) and the Allegro ma non troppo (in which the violist shone superbly) create a glorious, dancing mood in which the four musicians revel in instrumental interplay...and in Dvořák’s seemingly boundless inventiveness.

Zhu Wang and his delightful trio of guest artists enjoyed a very warm response from the large audience; then they appeared in the lobby to greet music-lovers and to bedazzle a group of young students who were i attendance.

Above: pianist Zhu Wang greeting young fans after the concert.

~ Oberon

Imogen Holst ~ Phantasy Quartet

Above: Imogen Holst

The Craft Ensemble play Imogen Holst's "Phantasy Quartet" in a performance recorded live at Music Mansion by Scott Quade on March 1, 2019. The musicians of the Ensemble are are Colleen Brannen and Amy Sims (violins), Amelia Hollander Ames (viola), and Velleda Miragias (cello).

Watch and listen here.

Imogen Holst (1907-1984) was the daughter of Gustav Holst; she was a composer, arranger, conductor, teacher, musicologist, and festival administrator, and a close friend and confidante of Benjamin Britten. 

Read an illuminating article about Ms. Holst here.