HEAVENLY SOUND

Avi Avital and Bridget Kibbey in The Crypt

We imagine that the Crypt of the Church of the Intercession is still resounding with the heavenly music provided last night by harpist Bridget Kibbey and mandolinist Avi Avital. We are always captivated by novelty and the combination of harp and mandolin opened aural doors for us. The stone arches and vaults of The Crypt amplified the overtones of the two stringed instruments in such a fashion that we were transported to new places.

Andrew Ousley's Death of Classical is famous for providing unique entertainments in unique venues and The Crypt is just such a venue. His presentations are of an exclusive nature with room for about sixty music lovers; we are always thrilled to be a part of this group, even when they applaud in the middle of a work. We wonder whether they are ignorant of the work itself or ignorant of concert etiquette but wish they could be instructed not to interrupt the flow.

The two main pieces on the program were song cycles by two 20th c. Spanish composers. Manuel de Falla composed Siete Canciones Populares Españolas for Soprano and Piano in 1914, settings of folk songs from different parts of Spain. We have lost track of the number of times we have heard it in recital. It has been transcribed for guitar but hearing it performed by this novel pairing of instruments was a completely new experience.

We cannot deny that we heard the words in our mind's ear, especially sung by Isabel Leonard, but the emotional connection was somewhat altered. Most remarkable for us was the devastation we felt during "Asturiana". An individual approaches a pine tree for consolation and the tree wept along with him. A simple idea but so heartbreaking!

Joaquin Rodrigo, another compositional titan from Spain, composed Cuatro Madrigales Amatorios in 1948. They cover a variety of amatory situations from the grief of an unmarried woman to the excitement of a young man infatuated with a woman with loose hair. Nor in this case were we able to ignore the words which we know so well from vocal recitals. Perhaps this even heightened our appreciation.

The program also included Marc Lavry's 1945 Three Jewish Dances which carried no vocal baggage. We simply enjoyed the three wedding dances, the first of Ashkenazic and klezmer derivation, the second of Yemenite origin, and the final Israeli entry of Hava Nagilah, the dance known as the Hora.

Mr. Lavry composed the dances for piano and there were originally more than three. Later he orchestrated them for violin and piano, and then for violin and orchestra. We listened to a few of these versions online and we must say that we preferred what we heard last night.

We have always loved the harp and have a memory of hearing legendary harpist Nicanor Zabaleta playing a solo recital at the 92nd St. Y, which convinced us to make our life in NYC! Since then, we have only heard the harp as part of the orchestra but always love the sound. What a treat to hear it once more up close and personal.

We know next to nothing about the mandolin but found it to be highly expressive and given over to interesting techniques like the tremolo. It isn't every day that we get to hear such unique textures as the two instruments created together.

An encore of Brazilian jazz had us suppressing a samba in our seat!

© meche kroop

TO MY FRIEND, WITH LOVE

Samina Aslam, Joseph Krupa, Janara Kellerman, and Amber Smoke

"To My Friend, With Love" was the title of Janara Kellerman's recital yesterday at Rutgers Presbyterian Church. The recital was dedicated to WWII veteran and veteran baritone/coach Charles Dunn; however it also reflects the feelings that members of the audience must have felt in the warm embrace of this welcoming artist with stage presence to spare.

What makes a singer memorable comprises a warm stage presence, a thrilling instrument, well-developed technique, keen dramatic instincts, and linguistic capability. Mezzo-soprano Janara Kellerman is so gifted in each aspect that we wonder why she is not onstage at The Metropolitan Opera.

She was brought to our attention three years ago by Maestro Keith Chambers, Founder and Music Director of New Amsterdam Opera who has a knack for finding grand voices and putting them to good use. We last heard Ms. Kellerman grabbing the lead role of Massenet's Hérodiade in her teeth and running with it.

We have also enjoyed her Preziosilla in Verdi's La Forza del Destino and her Ortrud in Wagner's Lohengrin, as well as her Santuzza in Mascagni's Cavalleria Rusticana--all with New Amsterdam Opera. Toning down her glamor, she made a fine Mama Lucia in the latter opera, with the Martha Cardona Opera.

Yesterday we enjoyed her generous mezzo-soprano instrument in a varied program that left nothing to be desired (and no post-modern atrocities to be endured), giving ample evidence of her artistic versatility.

