Tag: The Morgan Library

Accordion & Saxophone @ The Morgan Library

Above: Steven Banks and Hanzhi Wang

Tuesday February 22nd 2023 – Young Concert Artists presenting a noontime concert at The Morgan Library featuring the unusual combination of accordion and saxophone. The players – Hanzhi Wang (accordion) and Steven Banks (saxophone) – have both previously appeared at The Morgan in solo recitals; they are brilliant, unique artists, and I was eager to hear them live again. But the afternoon did not turn out as planned.

We settled into our seats, but after a few minutes we were shivering. We put our coats back on, but the damp chill was pervasive. Looking around, it seemed that everyone in the audience was bundled up, and I was recalling an evening many years ago when the young Frederica von Stade gave a recital in a frigid hall in Syracuse, NY, where the maintenance staff had inadvertently shut off the heat; luckily, someone located a small space heater which was set up onstage to keep the singer somewhat warm.

This afternoon’s musicians took the stage, Mr. Banks towering over the petite Ms. Wang. They launched their program with an arrangement of Handel’s Recorder sonata in G-minor, HWV 360; it took a moment to adjust to the brighter sound of the saxophone in music we are accustomed to hearing played with the softer timbre of the recorder, but Mr. Banks immediately scaled back his dynamic palette, bringing delicious subtleties to the music. Meanwhile Ms. Wang, looking so lovely in her pleated white frock, transformed her accordion into a compact organ, playing with such cordial tone and bending the phrases with consummate skill. As he music veered from courtly to festive, the players were wonderfully in sync and so attentive to one another, making for a musical treat.

Three miniatures by Krzysztof Penderecki – the great and sorely missed Polish master-composer – were so fascinating to hear. The first, Allegro, is weirdly spastic; it seems to reach its quirky end in a matter of seconds, with the players wryly relishing the innate humour of the piece. A dark and doleful Andante cantabile followed, the timbres of the two instruments blending to perfection. The concluding Allegro ma non troppo is a bouncy dance, polished off zestfully by Ms. Wang and Mr. Banks.

Now Ms. Wang offered excerpts from Bach’s Goldberg Variations: the very familiar Aria, played with great depth of feeling, followed by four variations which called for all manner of fanciful fiorature, dispatched with effortless grace and polish by this remarkable virtuoso.

Virtuosity continued in abundance as Ms. Wang gave us two works by Martin Lohse: Autumn Rain, with its dotty raindrops sparklingly defined, and the more somber Winter’s Tale, in which gentle snowflakes drift down on an overcast wintry afternoon. Ms. Wang’s incredible dexterity was simply mind-boggling to observe, her fingers flying nimbly over the keys as she spun out the music, much to our delight.

But we were now chilled to the bone, and we silently agreed that we needed to leave and seek some warmth. We slipped up the stairs as the stage was being set for the next piece, and a few other audience members followed us out. I was sorry to miss Mr. Banks’s set, and the anticipated Astor Piazzolla finale.

~ Oberon

February 23, 2023
Accordion & Saxophone @ The Morgan Library

Above: Steven Banks and Hanzhi Wang

Tuesday February 22nd 2023 – Young Concert Artists presenting a noontime concert at The Morgan Library featuring the unusual combination of accordion and saxophone. The players – Hanzhi Wang (accordion) and Steven Banks (saxophone) – have both previously appeared at The Morgan in solo recitals; they are brilliant, unique artists, and I was eager to hear them live again. But the afternoon did not turn out as planned.

We settled into our seats, but after a few minutes we were shivering. We put our coats back on, but the damp chill was pervasive. Looking around, it seemed that everyone in the audience was bundled up, and I was recalling an evening many years ago when the young Frederica von Stade gave a recital in a frigid hall in Syracuse, NY, where the maintenance staff had inadvertently shut off the heat; luckily, someone located a small space heater which was set up onstage to keep the singer somewhat warm.

This afternoon’s musicians took the stage, Mr. Banks towering over the petite Ms. Wang. They launched their program with an arrangement of Handel’s Recorder sonata in G-minor, HWV 360; it took a moment to adjust to the brighter sound of the saxophone in music we are accustomed to hearing played with the softer timbre of the recorder, but Mr. Banks immediately scaled back his dynamic palette, bringing delicious subtleties to the music. Meanwhile Ms. Wang, looking so lovely in her pleated white frock, transformed her accordion into a compact organ, playing with such cordial tone and bending the phrases with consummate skill. As he music veered from courtly to festive, the players were wonderfully in sync and so attentive to one another, making for a musical treat.

