TIME FOR THREE

Charles Yang, Ranaan Meyer, and Nicholas "Nick" Kendall

Last night's venture beyond our comfort zone was, uncharacteristically, a huge success. We have learned that someone with excellent curatorial skills can lead us down unusual pathways and open our ears to something we didn't expect to love. Andrew Ousley, the mastermind behind Death of Classical--comprising The Crypt Sessions at The Church of the Intercession as well as The Angel's Share at Green-Wood Cemetery--knows how to provide superb evenings of unmitigated delight to a small select audience, of which we were thrilled to be a member.

Last night at The Crypt we had a musical experience that satisfied our soul by virtue of a trio of artists sharing their music in a magical space deep underground, lit only by candles. We were enthralled by the melodic and harmonic invention and the intensity with which the three men related to one another, their instruments, and the audience. Taking notes would have distracted us from this intimate experience. We just listened.

Most of the vocals were handled by Charles Yang who plays a mean violin; giving the double bass more melody than we've ever heard was Ranaan Meyer; Nicolas "Nick" Kendall contributed his violin magic and all joined for what might be called "backup singing" but which we would call texture.

Some of the numbers they performed were originals, some were composed for them, and yet others were "covers", although our lack of knowledge of popular music prevents us from naming them. We had the feeling that there was a considerable degree of momentary improvisation. As in any chamber group there was nearly constant eye contact--but no scores to dilute the intimacy.

The three artists are clearly classically trained and our minimal knowledge of string technique allowed us to recognize double stops and pizzicato. However, there were other techniques that we hadn't seen before like strumming and plucking. Mr. Meyer did things to his double bass that we usually think of as ways a man might touch a woman--caressing, stroking, tapping, and light scratching.  Yes, these artists do love their instruments!

With such unfamiliar music we felt free to associate. At times we thought of The Beatles, at times Bluegrass music with its lively banjo, at times the kind of Country Music one might hear at a hoedown, as well as folk tunes which we could not quite place. All these styles were perfectly integrated into a pleasing and absorbing whole. The program was predominantly happy music until the end when the trio played music that sounded deep and sacred.

We were not alone in our enthusiastic appreciation. The Crypt holds less than 50 music lovers but the deafening applause gave the impression of hundreds. The trio has played in some mighty grand venues but we were grateful for the intimacy. The connection between the artists and the audience provided a unique experience, one that we are not likely to forget!

We might add that Mr. Ousley has another series up his sleeve and if you follow Voce di Meche on Facebook you will be among the first to find out--which is a good thing because Death of Classical events sell out immediately.

© meche kroop 

NO SONG IS SAFE FROM US

Paul Appleby, Michael Barrett, Sari Gruber, Steven Blier, Andrew Garland, Theo Hoffman, and Charles Yang

"No song is safe from us" is the motto of the New York Festival of Song, hereinafter referred to as NYFOS. Spending an evening with Steven Blier and his crew is always an adventure and invariably draws a crowd bursting with enthusiasm.  Last night's recital of songs by Schubert paired with those by The Beatles was totally in that mold.

Schubert's songs have the power to touch us deeply even after nearly two centuries.  Songs by the Beatles have endured for half a century and also touch us deeply. But there are important differences. What Schubert wrote is "on the page".  Any singer/pianist combination could perform what's on the page and we would instantly recognize the song; the differences would lie only in how well they performed it. One cannot "cover" a Schubert song.

In the case of The Beatles, one thinks more about their performances, recorded or live (if you were lucky enough and old enough to witness)--the total gestalt--not just the words and melody, but the arrangements, orchestration, electronic effects, and percussion.  But, above all, the recognizable timbre of their voices. You can "cover" a Beatles song but you cannot duplicate it.

The idea for last night's program at Merkin Hall came from Theo Hoffman and publicist Aleba Gartner; Mr. Blier picked it up and ran with it, arranging the songs of The Beatles to be paired on the program with lieder by Schubert based on a corresponding theme. Apparently the entire crew contributed to the design and execution.

Each song by The Beatles sounded new and fresh--in some cases nearly unrecognizable; it is amazing what happens when focus is shifted to the melody and the lyrics, with Mr. Blier's jazzy arrangements underneath. For example, in a pairing whose theme was "a missing woman", outstanding tenor Paul Appleby sang a dramatically interesting rendition of Schubert's "Alinde", giving various colors to the uneasy young man, the reaper, the fisherman, and the hunter.  Following was John Lennon's "Julia" with piano and Mr. Yang's plucked violin as the sole accompaniments.