Although Ms. Kellerman scarcely resembles Cinderella in her physical appearance, her facility with Rossini's florid writing made "Nacqui all'affanno...Non più mesta" a joy to the ear. Her voice filled the sanctuary of Rutgers Presbyterian Church, soaring to the rafters. The aria was delivered with expressive legato and clean fioritura; the cabaletta was filled with fireworks.

Switching to lieder by Brahms did not faze her a bit and her German was notably accurate. "Immer leise wird mein Schlummer" is a lied we could never  get through without tearing up and Ms. Kelllerman's dramatic delivery painted a picture for us of this dying woman desperate for a visit from a distant beloved. In "Die Mainacht", she wove a melancholy spell and in "Von ewiger liebe", she sang with steadfast tone, echoing the words of the faithful woman.

Dalila is the perfect role for a mezzo with dramatic instincts. This serpent of a woman must appear maximally seductive toward Samson, her prey; but the audience must get a whiff of her manipulative behavior and destructive intent. We have seen some famous artists in the role but don't think we have heard Camille Saint-Saëns' sinuous vocal line better sung.

We heard another side of her artistry in a trio of French mélodies--all little gems. Henri Duparc's "Chanson Triste" was delivered with gorgeous Gallic flavor and we enjoyed the pianissimo passages. "Extase" was performed with lovely languor. Alfred Bachelet's "Chère nuit" was a tender tribute to a lover.

Carmen is a role tailor-made for Ms. Kellerman, a role in which she can let out all the stops. We were fortunate to hear her build the excitement in "Les tringles des sistres tintaient" and later, as an encore to the program, the "Habanera" performed with plenty of gestural emphasis. This Carmen is one wild woman!

Ms. Kellerman is also adept in Castilian Spanish and we loved the varying moods of Manuel de Falla's Siete Canciones Populares Españolas. There is ironic inference, heartbreak, grief, tenderness, and even a gentle lullaby. But it is the insistent rhythm of "Polo" that leaves us shaking.

The program closed with a special treat--the trio in the Finale of Richard Strauss' Der Rosenkavalier. Ms.Kellerman took the role of Octavian with guest artists soprano Amber Smoke as the Marschallin and soprano Samina Aslam as Sophie. We would have enjoyed it more without those loathed music stands but hey, we are always happy to hear three gorgeous female voices in harmony.

The excellent accompanist Joseph Krupa kept right up to every demand, every line, every rhythm, every mood. We particularly enjoyed him in the exotic music of Saint-Saëns and in the propulsive "Polo".

What a way to spend a Sunday afternoon! It was only 90 minutes of singing; we felt fulfilled but we could have listened for another half hour at least.

(c) meche kroop

MUSIC OF LATIN AMERICA AND SPAIN

Martin Fett, Juan Pablo Horcasitas, and Carla López-Speziale

Perhaps all of the events of the Latin American Cultural Week were wonderful but, lured by the promise of hearing songs of Spain and Latin America, the only program we attended was the one last night held at the lovely performance space of The Diller-Quaile School of Music in Carnegie Hill.

The program was devised for piano, cello, and voice. The pianist was Juan Pablo Horcasitas; the cellist was Martin Fett, and the voice belonged to the lovely mezzo-soprano Carla López-Speziale.  Interestingly, they all came out of Manhattan School of Music, whose students we are constantly reviewing.

Mr. Horcasitas "plays well with others" and teaches at the Diller-Quaile School of Music as well as performing worldwide as a soloist and collaborative pianist and as a conductor. He also released his first solo CD called "Among Songs and Dances". In this case he was the backbone of an interesting and varied program.

Since art song in Spanish is high on our list of favorite musical delights, let us focus on this part of the program. The Mexican born Ms. López-Speziale has an understandable affinity for this music and it shows in her vivid interpretations. There was no shortage of brilliance in the upper register and a great depth and security in the lower register. Moreover, she has a delightful stage presence, engaging the audience with her descriptions of the songs before she sang them.

As many times as we have heard Manuel de Falla's Siete Canciones Populares Españolas, we never tire of them due to their variety of moods and rhythms. Perhaps our favorite is the mournful "Asturianas" but we also love the gentle lullaby "Nana" and the bitter "Polo" in which Mr. Horcasita's forceful playing drove the sentiment right to the gut.