Three miniatures by Krzysztof Penderecki – the great and sorely missed Polish master-composer – were so fascinating to hear. The first, Allegro, is weirdly spastic; it seems to reach its quirky end in a matter of seconds, with the players wryly relishing the innate humour of the piece. A dark and doleful Andante cantabile followed, the timbres of the two instruments blending to perfection. The concluding Allegro ma non troppo is a bouncy dance, polished off zestfully by Ms. Wang and Mr. Banks.

Now Ms. Wang offered excerpts from Bach’s Goldberg Variations: the very familiar Aria, played with great depth of feeling, followed by four variations which called for all manner of fanciful fiorature, dispatched with effortless grace and polish by this remarkable virtuoso.

Virtuosity continued in abundance as Ms. Wang gave us two works by Martin Lohse: Autumn Rain, with its dotty raindrops sparklingly defined, and the more somber Winter’s Tale, in which gentle snowflakes drift down on an overcast wintry afternoon. Ms. Wang’s incredible dexterity was simply mind-boggling to observe, her fingers flying nimbly over the keys as she spun out the music, much to our delight.

But we were now chilled to the bone, and we silently agreed that we needed to leave and seek some warmth. We slipped up the stairs as the stage was being set for the next piece, and a few other audience members followed us out. I was sorry to miss Mr. Banks’s set, and the anticipated Astor Piazzolla finale.

~ Oberon

February 22, 2023
Flautist Anthony Trionfo @ The Morgan Library

Thursday April 14th, 2022 – Young Concert Artists presenting flautist Anthony Trionfo (above, in a Matt Dine portrait) in a noontime recital at The Morgan Library. Mr. Trionfo was joined by Emmanuel Ceysson (harp), Hsin-Yun Huang (viola), and Albert Cano Smit (piano) in a program of music by Debussy, Prokofiev, and YCA Composer Katherine Balch.

I first heard Mr. Trionfo in recital at Merkin Hall in 2018 and was dazzled by his extraordinary talent. This afternoon, he chose works especially dear to him and then invited colleagues he especially enjoys working with to join him. The result was a very personal and pleasing hour of music-making of the highest order.

Above: pianist Albert Cano Smit, photo by Chris Lee

Sergei Prokofiev’s Sonata in D-major, Opus 94, opened the concert; Mr. Trionfo’s collaborator here was the tall, handsome Dutch/Spanish pianist Albert Cano Smit.

The sonata has a lyrical Moderato start, which soon peps up. A familiar melody is heard, and then there’s a sort of fanfare-like passage. Fanciful fluting follows, high and swift. Calming with more sustained themes, the familiar melody returns, moving on to a soft ending. The charming Scherzo has an exuberant quality, which both players relished. A peaceful interlude gives way to a feast of coloratura from Mr. Trionfo. The Andante has a dreamy quality, and an air of mystery. The concluding Allegro con brio opens with a rhythmic dance, and there are cascades of notes from the flautist. At the piano, Mr. Smit keeps things zipping along, and then has a strikingly dramatic interlude. A pensive melody for the flute leads on to the sonata’s flashy finish. The Trionfo/Smit duo reinforced the high esteem in which I hold Prokofiev’s music with their brilliant playing.

For Ms Balch’s miniature, Musica Spoila, violist Hsin-Yun Huang (above) joined Mssrs. Trionfo and Smit. In announcing the work, Mr. Trionfo spoke of the intense concentration needed by the three players for this quirky, fifteen-minute score; he said the composer wanted the music to sound like a “crisp, light machine”, and the trio achieved just that quality.

The music putters and sputters, with the viola scraping and plucking. Each player produces various sound effects: Mr. Trionfo makes eerie breathing noises on the piccolo, and the piano is sometimes tapped or plucked from within. It’s all very subtly done, and perfectly timed. The piece was over in the twinkling of an eye.

I had heard Hsin-Yun Huang earlier this season playing Arnold Schoenberg’s Verklärte Nacht with Chamber Music Society of Lincoln Center; I was very glad of this opportunity to hear her again today.

Above: harpist Emmanuel Ceysson

Claude Debussy’s Sonata for flute, violin, and harp brought forth harpist Emmanuel Ceysson, who gained a large following of fans during his five seasons with The MET Opera Orchestra. Currently, he is principal harpist with the Los Angeles Symphony. He’s a great-looking guy whose love of music is palpable; watching Mr. Ceysson is as pleasing as listening to him.

From the gentle start of the sonata’s opening Pastorale, the intriguing blend of the sweet-toned flute, the poignant viola, and the the caressive harp gives us a feeling of peace. In the lower range, Hsin-Yun Huang’s viola has a lovely duskiness. After a passage of gentle animation, the movement ends with a dreamy hush. The central Interlude soon takes on the feeling of a gentle romp in a Spring meadow; to magical glissandi from Mssr. Ceysson’s golden harp, the sound of the flute and viola entwine in blithe melodies which become quite lively. The vibrant harp sets off the concluding Allegro con brio, giving an agitato feeling. The flute and viola exchange simple passages. The pace quickens, and the blended textures of the three instruments become denser, delighting the ear.

