Thank you to those who joined us for our first concert
at Greenwich House and everyone else who helped make it happen!
(click EVENTS for full information)
Vista Lirica is a New York based chamber music ensemble. In Italian, vista lirica means lyric view or lyric perspective.
Our perspective embraces the spirit of Romanticism ~
its lyricism as rapturous, unbridled expression through music and art,
as brought forth in a time of revolution and exploration.
Published on YouTube Dec 30, 2013
Neil Rynston: Cantorial Aria no. 1 for solo clarinet
Neil Rynston, clarinet
“Based on cantorial aria ‘Habin yakir’ of Zavel Kwartin (1874-1952) and rewoven for solo clarinet, the cantorial arias for solo clarinet were inspired by the soulful essence of Middle Eastern music and of the great tradition of Jewish cantorial singing.
This is one of a set of four pieces I composed and performed for special events at B’nai Jeshurun, NYC. They were not meant to be additions to the klezmer repertory nor direct imitations of cantorial singing. They mark an important part of a personal spiritual journey, and as alluded to by the visuals, it was an important segment what continues to be a variegated exploration.”
— Neil Rynston
Pezzo elegiaico (part 1), Live performance – Apr. 2011, Tenri Institute, NY
Beth Levin, Eric Grossman, Lawrence Zoernig
photos by Joel Graham (musicians) and Adrian Per (Russia)
Published on YouTube Jan 26, 2011
Johannes Brahms: Quintet in b-minor for clarinet and string quartet, Op. 115
Vista Lirica: Neil Rynston, clarinet; Eric Grossman & Itamar Zorman, violin; Frank Foerster, viola; Lawrence Zoernig, ’cello
Published on YouTube Dec 26, 2013
Schubert: Shepherd on the Rock
Vista Lirica: Emily Howard, mezzo; Neil Rynston, clarinet; Beth Levin, piano
“This piece, usually sung by a light lyric soprano, was written for Anna Milder-Hauptmann. Milder was also the first to perform the role of Leonora in Beethoven’s Fidelio, which hits the extremes as a hefty dramatic part.
Thus with dramatic mezzo diva Emily Howard, we took this historic bit of info and took things one step further, perhaps bringing out different angles of this piece with slightly slower tempi and darker colors, especially, in the 1st and 2nd sections.”
— Neil Rynston