The Argentinean Carlos Guastavino belonged to the 20th c. but never ignored the value of melody. "Milonga de dos hermanos" is a tragic tale of fraternal rivalry pushed to extremes.  Our favorite song of the group was "La rosa y el sauce", a lament for love lost. The text of "Se equivocó la paloma" lost us in its symbolism, but we enjoyed the lively "Mi viña de Chapanay" in which Mr. Horcasita's piano emphasized the lively story related by the singer in both voice and gesture.

Like De Falla, Xavier Montsalvatge came from Spain but belonged to a later generation. His Cinco canciones negras are about Cuba and paint a most interesting picture, not all of it happy.  The angry "Cuba dentro de un piano" was given a strong introduction by Mr. Horcasitas who sustained the vigorous rhythm throughout.  The music reflected the nostalgia found in the text.

"Punto de habanera" was filled with charm but "Chévere" was brutal. "Canción de cuna para dormir a un negrito" is almost always our favorite of the cycle but "Canto negro" was filled with high spirits.

Mr. Horcasitas and Mr. Fett performed the "Intermezzo" from Enrique Granados' Goyescas and De Falla's rhythmic "Danza ritual del fuego" from El amor brujo. We've never heard these pieces arranged for piano and cello but we did say that Mr. Horcasita "plays well with others"!

As far as Astor Piazzolla's "Le grand tango", we know that the work has been adapted for several combinations of instruments but we found this particular adaptation more "interesting" than enjoyable.

As far as the contemporary song cycle by S. Zyman, who was in attendance, entitled Solamente sola, we found little for our ears to embrace. The text was as obscure in English as it was in Spanish and dealt with various forms of solitude.

As encore the three artists gave a stirring performance of "Besame mucho", the popular song composed in 1940 by the Mexican composer Consuelo Velázquez.  Having endured for nearly 80 years, it can be considered a classic!

We have a quibble that has nothing to do with the excellent performances. There was no note in the program advising the audience to hold their applause between songs and no announcement made either.  This led to constant applause interrupting each song cycle--an interruption we would have been happy to eliminate.

(c) meche kroop

A CHORUS OF CELLOS

Elad Kabilio, Grace Ho, Luke Krafka, and Caleb van der Swaagh

One speaks of a herd of cattle or a pride of lions, but what does one call a group of cellos? For want of a better collective noun, we have decided upon a "chorus of cellos" since they sing in different voices.  If one of our readers can come up with a better collective term, please address the issue in the comment section.

The voices we heard last night at Elad Kabilio's "Music Talks" were magnificent. At the upper end of the register we are reminded of "head voice" in a soprano and at the lower end of the register we feel the resonance in our body that we feel when a bass is singing.

In the works we heard that were arranged for this unusual grouping of instrumentalists (not unusual for Mr. Kabilio however) voices were distributed among the four players-- but not consistently. Each player had opportunities to play the upper, middle, and lower voices.

Although the entire evening revealed a stunning array of Latin American music, the part of the program that left us bedazzled was soprano Larisa Martinez' heartfelt performance of Manuel de Falla's Siete Canciones Populares Espanolas. We have lost track of the number of times we have written about this cycle of songs but last night's performance was like hearing it for the first time.

Ms. Martinez' warm timbre and commitment to the text brought the emotions straight to the heart--and emotions there were aplenty! She brought out the irony of "El pano moruno", the lighthearted attempt of  "Seguidilla Murciana" to hide a broken heart, the sorrow of "Asturiana" (our personal favorite", the rapture of young love in "Jota", the peacefulness of the lullaby "Nana", and the pain of loss in "Cancion" and "Polo". The songs are brief but the feelings intense.

What was particularly remarkable about this hearing of something familiar was not only Ms. Martinez' memorable performance but that the work, composed for voice and piano, was arranged for voice and four cellos by composer Dina Pruzhansky, who also changed the key. This brought an entirely new texture to the work. It was like returning home after a vacation and finding that a designer had come in your absence and done a marvelous renovation.

Ms. Martinez closed the program with a selection from Maria la O, a zarzuela composed by Cuban Ernesto Lecuona.  What a gorgeous aria and so magnificently performed! All we can say is if we don't get to see a zarzuela presented soon in toto, we will have to do it ourself! 

Ms. Martinez went to Cuba last year as part of an artistic delegation from Turn Around Arts, which was established by Michelle Obama. (And what is the present FLOTUS accomplishing???). We are sure she dazzled the Cubans the same way she dazzled us.

Our first love is always vocal music but the instrumental part of the program was the source of great pleasure for us and for our guest who was unfamiliar with classical music but is now a convert. There is something about four cellos that will do that every time!

