By VICTOR MARKIW
contributing writer

The Department of Music of the University of New Haven presented its first 2012 spring semester concert, February 19, 2012, at

Dodds Auditorium, featuring UNH music school faculty member Terrence Fay, tenor and trombone, and José García-León on piano. The program repertoire, titled Songs of Western Europe, focused largely on music from the Romantic period (1820 – 1900).

The first work, “Nocturno” by Franz Strauss featured Mr. Fay on trombone, showing his impressive legato qualities, control of dynamics, and a well-executed vibrato, all supported by Mr. García-León’s excellent accompaniment.

The next set of pieces contained the well-known “L’Invitation au Voyage” and “Phidylé,” composed by Henri Duparc for voice and piano. During this sequence, Mr. Fay revealed a fine voice with a beautiful timbre and lyric quality. His consistent control in all registers, as well as his ability to shift from low to high, was impressively smooth. Mr. García-León’s playing was especially passionate and rich with support during the build up in “Phidylé” where Mr. Fay clearly demonstrated his dramatic range. A very moving rendition of “Meditation” from Jules Massenet’s opera Thais showed the duo’s talent in synonymous phrasing while the numerous dynamic swells were beautifully rendered as a succinct single breath.  The two accomplished performers displayed these same qualities and a simplicity of style in the three-song set by Roger Quilter comprised of  “Take, O, Take Those Lips Away”; “Blow, Blow, Thou Winter Wind”; and an especially tender version of  “Weep You No More.”

As the program unfolded, the synergy of Mr. Fay’s singing style and trombone playing became increasingly apparent and pleasing. His skills as a vocalist readily transposed to his trombone, which sounded very much like a human voice as Mr. Fay skillfully exhibited excellent control of legato qualities, eloquent phrasing, and a tasteful vibrato. Throughout the program, Mr. Fay’s diction was always clear and crisp, especially for terminal word sounds, whether that word was French, English, or German. Concurrently, Mr. García-León’s skill and intuitive talents permitted him to decisively and adeptly support Mr. Fay in addition to holding the lead and projecting his countermelodies when appropriate, thus creating a seamless execution between the counterpoints.

After a touching interpretation of CamiSaint-Saens’ “The Swan,” for trombone and piano, the duo finished the program with two pieces by Richard Strauss: “Morgen” [“Tomorrow”] and “Zuiegnung.”  “Morgen,” a love song Strauss presented to his wife in May of 1894, was inspired by a poem of the same name written by John Henry MacKay and is arguably Strauss’ most familiar lied. Mr. García-León’s introduction to “Morgen,” which is an extended piano solo, flawlessly coalesced spatial sound with a hypnotic aura that colorfully employed pedal and nuance to foreshadow Strauss’ text and transport the audience to the soul of Strauss’ tender vision.

Mr. Fay’s poignant rendition of “Morgen” suggested a masterful comprehension of the communion of music and text to which Mr. García-León eloquently incorporated the musical backdrop. The duo’s performance of “Zuiegnung” with its dramatic glorification of love brought the work to a brilliant climax and the concert to a breathtaking conclusion.

Finally, one must commend not only the selection of works but also the effective sequencing of voice/piano and trombone/piano that set the stage for this memorable musical evening.

Two upcoming concerts are:

3/24 –

Jose García-León –

piano recital

3/25 –

Heather Reba and Friends in an Evening of Broadway Favorites