By WENYI MA
At 7:30 pm on September 24th, 2025, I stepped into the John L. Tishman Auditorium of the New School in New York City. That night, the auditorium hosted a student-led recital titled “Mannes Sounds: Solidarity in Dreams: Art of Aspiration, Hope and Wonder”–a performance that blended classical music, jazz, and spoken poetry, rather than focusing on a single genre like chamber music or new music. All segments of the recital revolved around the core theme of “solidarity,” aiming to convey a message of unity and emotional connection to the audience.
Inside the venue, warm yellow lights were diffused over the elegant decoration. The auditorium, though simple in design, exuded a solemn vibe; it could accommodate hundreds of people, and on that night, every seat was occupied by expectant audience members– an atmosphere that already felt warm and steeped in art before the show began.
Taking the stage was a group of exceptionally talented student performers. Directed by Stephen Brown-Fried, this production was infused with youthful energy and boundless potential– all thanks to the students’ active participation. The student performances sought to interpret themes of “life’s mysteries, the power of unity, and emotional bonds.”–a prospect that left the audience eager to witness how the students would breathe life into these profound ideas through their art.
During the performance, the student painted a rich emotional landscape through diverse musical works. Among them, Guillermo Hernandez Berrocal’s interpretation of Fryderyk Chopin’s “Heroic” Polonaise Op. 53 (1842) at the piano particularly captured my interest. As a signature work of the Romantic-era, Polish composer Chopin’s iconic style was precisely rendered by Mr. Berrocal: his nimble fingers danced across the keys, masterfully blending Polish folk elements with European classical techniques, These melodies, imbued with national rhythms, vividly exemplify why Chopin is known as the “Romantic Poet of the Piano” (Oxford Music Library).
The piece surged with majestic grandeur and heroic passion. Each intricate, dazzling technical passage underscored the work’s demanding requirements for performers. Guillermo Hernandez Barrocal mastered it with solid techniques and composure, conveying this power seamlessly to the audience. This interpretation stood in stark contrast to recordings I’d heard on YouTube. While recording allows one to focus on the minutiae of notes, the live student performance carried an emotional tension tied to Polish national pride and a rhythmic pulse in sync with the audience’s breath—qualities no recording can replicate.
As the stirring melody echoed through the hall, Chopin’s profound love for his homeland and the deep emotions he poured into his composition seemed to transcend time and space, becoming palpable through the fingertips of this young student.
Next, Joseph Jin (violin), Carlota Alonso (viola), and Eunae Jin (cello) took the stage to perform Hans Krasa’s Tanec’s Dance for String Trio. The trio’s lively rhythms and intricate counterpoint wove a narrative of resilience, creating a remarkable resonance with Chopin’s “ Heroic” Polonaise: while Krasa’s work celebrated vitality through folk-inspired dance motifs (rooted in Czech-Jewish musical traditions), Chopin’s piece proclaimed conviction through majestic piano melodies steeped in Polish nationalism. Though stylistically distinct, both works anchored the concert’s theme of “Solidarity” with threads of emotional depth and cultural identity.
The waves of gasps and applause from the audience were not only a testament to the students’ skill but also to the timeless artistic appeal of all the featured works. From Krasa’s vibrant trio to Chopin’s iconic polonaise, these compositions–whether exploring cultural heritage or universal human emotions–still strike the softest corners of the heart through the younger generation’s interpretations. It is worth noting that both the previous pianist, the three trio performers, and the students who came on stage later were all senior students from The New School. With the unity and experience of their peers, they infused the entire performance with a strong sense of cohesion and impact.
The poetry recitation segment was equally captivating, as it wove spoken word into the concert’s “solidarity” theme– student performers Leslie Maerinez and Christopher Collier delivered dramatic literary recitations. Leslie Maerinez delivered Anna Akhmatova’s Music (1958) with a deep, magnetic voice, masterfully conveying profound sorrow and hope through her rhythmic intonation. Christopher Collier, too, recited Langston Hughes’ Life is Fine (1949) to life with a powerful, resonant voice, his passionate delivery proving highly infectious, emphasizing the concert’s mission to unite art forms in service of the “solidarity” theme.