What is unique about Music Talks is the enthusiastic manner in which Mr. Kabilio presents the works on the program, instructing audience members in a non-academic fashion on what to listen for--i.e. the five beat measure of the folk-inflected Zortzico of Catalunyan composer Isaac Albeniz, the layered melodies of Argentinian Astor Piazzola, and the intricate manner in which Brazilian composer Heitor Villa Lobos melded Bachian structure with the color of his native folk music.

What a satisfying evening! If you have never attended a Music Talks event, you might consider their upcoming recital in which Metropolitan Opera tenor Aaron Blake (of whose voice we are very fond) will join the string quartet for some exciting music making. Put October 26th on your calendar! And we will also mention that the atmosphere is informal -- up close and personal--just the way we like it!

(c) meche kroop

WHILE MY GUITAR GENTLY....SINGS

Colin Davin, Elad Kabilio, and Larisa Martinez

You may observe that in the photo above Mr. Kabilio is blurry whilst Mr. Davin and Ms. Martinez appear rather sharp. The reason is that we do not have a fast enough lens on our iPhone and Mr. Kabilio never stops moving! Indeed this young man is always on the move. Gifted not only as a cellist but as an educator and a producer, the kinetic Mr. K. started Music Talks about six years ago and we have watched his audience growing until they outgrew their venue. Their new home is Interface, a spacious loft-like space on W. 30th St. Nothing pleases us more than seeing a Sold Out sign in connection with classical music.

In case you hadn't noticed, there is a quiet revolution going on the classical music world, one in which young artists are starting their own companies and presenting music in unusual venues in order to attract new young audience members. People who are reluctant to buy costly tickets to concert halls or invest huge amounts of money in subscriptions can more readily be tempted to attend a more casual venue for a modest entrance fee.

An advantage of this sea change is that unusual and highly specialized programs can be presented.  We are indeed in an era of specialization of taste.

Mr. K. certainly has his finger on the pulse of his audience and plays them as adroitly as he plays his cello, and that's saying a lot. He did not play the cello last night at Interface but rather put on his educator's cap and shared his ebullient enthusiasm with the comfortably seated audience.  The 90 minutes flew by and if you didn't leave with your feelings fulfilled and your brain stimulated, there is something wrong with you.

The subject of the evening was "Guitar Stories: Spain" and Mr. K. brought together two amazing artists to give us an evening as tasty as tapas. Celebrated guitarist Colin Davin immersed himself in the sounds of Iberia which Mr. K. explained is really many countries in one, revealing multiple influences from its neighbors. If the tour was too brief, then we travelers can explore further on our own.

Isaac Albeniz composed at the end of the 19th c. and, although he composed his Op. 232 for the piano, most people recognize it from its guitar transcriptions, probably most successfully accomplished by Andres Segovia. The key has been transcribed from G minor to E minor. The introduction, originally intended as a Preludio to a suite entitled Chants d'Espagne, was retitled by the publisher as "Asturias". However, to our ears, it is most definitely Andalusian in spirit.  Indeed we recognize one of the rhythms as a buleria.

Mr. Davin began pianissimo and built to an exciting intensity that brought the vigorous foot stamping of flamenco to mind. The insistent thematic repetition made it impossible to forget, and as the theme ascended the scale the excitement grew, with a more tranquil middle section providing a respite.

The fifth section of the work is entitled "Cordoba" and was given a soulful introduction. We particularly liked the quiet chorale-like section.

Federico Mompou, a Catalonian, did write for guitar and we heard selections from Suite Compostelana, commissioned by Segovia himself. Santiago de Compostela, the capitol of Galicia, is the culmination of a famous Christian pilgrimage in Northwest Spain. The "Preludio" shows the influence of nearby France whereas "Muineira" with its duple meter shows the Celtic influence on the area. Yes, the guitar can sound like bagpipes and yes, we did feel like dancing!

Poor Antonio Jose, executed at 34 during the Spanish Civil War, produced some fine music before he died.  His Sonata for Guitar has its organizational foot in Neoclassicism but its emotional foot (or heart, as it were) in Impressionism. He paid tribute to his teacher Maurice Ravel in "Pavana Triste" which had a limping rhythm reminding one of sobs. Mr. Davin's fingerwork in the Finale was rapid fire.