Sensational soprano Sari Gruber performed Schubert's "Im Frühling" which was paired with "Yesterday", movingly sung by Mr. Appleby. The theme appeared to be that of lost love. Our opinion is that ballads by The Beatles best lend themselves to adaptation as pure song.

The theme of art as a comfort in times of turmoil was well addressed by multi-talented baritone Theo Hoffman accompanying himself on the guitar in Schubert's "Du bist die Ruh" which was paired with George Harrison's "While My Guitar Gently Weeps", performed by Ms. Gruber accompanied by guitar and Mr. Yang's violin.

The theme of wandering was explored with Schubert's lilting "Der Wanderer an den Mond" sung by the talented baritone Andrew Garland; this was paired with "She's Leaving Home", performed by Mr. Garland and Ms. Gruber.

There were several other interesting pairings and a very special duet--"If I Fell in Love with You" performed by Mr. Appleby and Mr. Garland.  It wouldn't be a NYFOS show if there weren't something with a homosexual twist.  This added an interesting new layer and delighted the audience.

There was not supposed to be an encore--but there was.  And perhaps it was the best part of the program.  In honor of Mr. Blier's recent birthday the entire cast joined forces for "When I'm 64" with Mr. Garland taking over the piano and inserting multiple riffs of some of Schubert's most famous and beloved lieder. It ended the evening on a joyful note.

It scarcely needs to be said that all the singers sang magnificently and did justice to the material; similarly it is redundant to comment on Mr. Blier's charming narration and the excellent piano playing of himself and Michael Barrett.  Charles Yang and his creativity on the violin and the surprising things he did with his electric violin (what unearthly sounds we heard!) added greatly to the success of the program.

(c) meche kroop

PETER DUGAN'S TOTAL NACHTOUT

Peter Dugan, Dave Baron, Leonardo Dugan

This is the time of year when music students are called upon to give a recital as partial requirement for their degrees.  This is the time of year when we are overjoyed to see them move on to establish their careers.  This is the time of year when we feel twinges of sadness, wondering when we will have the opportunity to see/hear them again.

On Monday, piano wizard Peter Dugan took this opportunity to show his amazing versatility.  He is indeed a quadruple threat:  soloist, collaborative pianist, arranger and jazz musician. He greeted the audience with warmth and told of the seven years at Juilliard, culminating in a Master of Music Degree.  He opened with Beethoven and closed with The Isley Brothers. His theme for the recital was music for the night.  Let's take a closer look.

He began Beethoven's "Moonlight" sonata at a rather rapid tempo, more rapid than we have been accustomed to, and there was an indefinable hesitancy.  It was in the rhythmic second movement that he got into his groove and demonstrated fine dynamic control.  By the time he got to the third movement his flying fingers gave evidence of mastery.  The air literally crackled with excitement.  He absolutely nailed this difficult movement with his virtuosity.

"Deux Nocturnes" by Chopin showed a different side to his artistry with thoughtful limning of Chopin's mournful melodies and nationalistic themes.

Lovely mezzo-soprano Kara Sainz joined Mr. Dugan for Brahms's  "Gestillte Sehnsucht" which she sang with deep feeling and crisp German.  A. J. Nilles added to the beauty with some sweet viola playing that gave the lie to all those viola jokes.

Baritone Tobias Greenhalgh lent his expressive voice and dramatic artistry to Schubert's "Der Doppelgänger", confirming our impression that he excels at the mysterious and creepy. (See review of Mörike lieder.) We consider ourselves fortunate to have heard his powerful voice two nights in a row!

Mr. Greenhalgh was joined by Ms. Sainz for Schumann's "In der Nacht" just after Mr. Dugan played a piece by the same composer with the same title, from Fantasiestücke.  The duet was new to us and we loved the way the voices harmonized at times and at other times overlapped.  What a superb choice!

For Rachmaninoff's "La nuit...L'amour" from Suite No. 1 for Two Pianos, Op.5, Mr. Dugan was joined by his piano teacher Matti Raekallio who must be bursting with pride.  This is a luscious work for four hands and seemed to envelop us with sound.

The final "act" of this varied recital permitted Mr. Dugan to show off his skills at arranging.  For Jimmy Forrest's "Night Train", he was joined by Leonardo Dugan on saxophone, Dave Baron on bass and Will Kain on drums.  Paul McCartney's "Blackbird" was given a most unusual and fascinating arrangement with Charles Yang plucking his violin strings to make some avian sounds and the piano doing some bluesy jazzy riffs.

To come full circle, Alice Cooper's "Welcome to my Nightmare" made references to the Beethoven with which the recital began, drawing the program to a satisfying conclusion--but not before an encore of The Isley Brothers' "Don't Say Goodnight When It's Time For Love".

© meche kroop