Shortly after the poetry recital concluded, the concert reached its climax with a student jazz ensemble performing “Staff Like That,” by Quincy Jones (1933–2024), Nicholas Ashford (1941–2011), and Valerie Simpson (born 1946). Quincy Jones, a titan of cross-genre innovation, is renowned for fusing jazz, pop, and soul into dynamic compositions (Oxford Music Library). Ashford and Simpson’s songwriting, meanwhile, is celebrated for its soulful emotionality and catchy melodic hooks (Rolling Stone). In their performance, this expansive ensemble–bosting dual lead vocalists (Eva Bugnon, Izzy Durso), a five-member background vocal section (Denali Barrett, Harper Jones, Runnan Li, Biti Strauchn, Donnie T. Smith, Marlon Saunders), two pianists (Michael Sheelar, Levi Rodriguez), guitar (Bruno Nernal), drums (Gio Suarez), percussion (Zan Babar, Elliot Martens), and bass (Kadr Prescod)–captured the essence of the piece with precision: a powerful rhythm propelled the entire composition, erupting from the bright tones of brass instruments and the crisp strikes of percussion, perfectly embodying the stylistic signatures of the three creators. Particularly in the improvisational sections, the ensemble demonstrated seamless collaboration. The dialogue between saxophone and piano, combined with the layered background harmonies, not only showcased jazz’s unique charm but also resonated with the concert’s theme of “unity”.
Just as this piece was created through collaborative effort, the musicians’ collective performance added depth on YouTube, which was equally moving. Yet the live atmosphere and audience interaction were irreplaceable: when the joyful melody played, listeners instinctively swayed to the rhythm. Some even rose to applaud at the song’s conclusion–a vibrant resonance with the music that recording simply cannot replicate. I felt the emotional warmth in their compositions through existing materials and recordings. The students’ performance extended that warmth throughout the venue.
This free concert, entirely performed by students, exceeded my expectations greatly. Not only did it present a variety of works with solid skills, but it also complemented classical, jazz and poetry to transform the theme of ‘unity’ from an abstract concept into a tangible artistic experience. Every corner of the auditorium was filled with the wonderful fusion of arts and youthful vitality. I can’t wait to share this surprising and touching performance with my friends. I believe the talent of these young performers will surely touch more people’s hearts and inspire their love for arts.
Works Cited
Dralyuk, Boris, translator. Anna Akhmatova: Selected Poems. Penguin Classics, 2014.
Kallberg, Jeffrey. Chopin and His World. Princeton University Press, 1997.
Kallberg, Jeffrey. “Chopin’s Last Style.” Journal of the American Musicological Society, vol. 38, no. 2, 1985, pp. 264–315. JSTOR, https://doi.org/10.2307/831566. Accessed 15 June 2020.
Oxford Music Library. Grove Music Online. 2025,
www.oxfordmusiconline.com/grovemusic/display/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000051099. Accessed 29 Sept. 2025.
Oxford Music Library. “Log in | off Campus Access @ Borough of Manhattan Community College.” Cuny.edu, 2025,
www-oxfordmusiconline-com.bmcc.ezproxy.cuny.edu/search?q=Hans+Kr. Accessed 11 Nov. 2025.
Oxford Music Library. Quincy Jones: Genre Fusion and Musical Innovation. Oxford University Press, 2018.
Quincy Jones, Ashford & Simpson. “‘Stuff Like That’ Studio Version.” YouTube, uploaded by Dantoine 93, 2019, https://www.youtube.com/watch?v=1SWg0BZkQps.
Rolling Stone. Ashford & Simpson: Soulful Songwriting and Melodic Legacy. Wenner Media LLC, 2020.
Deutsche Grammophon. Chopin: Polonaise in A-flat Major, Op. 53 “Heroic” – Argerich. YouTube, uploaded by Deutsche Grammophon, 18 May 2018, www.youtube.com/watch?v=p_iI1J0bALE.
Dantoine93. Quincy Jones, Ashford & Simpson: “Stuff Like That” (Studio Version). YouTube, uploaded by Dantoine93, 2019, www.youtube.com/watch?v=1SWg0BZkQps.
