By WENYI MA<\/p>\n\n\n\n
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 \u201cMannes Sounds: Solidarity in Dreams: Art of Aspiration, Hope and Wonder\u201d–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 \u201csolidarity,\u201d aiming to convey a message of unity and emotional connection to the audience.<\/p>\n\n\n\n
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\u2013 an atmosphere that already felt warm and steeped in art before the show began.
<\/p>\n\n\n\n
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\u2013 all thanks to the students\u2019 active participation. The student performances sought to interpret themes of \u201clife\u2019s mysteries, the power of unity, and emotional bonds.\u201d–a prospect that left the audience eager to witness how the students would breathe life into these profound ideas through their art.<\/p>\n\n\n\n
During the performance, the student painted a rich emotional landscape through diverse musical works. Among them, Guillermo Hernandez Berrocal\u2019s interpretation of Fryderyk Chopin\u2019s \u201cHeroic\u201d Polonaise Op. 53 (1842) at the piano particularly captured my interest. As a signature work of the Romantic-era, Polish composer Chopin\u2019s 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 \u201cRomantic Poet of the Piano\u201d (Oxford Music Library).<\/p>\n\n\n\n
The piece surged with majestic grandeur and heroic passion. Each intricate, dazzling technical passage underscored the work\u2019s 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\u2019d 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\u2019s breath\u2014qualities no recording can replicate.<\/p>\n\n\n\n
As the stirring melody echoed through the hall, Chopin\u2019s 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.<\/p>\n\n\n\n
Next, Joseph Jin (violin), Carlota Alonso (viola), and Eunae Jin (cello) took the stage to perform Hans Krasa\u2019s Tanec\u2019s Dance for String Trio. The trio\u2019s lively rhythms and intricate counterpoint wove a narrative of resilience, creating a remarkable resonance with Chopin\u2019s \u201c Heroic\u201d Polonaise: while Krasa\u2019s work celebrated vitality through folk-inspired dance motifs (rooted in Czech-Jewish musical traditions), Chopin\u2019s piece proclaimed conviction through majestic piano melodies steeped in Polish nationalism. Though stylistically distinct, both works anchored the concert\u2019s theme of \u201cSolidarity\u201d with threads of emotional depth and cultural identity.<\/p>\n\n\n\n
The waves of gasps and applause from the audience were not only a testament to the students\u2019 skill but also to the timeless artistic appeal of all the featured works. From Krasa\u2019s vibrant trio to Chopin\u2019s iconic polonaise, these compositions\u2013whether exploring cultural heritage or universal human emotions\u2013still strike the softest corners of the heart through the younger generation\u2019s 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.<\/p>\n\n\n\n
The poetry recitation segment was equally captivating, as it wove spoken word into the concert\u2019s \u201csolidarity\u201d theme\u2013 student performers Leslie Maerinez and Christopher Collier delivered dramatic literary recitations. Leslie Maerinez delivered Anna Akhmatova\u2019s Music (1958) with a deep, magnetic voice, masterfully conveying profound sorrow and hope through her rhythmic intonation. Christopher Collier, too, recited Langston Hughes\u2019 Life is Fine (1949) to life with a powerful, resonant voice, his passionate delivery proving highly infectious, emphasizing the concert\u2019s mission to unite art forms in service of the \u201csolidarity\u201d theme.<\/p>\n\n\n\n
Shortly after the poetry recital concluded, the concert reached its climax with a student jazz ensemble performing \u201cStaff Like That,\u201d by Quincy Jones (1933\u20132024), Nicholas Ashford (1941\u20132011), 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\u2019s songwriting, meanwhile, is celebrated for its soulful emotionality and catchy melodic hooks (Rolling Stone). In their performance, this expansive ensemble\u2013bosting 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\u2019s unique charm but also resonated with the concert\u2019s theme of \u201cunity\u201d.<\/p>\n\n\n\n
Just as this piece was created through collaborative effort, the musicians\u2019 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\u2019s conclusion\u2013a 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\u2019 performance extended that warmth throughout the venue.<\/p>\n\n\n\n
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 \u2018unity\u2019 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\u2019t wait to share this surprising and touching performance with my friends. I believe the talent of these young performers will surely touch more people\u2019s hearts and inspire their love for arts.<\/p>\n\n\n\n
Works Cited
Dralyuk, Boris, translator. Anna Akhmatova: Selected Poems. Penguin Classics, 2014.
Kallberg, Jeffrey. Chopin and His World. Princeton University Press, 1997.
Kallberg, Jeffrey. \u201cChopin\u2019s Last Style.\u201d Journal of the American Musicological Society, vol. 38, no. 2, 1985, pp. 264\u2013315. 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. \u201cLog in | off Campus Access @ Borough of Manhattan Community College.\u201d 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. \u201c\u2018Stuff Like That\u2019 Studio Version.\u201d 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 \u201cHeroic\u201d \u2013 Argerich. YouTube, uploaded by Deutsche Grammophon, 18 May 2018, www.youtube.com\/watch?v=p_iI1J0bALE.
Dantoine93. Quincy Jones, Ashford & Simpson: \u201cStuff Like That\u201d (Studio Version). YouTube, uploaded by Dantoine93, 2019, www.youtube.com\/watch?v=1SWg0BZkQps.<\/p>\n","protected":false},"excerpt":{"rendered":"
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