“What does 21st century cello music sound like? Cuban-American cellist Tommy Mesa, professor of cello at the Conservatory of Music of Purchase College (State University of New York), presents a compelling view with five works that amply demonstrates the length and breadth of cello techniques and traditions. None of the works belong to the “ping, qualified by a thud” school of avant-gardeism or serialism. Real music, the tonal and coherent variety which 99% of listeners will readily relate to, holds sway instead.

Three works are for solo cello, opening with Guernsey (English Channel island) native Lydia Jane Pugh’s Carolina’s Jig, a short and enjoyable number in bluegrass tradition which also uses the cello as percussion. The three movements of American composer Ben Yee-Paulson’s Suite for Solo Cello No.1 look back to J.S.Bach’s celebrated suites of dances as a point of departure. This gratifying music possesses the same spirit also shared by Prokofiev in his unaccompanied string sonatas. American composer and cellist Elizabeth Start’s Echoes in Life occupies a similar sound world, with the use of harmonics providing an ethereal feel at its close. Mesa brings out a gorgeous, full-bodied tone in these musically rewarding works, and the recorded sound is both vivid and realistic.

Two works are sensitively partnered by Mesa’s conservatory colleague Korean pianist Yoon Lee. Taiwan-based English composer George Holloway’s Novella (Chapter One) begins dreamy and atmospheric. The cello’s lyrical utterances is answered by jazzy piano chords, then works its way to a brief impassioned climax before gently dissipating. American composer Jonathan Chenette’s Elegy and Affirmation, at 16 minutes, is the longest work on show. Beginning with a moving plaint based on a simple motif of three notes, deep sorrow is transformed into playfulness and unadulterated joy by the skillful manipulation of the same motif. Drones commonly heard in much of ethnic music dominates the latter section of the affirmative action.

Do not hold your breath for Yo-Yo Ma to record this repertoire, for the just-as-excellent Mesa has the field entirely to himself.”

“SPRINGFIELD — The Springfield Symphony Orchestra returned to Symphony Hall for the first time in more two years Friday, presenting a program entitled “Of Heroes and Poets” conducted by former SSO music director Mark Russell Smith.

Smith, who led the orchestra from 1995 to 2000, had selected a symphonic program consisting of two movements from William Grant Still’s Danzas de Panama, Dvorak’s Concerto for Violoncello, Op. 104, featuring guest cello soloist Tommy Mesa, and Schumann’s Symphony No. 2, Op. 61.

Still’s Danzas, written in 1948 for string orchestra, incorporated lush, sensuous textures with vivacious rhythmic underpinning that included tapping on the bodies of the instruments.

Dvorak’s Cello Concerto is one of the most beloved in the repertoire, replete with innocent, peaceful melodies and grand, sweeping gestures, intimate chamber music and glorious orchestral effusion.

Mesa appeared by special arrangement with Sphinx Organization, which is focused on increasing representation of Black and Latinx artists in classical music and recognizing excellence. He gave a splendid account of the piece, shaping its tender, simple tunes with winning sincerity and delivering its challenging passages with effortless panache.

Mesa joined in exquisite duets with SSO principal flute Ann Bobo and concertmaster Masako Yanagita during the course of the concerto. Solo efforts of similar arresting beauty were turned in by principal clarinet Kai-Yun Lu, and principal French horn Robert Hoyle.

Smith and the SSO had prepared a thorough-going, polished reading of Schumann’s Second Symphony to follow intermission. Smith had seated the orchestra in European fashion — first and second violins across the stage from each other to maximize the effect of the antiphonal (conversational) writing common in the 19th century, surrounding cellos and violas.

The string players’ masterly negotiation of the lightning-fast second movement of the Schumann was a highlight of the evening. Smith laid bare the structure of the slow movement — an inexorable chromatic ascent in the basses, urging ever climbing sighs in the upper strings and woodwinds. He followed with a roaring, triumphant finale.

For the 662 concertgoers present in Symphony Hall, the SSO’s return was clearly an occasion for celebration. They rewarded Smith and Mesa with standing ovations and bravoes for the Dvorak concerto, and applauded many individual movements.

The players represented a mixture of regular SSO members and substitutes — some principals were present, others absent. Taking into consideration that the ensemble was not the well-oiled machine that Kevin Rhodes had conducted before COVID-19 changed the world, and that the labor dispute that gave rise to this concert and the upcoming “Dances of Spring” concert on May 13 has yet to be resolved, the music made on Friday evening was excellent. It represented a very positive step toward the common goal of bringing classical music back to Symphony Hall.”

Review By Clifton Noble Jr. 

“I cannot say enough good things about these two superlative musicians and how much the audience loved them.  They had the audience eating out of their hands from the moment they walked on stage until the last note.  Not only are they wonderful performers, but they are terrific to work with.  This was the second time working with Ilya and it was just as much fun as the first time, and Thomas just joined Ilya as our most favorite performers to have at the Wildflower Music Festival.  

The audience was mesmerized by their musicianship and their amazing synergy playing together.  Each one enhances the other’s playing during the entire performance, and they have such wonderful charisma both on stage and off.  As a presenter, I love that both of them have great rapport with the audience and a wonderful sense of humor.  Everyone enjoyed their comments about the music they were going to play, and their good natured kidding with each other.  As people were leaving the venue, they were all saying wonderful things about how terrific the concert was and how much they enjoyed attending.  That is exactly what any festival producer wants to hear.

Thank you, Lisa, for bringing Ilya and Thomas to our festival.  I am looking forward to having them again.”

Judi Mortensen,
Artistic Director, 2021 Wildflower Festival

“…Greg Zelek and Tommy Mesa, two Juilliard buddies, put on the most enjoyable concert I have ever encountered”

Review of Organ and Cello Concert in Madison, Wisconsin

“The concert’s most striking moment came when Mesa accompanied his own voice for a haunting, wordless melody.”

On March 4th, 2018, Grammy Winning choral conductor Donald Nally and Cathedral Choral Society were joined by Tommy Mesa in a program of contemporary music at the Washington National Cathedral.

“…Mr. Mesa’s playing had a musical intensity that was commanding in every detail.”

…Tommy Mesa brought out [the Debussy Sonata’s] edge and contrasting timbres.”

Summer 2016

“Tommy Mesa has been added to faculty at the Montecito International Music Festival in Los Angeles, CA.”

The annual Detroit contest, including senior and junior divisions, is open to black and Latino US string players.

“Cellist Tommy Mesa wins 2016 Sphinx Competition $50,000 first prize”

David Lisker, violinist, and his family have a non-profit organization called Lisker Music Foundation that strives to present concerts that are exciting, accessible, and interesting to audiences. I had a fantastic time with Bela Hovarth, David Lisker, and Larry Weng on Feb. 8th, 2015, playing works by Paganini, Schumann, and Chopin. These are phenomenal musicians with a true passion for what we can say through music.

“Tommy Mesa added To Lisker Music Foundation’s Artist Roster”