The culmination of the evening was Manuel de Falla's Siete Canciones Populares Espanolas, a piece that was written for soprano and piano. Although that is the way we are accustomed to hearing it, we loved the way it sounded on the guitar which was an equal partner to the lovely Larisa Martinez' luscious soprano. Her exquisite tone and clear diction conveyed the meaning of the text with Mr. Davin's guitar supplying the witty subtext. The songs are concise and pungent with ample opportunity to change mood by color and texture.

Our only quibble was that the seven songs were not performed as a unit, as they are meant to be. The cycle was interrupted twice for Mr. K. to explain the songs to the audience, which broke the mood. We believe this was a well-intentioned attempt to educate the audience and we do understand that people's attention spans are growing shorter by the megabyte, but the cycle begs to be heard in one piece!

(c) meche kroop

OLE!

Sharon Isbin and Isabel Leonard

Last night at Zankel Hall, two world-renowned artists graced the stage and demonstrated all the magic of Spanish music.  If you came for emotion, you got it.  If you came for gorgeous sound, you got it.  If you came to feel the multi-cultural aspect of music from Spain, you got it.  If you came for glamour, you got it. 

As we have pointed out, Spain is geographically part of Europe. Almost. Sharing a border with the south of France, it juts out into the Atlantic, almost kissing Morocco. Spain is culturally its own, with strong influences from N. Africa dating back to the period of Moorish domination.

Much of the music coming out of Spain in the 19th and 20th c. bears echoes of flamenco.  It is surprising but much of the music we associate with guitar was originally written for the piano.

We have often written about zarzuela, the Spanish version of operetta, but last night's recital contained no arias, only art songs written by Spain's best composers. The recital was unique in that there was no collaborative piano, rather a collaborative guitar played by the world class guitarist Sharon Isbin who seemed to breathe in tandem with Ms. Leonard and whose solos astonished us with their virtuosity.

Nothing astonishes us about Isabel Leonard whose spectacular mezzo-soprano sheds magic on whatever she chooses to sing. We have often written about the rich overtones of her voice which lend it a most particular texture. Her stage presence is stunning but accessible and her phrasing always makes artistic sense.

She has a long intense involvement with Spanish music. Let us begin at the end when Ms. Leonard finally discarded the music stand which had impaired our connection for most of the evening.  More on that later.

Manuel de Falla wrote his Siete canciónes populares españolas in the early 20th c.  Ms. Leonard really connected with the audience and used her innate sense of drama to wring every ounce of color and change of mood from the seven songs. We particularly enjoyed the playful "Jota" in which Ms. Leonard conveyed the secret passion of the young lover; Ms. Isbin's guitar contributed the texture.

The intense "Polo" was so deeply felt that we experienced a pain in our very own heart. That's what a song should do for us!

In the remainder of the program, Ms. Leonard used a music stand, even for music which we know she knows well. Judging by the applause which interrupted every set after each and every song, the rest of the audience didn't care.  But we did.

This is our own personal bugaboo. When a singer breaks contact to look down or to turn the page, we feel the fine thread of attachment snap and we then retreat to reading the translation, instead of feeling the connection. The singer may very well be totally involved with the material but not with the audience.  We want to feel what they feel about the song and we lose it.

This deficit was experienced all through the marvelous and varied program. We love Federico Garcia Lorca's Canciónes españolas antiguas, settings of folk songs, strangely presented in two sets separated by two guitar solos. Ms. Leonard is a gifted storyteller and engaged the audience with her easy natural introductions. We particularly enjoyed "Romance de Don Boyso" and "Los mozos de Monléon" which allowed the artist room for a dramatic reading over the voice of the guitar.

Two selections from Xavier Montsalvatge's Canciónes negras, arranged by Ms. Isbin, were performed, of which our favorite was the tender lullaby "Canción de cuna para dormir a un negrito" which our companion found to be racist. (Well, yes, but the De Falla songs are sexist--both products of their time and place and, in our opinion, beyond criticism).

A special treat was a composition by Joaquín Rodrigo. We have long loved his 1939 Concierto de Aranjuez but never knew that he extracted the Adagio and that his wife wrote text for it, a nostalgic piece of poetry in French. Victoria Kamhi was a Sephardic Jew, born in Turkey, and a pianist who gave up her career to assist her blind husband.  So, we don't know why it is in French but we loved Ms. Leonard's French diction.

A contemporary work by the American composer Richard Danielpour was commissioned by Carnegie Hall and saw its première on the program as well. The text is based on the poetry of Rumi, the 13th c. poet whose life story is filled with fascinating detail.