The trio were enthusiastically applauded for their brilliant playing and, returning for a bow, they called on Mr. Smit to join them onstage.

The music today was twice interrupted by the loud ringing of cellphones. As always, these intrusions came at just the wrong moments; I felt sorry for the players, who carried on despite the distraction.

~ Oberon

April 14, 2022
YCA: Nathan Lee @ The Morgan Library

Above: pianist Nathan Lee, photo by Chris Lee

~ Author: Oberon

Wednesday February 19th 2020 matinee – Young Concert Artists continued their popular series of noontime concerts at The Morgan Library today as pianist Nathan Lee played works by Ludwig van Beethoven, Chris Rogerson, and Robert Schumann in succession with nary a break in between.

The youthful pianist, clad all in black with subtly bejeweled shoes, opened his program with Beethoven’s Sonata No. 27 in E-minor, Op. 90 – a lovely gift to us for the composer’s 250th birthday celebration. Unlike most traditional sonatas, this one has only two movements; the composer’s tempo markings are in German rather than the usual Italian.

The opening phrases are alternately robust and subtle, and as the music develops there is a continual shift between thoughtful and intense passages. Mr. Lee’s playing of swift downward scales was exhilarating, and he moved effortlessly from drama to delicacy as the piece evolved. The second movement offers a sweet flow of melody with contrasting moments of animation. Mr. Lee is as engaging to watch as to hear, his facial expressions reflecting the moods of the music, his eyes often closed.

The music of Chris Rogerson, who was Young Concert Artists‘ composer-in-residence from 2010-2012, made a very positive impression on me when I first encountered his String Quartet #1 performed by the Omer Quartet at a YCA concert at Merkin Hall in December of 2018. Ever on the lookout for music that might capture the imagination of one of my choreographer/friends, I sent this quartet on to Claudia Schreier. Long story short: Ms. Schreier is choreographing a ballet to Mr. Rogerson’s String Quartet #1 for Chamber Dance Project in Washington DC, which will premiere in June 2020.

This afternoon, Mr. Lee played Chris Rogerson’s ‘Til it was dark; the work was Mr. Rogerson’s first YCA Commission in 2010. The composer’s program notes reveal the nostalgic background for ‘Til it was dark, and made me think of my own boyhood in the little town when we’d play tag and hide-and-seek outdoors as the sun set slowly on summer evenings.

The work’s first movement, Break, seems to speak of the noisy euphoria we felt as kids when school let out. Mr. Lee was called on to bang emphatically on the keyboard or to reel off swirling festoons of notes. As the music turns dreamy, then mysterious, and finally pensive, Mr. Lee caught all these moods thru his canny use of piano/pianissimo gradations. Later, when virtuosity is called for, the pianist delivers in spades.

“Three more minutes!” was the warning call of Chris’s dad that it was almost time to come indoors. The music seems to depict the frantic desire to get as much fun out of the dwindling daylight as one could. By turns sprightly and loudly animated, things eventually calm before a final propulsive rush to a witty end.

Important Things takes on a more serious tone; Mr. Lee’s playing becomes thoughtful, almost tender. In his program note, Mr. Rogerson writes of those “…quieter moments with friends, when you wanted to say something that was on your mind…but of course, you never did.” By turns expansive, wistful, and passionate, the music finally alternates short dreamy phrases with harsher ones. Dreaminess prevails, and quietude settles over us. In this very personal (yet also universal) reflection – which put me in mind of Samuel Barber’s evocative Knoxville: Summer of 1915 – Mr. Rogerson could not have asked for a finer interpretation that Mr. Lee’s.

The young pianist then immediately commenced on Robert Schumann’s Carnaval for piano, Op. 9, written in 1834-1835. In these twenty-one miniatures, Schumann depicted himself (with Florestan and Eusebius representing his split personalty), his beloved Clara (Chiarina), his friends, and also characters from the commedia dell’arte. In 1915, Michel Fokine choreographed the music for his ballet of the same title, created for Diaghilev’s Ballets Russes. Amazingly, I’d never heard the entire Schumann score until today.

Above: the legendary ballerina Tamara Karsavina as Columbine in Fokine’s ballet Carnaval

Nathan Lee took us on a delightful journey with his brilliant playing, and thru his coloristic gifts introduced us to – among others – the lively Pierrot, the smug wit of Harlekin, the scampering Coquette, and the youthful gaiety of Chiarina. From the grand introduction, the music’s rhythmic subtleties and irresistible waltzes drew us onward thru this 30-minute panorama wherein the essential element – charm – was in abundance in Mr. Lee’s playing.

