A.E. Leon Rosen

Pianist Ariel Elisha Rosen's debut release, Holding Space, is an ambitious presentation of Jewish melodies amplified by furious jazz.

Pianist Ariel Elisha Rosen's debut release, Holding Space, is an ambitious presentation of Jewish melodies amplified by furious jazz and avant-garde chops. Recorded on a single day in the fall of 2008 in Jerusalem, this solo piano disc is raw, emotional, uplifting and inventive - a far cry from most cookie-cutter Jewish music put out these days, and also much different from the groove-oriented jazz style popular in Tel Aviv. Rosen is an agile and clever pianist, and the solo piano format really allows his artistry to come through, along with the sonic possibilities of the pianoforte - which he exploits to full effect. Many of the pieces are well-known Shlomo Carlebach compositions or melodies associated with Bratslav Hassidim, all of which receive a thorough harmonic and melodic makeover to serve as a springboard for Rosen's ideas. The disc seems to be deliberately organized in a kind of dramatic arc, beginning with minor key pieces with relatively simple improvisation, leading to a sweeping, challenging middle section and finally coasting to a dénouement of hopeful and sweet selections in major keys. Standout tracks include "Azamer Bishvahim," which introduces the melody with a funky bass line and descending harmonic cadence, but then transitions to a be-bop style solo section with Middle Eastern influences; while "Beshem Hashem" is treated to an elegant, majestic arrangement highlighting various permutations of the simple, beautiful melody. "Besht's Nigun," one of the longest tracks on the disc at 6:27, begins slowly and delicately, but progresses to a thundering fury of two-fisted chords by the end. Rosen's version of the "Krakau Nigun" is sonorous and stately, with clear allusions to Eastern European folk music, while "Ufduyei Hashem," toward the finale of the CD, is light and airy, with rolling major chords and the melody carried brightly in the piano's upper octaves. Holding Space also contains several original pieces which have less overt hassidic influence, including the title track. Perhaps because these tracks are his own compositions, and perhaps because he is not working from a recognizable melody and is thus less constrained, Rosen's playing on his originals is more free and confident. He would have been wise to include more of these kinds of tracks into Holding Space instead of the questionable insertions of a melody from Fiddler on the Roof and the classic "Yerushalayim Shel Zahav." Both of these are played quite well, but despite the interesting treatment feel out of place because they are so well known. A more successful surprise selection is Frederic Chopin's "Mazurka in A Minor," which is deftly played as a jazz ballad with an extended solo. Rosen's playing is articulate and powerful throughout, but he seems to concentrate more on emotional flow and the tonal possibilities of his instrument than on strict technique. This comes through in the occasional off-note or small glitch, perhaps only noticeable through close or repeated listening, but present nonetheless. One gets the feeling that Rosen is wrestling with himself as he plays, wanting to take the source material out to the furthest limits on one hand, but also wanting to remain accessible on the other; for the most part, he succeeds in finding the balance. Despite its minor flaws, Holding Space is a great listening experience and is a brave, intriguing work with the depth to bear much repeat play. Independently produced and recently released, it is currently only available directly from the artist at www.arielelisha.com.


(Note: This review was for Leon Rosen's album Holding Space, released under the name Ariel Elisha) - Jerusalem Post

Last August Mathew Chacko, Music Director at the Episcopal Church of the Incarnation in the Sunset District, launched the Sunset Music | Arts concert series of recitals to benefit from the church’s highly conducive acoustics. As of the beginning of this week, details for the first Winter/Spring Season have been finalized. This will consist of three recitals, one for each of the first three months of the year and each in its own distinctive genre. There will then be a special chamber music recital at the end of May.

Details for the first three programs are as follows:

January 17, 5:30 p.m.: Pianist Ariel Elisha Leon Rosen has prepared a program entitled Compositions from the Heart of Winter. His style draws upon the classical traditions, musical theater, ragtime, and jazz; and he is an adept jazz improviser. His performance will be followed by a selection of songs, primarily from Broadway shows, sung by mezzo Sally Porter Munro with Vaughan Jones as her accompanist.
February 21, 7:30 p.m.: The Circadian String Quartet consists of violinists David Ryther and Sarah Wood, violist Omid Assad, and cellist David Wishnia. The title of their program will be The Fertile Crescent: folk inspired chamber music from Persia and beyond. The music of two Persian composers will be included on the program. Reza Vali, who has been on the faculty of the School of Music at Carnegie Mellon University since 1988, will be represented by a set of folk song arrangements, to which he has assigned the catalog number 11b. Closer to home, Tehran-born Sahba Aminikia received both bachelor’s and master’s degrees from the San Francisco Conservatory of Music through composition studies with Dan Becker, David Garner, and David Conte. The Circadian will perform his second string quartet, subtitled “One Day in Tehran.” The “beyond” portion of the program will reach back to the eighteenth-century Vienna of Joseph Haydn with his Hoboken III/34 quartet in D major. This quartet is particularly distinguished by its third (Menuet) movement in the gypsy style. This “eastern influence” will also include Béla Bartók’s third string quartet; and the program will conclude with Astor Piazzolla’s “Four for Tango,” which he composed for the Kronos Quartet.
March 30, 7:30 p.m.: The beginning of Holy Week will be recognized with a performance of Giovanni Battista Pergolesi’s setting of the “Stabat Mater Dolorosa” hymn. Munro will return to Incarnation to sing the mezzo solo in this composition, joined by soprano Elisabeth Rom Lucio. Both soloists are members of the San Francisco Opera Chorus. Details about the instrumental accompaniment have not yet been released.
All three of these events will take place at Incarnation, which is located at 1750 29th Avenue, located about halfway between Moraga Street and Noriega Street. Tickets will be sold at the door for $15 for general admission and $12 for students and seniors. Further information may be obtained by calling 415-564-2324.

The special chamber music recital will feature the string trio of Mark Volkert on violin, Nancy Ellis on viola, and Jan Volkert on cello. Mark Volkert has been Assistant Concertmaster of the San Francisco Symphony (SFS) since 1980, and Jan Volkert is Principal Cellist with the Marin Symphony. Ellis is in the SFS viola section. The program for this recital has not yet been announced. The performance will take place at 5 p.m. on May 24. Tickets will be $20 for general admission and $17 for seniors and students. - SF Examiner