Writing in what was then the Persian Empire, presumably in Farsi, the poet wrote of love and spirituality. Raficq Abdulla's translation, while considered one of the finest, did nothing for us. Perhaps they are more interpretations than translations.  Perhaps they have lost much in the translation.

"Listen" seemed to be shoehorned into rhymed couplets and came across as doggerel which did not scan at all. Although we loved the music as played by Ms. Isbin, it seemed to us that it missed the eroticism of the second two selections--"This Night of Love" and "Your Beauty".

We did find the work far more listenable than most contemporary music, and Ms. Leonard's English diction lacked for nothing. The most musical part was when she sang on the syllable "La"; it probably would have sounded a lot better in Farsi! It is our opinion that before setting a text, a composer should think about whether the text needs music to enhance it!

We will not close without casting compliments on Ms. Isbin. We heard two late 19th c. masterpieces--Enrique Granados' "Andaluza" from his 12 danzas españolas and Isaac Albeniz' Asturias, arranged by Andres Segovia--written originally for piano. Ms. Isbin's powerfully rasqueadas instilled the pieces with flamenco flavor.

The familiar melodies are marked by strong bass notes with a fine filigree. We definitely were feeling the "gypsy soul" and recognized the guitarist as an artist who communicates what she herself is feeling. Her playing involved subtle changes of dynamics and technical mastery of the highest order.  In Francisco Tárrega's Recuerdos de la Alhambra, the tremolo in the right hand called forth the vision of the plashing fountains.

As encore, we heard the Mexican composer Agustín Lara's 1932 "Granada" which brought the audience to their collective feet. We felt magnificently entertained.

We cannot end without returning to our comment about glamour. If an artist mentions her designer we feel called upon to comment. Austin Scarlett provided one hit and one miss.  The beautiful Ms. Leonard sported a red strapless gown that spilled into a pool on the floor; it was breathtaking. The lovely Ms. Isbin had a gown that appeared matronly, unbecoming, and uncomfortable.

(c) meche kroop

RINGING FLUTE

Wei Quan and Xiaoming Tian

We were curious about the meaning of the name of this impressive young baritone. In our opinion "Flute Ringing" doesn't quite do justice to his rich round tone. With apologies for our arrogance, we think of it rather as "Sonorous Clarinet".

Mr. Tian's graduation recital from Manhattan School of Music drew a large crowd who knew what glories to expect, preferring them to being outside on a glorious New York Sunday. Not only is Mr. Tian the possessor of a vibrant velvety tone but an entire panoply of vocal skills which enable him to connect to the meaning of the text and convey such meaning to the audience. Variations of color and dynamics served to advance the artistry. The texture of his voice in the pianissimo parts is astounding.

Mr. Tian's interpretation of Gustav Mahler's Lieder eines fahrenden Gesellen was marked by great depth of feeling and a mood sustained throughout the four songs. The song deal with the despair of lost love and covers all possible colors, even including the attempt to look at the bright side in nature. We recommend this as an audition piece with the expectation that others might be as deeply moved as we were.

This artist can change tone and mood readily as we observed in Manuel de Falla's Siete Canciones Populares Españolas. "Seguidilla murciana" is a real tongue-twister, "Jota" is frisky, "Nana" is a tender lullaby and "Polo" is as filled with pain as is the Mahler cycle. We particularly enjoyed Wei Quan's collaborative piano which brought out the Iberian nature of the work in the rhythmic "Polo" and the delicate "Asturiana".

We also heard Maurice Ravel's Don Quichotte à Dulcineé, of which our favorite was "Chanson épique" which Mr. Tian sang with deep spiritual devotion. Of the Three Songs Op. 45 of Samuel Barber, our favorite was the surreally funny "A green lowland of pianos". Speaking of pianos, collaborative pianist Wei Quan played with spirit when called for and delicacy where appropriate.

Having heard Mr. Tian in four languages we commend his superlative diction. There were no texts or titles so we had to rely on his accurate pronunciation. We rarely missed a word, except of course in the English, which we never understand as well as other languages.

As an encore, Mr. Tian took over the piano and sang a song of nostalgia for his homeland. We did not understand the words but we understood the feeling. Imagine our surprise when a fellow student revealed that Mr. Tian composed the song as well. This artist then might be called "Triply Talented Tian"! Now how does one say that in Mandarin?

(c) meche kroop