The pianist returned for an encore: the Sarabande from Bach’s 4th Partita, subtly played.

~ Oberon

February 18, 2020
Omer Quartet | Hanzhi Wang @ YCA

Above: Hanzhi Wang

~ Author: Oberon

Wednesday January 29th, 2020 – For this concert in their noon-time series at The Morgan Library, Young Concert Artists brought together the Omer Quartet and accordionist Hanzhi Wang in a wide-ranging program.

Ms. Wang opened the performance with three Scarlatti keyboard sonatas, K. 9, 146, and 159. These amply displayed Ms. Wang’s agile technique and rhythmic control. Her swift filigree passages were deftly dispatched, and the rich sound of the instrument’s lowest range added an earthy dimension; in fact, the music took on an appealing – almost folkish – quality at times. Woven into the accordionist’s exhilarating playing were some wonderful subtle touches. Very quickly, Ms. Wang had audience in the palm of her hand.

Alfred Schnittke’s Revis Fairy Tale, dating from 1978, is a suite of dances which – truly – made me feel like dancing. In the first of four movements, Chichikov’s Childhood, the music is quite melodious and feels traditional; here Ms. Wang’s broad dynamic range came into play. The second movement, Officials, brought SWAN LAKE to mind…specifically, the ‘four cygnets’ motif. The music takes on a more ‘modern’ feel, with discordant passages of jazzy angularity cropping up. Waltz has a somber start, and the melody is low-lying. Later, one feels the waltzers might be drunk…or dotty. After a rise of passion, the music turns dour and ends with a downward slide. The concluding Polka was a lot of fun, with Ms. Wang breezing thru the composer’s demands and winning a burst of enthusiastic applause.

Moritz Moszkowski’s Etincelles figured in Ms. Wang’s 2018 concert at Zankel Hall, and I enjoyed encountering it again today. Full of almost giddy scales, and covering the accordion’s very wide range, the piece is a charming showpiece for Ms. Wang, with a witty ending.

Above, the Omer Quartet: Mason Yu (violin), Jinsun Hong (viola), Alex Cox (cello), and Erica Tursi (violin).

The Omer Quartet then took the stage for a very impressive performance of Haydn’s String Quartet in G-minor, opus 20, #3. The opening movement, Allegro con spirito, is full of mood swings. Immediately, the congenial blend of voices these players have achieved together assures us we are in for a treat. First violinist Mason Yu is a master of dynamic subtlety, and he and his colleagues illuminated the music in a perfectly-paced performance, with hints of hesitations here and there an added delight.

In the Minuetto, Mr. Yu brings sweetness of tone to the poignant violin melody whilst the other players weave harmonies tinged with sadness. In the more optimistic interlude, things cheer up a bit although minor-key twinges continue to intrude. A return to the opening mood carries the music forward, but then it seems to stop in mid-phrase.

Already at such a high level, the Omer Quartet went beyond in the Adagio, creating a palpably poetic atmosphere with playing of searing beauty. Emerging from the movement’s chorale-like opening, cellist Alex Cox commences a moving line that flows among lovely harmonies. Mr. Yu’s high pianissimo passages waft on the air, and violist Jinsun Hong and violinist Erica Tursi have opportunities to shine. Throughout, the cellist’s glowing tone and expressive phrasing are captivating.

The final Allegro molto is animated – even agitated – veering between major and minor, with infinitesimal hesitancies along the way. The cumulative effect of the Omer’s Haydn this afternoon was both musically engrossing and emotionally gratifying.

Young Concert Artists composer Katherine Balch then introduced her work for string quartet, With each breathing, which she said was inspired by the notion of expressing aspects of the act of breathing in musical terms. The work’s title seemed somewhat ironic, but in fact the composer succeeded in her intent with music ranging from sighs and whispers to more labored and dramatic effects. The work’s exploration of textures was ideally set forth by the musicians of the Omer Quartet: a composer could not ask for better advocates.

For the afternoon’s finale, excerpts from Five Tango Sensations by Astor Piazzolla brought together Ms. Wang and the Omer Quartet; this music had figured prominently in the accordionist’s 2018 Zankel Hall concert. With an intrinsic feel for both the allure and the danger that threads thru these tangos, the five musicians brought rich, haunting colours and irresistible rhythmic sway to the music.

This highly enjoyable concert ended with the artists receiving a very warm ovation. The hall’s size and acoustic make it ideal for chamber music. And was that Anne-Marie McDermott seated a couple of rows in front of us?

The performance was live-streamed, and may be seen here.

~ Oberon

January 29, 2020