Bargemusic - Tokyo to New York 2016 Series

Bargemusic overlooking the Brooklyn Bridge on a rainy afternoon

I had a great pleasure of being a part of the Tokyo to New York 2016 Series at Bargemusic, NYC. It was busy schedule catching up with some old friends, meeting with new colleagues and making some wonderful music. 

I collaborated with the clarinetist Thomas Piercy, and we only had few hours to put together a very challenging work called "Duo Capriccioso" by Hidemi Miaki. Despite the time constraint, I was very happy with the soundscape we created playing this wonderful work. 

A view from Tom's apartment never fails to inspire.

The performance at Bargemusic was very special for its wonderful view overlooking the Brooklyn Bridge and Manhattan skyline along with the occasional turbulences that passing by boats through at the "floating concert hall." It was great to play for a full house of enthusiastic audience, and I was thrilled to see that so many people who genuinely support the creation/performance of new music. I certainly look forward to the opportunity to return to this wonderful venue in near future. 

Photo from the sound check at Bargemusic (credit: Junya)

A view of the Brooklyn Bridge right outside of Bargemusic

NYC Trip

I had a wonderful weekend in NYC meeting and catching up with some friends and visiting the studios of Buffet and Vandoren!

Me and Grace with clarinetist and friend Thomas Piercy

Playing some duets at Tom's apartment at the Manhattan Plaza!

It was a great day here at the NY Showroom! We had a wonderful visit from Prof of Clarinet at Tennessee Tech University...

Posted by Buffet Group USA New York Showroom on Thursday, May 14, 2015

[Press Clipping] Enhake Quartet at Carnegie's Weill Recital Hall

An article from New York Concert Review published on May 3, 2010

ENHAKE QUARTET by David LaMarche


MAY 3, 2010

An evening of works by five living composers was presented by the Enhake Quartet from Florida State University on May 3rd. The members of this foursome, all impressive soloists and adept chamber musicians, made strong cases for each of the compositions on this program. One of the defining characteristics of the Enhake is rock-solid rhythmic integrity which was evident from the start of “Breakdown Tango” by the composer John Mackey. Propelled by the violinist M. Brent Williams’ driving sixteenth note ostinato, each of the other players added a layer of complexity until the grand climax gives way to a lonely habanera solo on cello. Throughout the tango, clarinetist Wonkak Kim wove his sultry, stylized melodies into the fabric. Much of this piece feels as though it has quotation marks around it, yet in spite of that, it is well crafted and benefited from precise ensemble.

Two movements of Kris Maloy’s “Quartet in Four Actions” entitled “Slink” and “Float” further proved the quartet’s strengths in balance, intonation, and musicality. The simple arc of “Slink”, with its slowly blossoming minor third motive, was beautifully paced and modulated. At the outset of “Float”, cellist Jayoung Kim spun a legato line of great elegance, the initial voice in an expansively lyrical canon. As the music spiraled downward in dynamic and pulse, the players handled their challenges with poise.

Libby Larsen’s “Rodeo Queen of Heaven” proved to be the most harmonically adventurous composition in a decidedly conservative program. It commenced with a burst of activity. As the pianist Eun Hee Park held a tenacious pedal note, her colleagues embarked upon an almost improvisational extended fantasia. Ms. Larsen asks the performers of this piece to extend the boundaries of traditional technique, and Enhake is ideally suited to the task. This was a polished, yet spontaneous performance.

Peter Lieuwen’s “Gulfstream”, which opened the second half, was quite obviously programmatic in its deft evocation of the swirling waters of that grand body of water. Again, Eun Hee Park provided a solid foundation of fluent pianism, at times industrious, and then gently undulating. Along the way, Mr. Kim showed his impressive range in a quasi cadenza-like solo for clarinet. This was not an ambitious work, but well structured and idiomatic in its writing.

For sheer enjoyment, it would be hard to beat Peter Schickele’s “Quartet in A” as a program finale. In four clearly defined movements, the composer employs elements of French salon music, American jazz, and Eastern European folk dance, complete with off-kilter meter changes. Mr. Schickele knows how to feature his musicians, providing them with meaty, virtuosic rifts, and intuitively musical passages which just seem fun to play.

I look forward to hearing Enhake again soon, and by then I hope they will have been able to commission an even greater range of works for their growing repertory. They are excellent artists and technicians who present thoroughly prepared performances.