Distinguished Concerts International New York (DCINY) presents Celebration and Reflection, Part 1 in Review

Distinguished Concerts International New York (DCINY) presents Celebration and Reflection, Part 1 in Review

Distinguished Concerts International New York (DCINY) presents Celebration and Reflection, Part 1
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Aimee Beckmann-Collier, DCINY Debut conductor; Rachel E. Copeland, soprano; Rachel Arky, mezzo-soprano; Shawn Mlynek, tenor; Jeremy Galyon, bass
Bradley Ellingboe, guest conductor; Dann Coakwell, tenor
Avery Fisher Hall, Lincoln Center; New York, NY
May 25, 2014

Memorial Day is a time for reflection and to give our thanks to all the men and women who gave their lives so we can enjoy the liberty that their sacrifices made possible. Distinguished Concerts International New York (DCINY) presented a two- part concert series entitled “Celebration and Reflection” to commemorate those heroes.  Avery Fisher Hall was the venue for Part One, the first half of the program being Mozart’s “Coronation“ Mass, and second half, the World Premiere of Star Song, by Bradley Ellingboe.

The Patriot Brass ensemble returned again this year and entertained the audience members as they entered the hall with a pre-concert selection of marches, popular tunes, and Americana.  As the chorus members from Iowa and Kansas (and “individuals around the globe”) filled onto the stage, the mood was set for a festive evening.

Mozart’s Mass in C major is called “Coronation” because it is believed that this work was performed at a coronation in Prague. Some claim it was used for the coronation of Leopold II in 1791, while others state it was used for Franz II in 1792. In any case, written in 1779, the Coronation Mass remains fresh and vital 225 years later, another testament to Mozart’s genius.

Conductor Aimee-Beckmann-Collier took to the podium, and it was apparent from the start that the chorus, soloists, and orchestra were all well prepared.  Attacks were precise and crisp, and the chorus sang with clear diction and good ensemble balance. Maestra Beckmann-Collier was a superb leader in her no-nonsense approach – passionate, but never out of control. It was also notable that she “kept it all together” during the Credo, when a stampede of approximately forty late comers made for their seats in a manner better suited for the Running of the Bulls at Pamplona! One must also commend the soloists, soprano Rachel E. Copeland, mezzo-soprano Rachel Arky, tenor Shawn Mlynek, tenor, and bass Jeremy Galyon in their standout performances as individuals, and in duet and quartet settings. Each voice was clear and projected with power to overcome the large forces behind them, without one overshadowing the others.  This was truly a winning performance on all accounts.

Star Song is a work built on a fascinating idea. The idea that “everything vibrates” and the implications of that idea all the way to the atomic level captured Mr. Ellingboe’s imagination. He writes, “The stars -and the atoms we share – were my muse. This is the central premise of Star Song. It is a big concept, and something I have pondered for a long time and probably always will, until the atoms that comprise me are off being something else.” The twelve-movement work features poems from Juhan Liv, John Milton, Saint Hildegard, Rainer Maria Rilke, Siegfried Sassoon, Billy Collins, Walt Whitman, thoughts from Vincent Van Gogh, and texts from traditional Hebrew and Algonquin. On paper this is very impressive, but how would it all translate to actual performance? In some instances, it was realized with excellence, but I was less taken with some sections.  The music is eclectic, but the more whimsical selections (most notably the Questions About Angels from Billy Collins) projected glib, Broadway-tinged writing, which in itself is not necessarily a bad thing, but a style that undercut the import of other sections. Mr. Ellingboe is a skilful composer with a wealth of ideas, so I was hoping for more. I do believe that he will continue to refine Star Song, and it will be interesting to hear a later performance.  The star of Star Song was tenor Dann Coakwell, who handled all the various styles with remarkable ability. It did not matter whether the style was a recitative, an arioso, or just slapstick, the end result was one of excellence. Mr. Ellingboe is also an engaging conductor as he led his composition with the enthusiasm he projects in abundance. Congratulations to the chorus members from New Mexico, Arizona, Illinois, and Virginia who gave their all as well in a committed performance. The large audience responded to Star Song with a heartfelt ovation.

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents The Cry of Jeremiah in Review

Distinguished Concerts International New York (DCINY) presents The Cry of Jeremiah in Review

Distinguished Concerts International New York (DCINY) presents The Cry of Jeremiah
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Robert A. Harris, composer/conductor
William C. Powell, DCINY Debut Conductor; Rosephanye Powell, composer/narrator
Alice Tully Hall, Lincoln Center; New York, NY
May 10, 2014
 
Cry of Jeremiah

The Cry of Jeremiah

 

Distinguished Concerts International New York (DCINY) presented a concert of works by prominent African-American composers and scholars Robert Harris and Rosephanye Powell in a program entitled “The Cry of Jeremiah,” at Alice Tully Hall at Lincoln Center on May 10, 2014. Mr. Powell was to conduct the New York premiere of his Gloria. The Cry of Jeremiah (also a New York premiere)was to feature the composer, Ms. Powell as the narrator, with her husband William Powell conducting. With approximately two hundred and fifty singers from Alabama, Illinois, Florida, North Carolina, South Dakota, the Bahamas, and “individuals from around the globe,” it was the tried-and true DCINY formula: Bring together talented musicians and let the magic unfold. This performance was no exception.

Opening the concert was the Gloria. It is a five-movement work scored for chorus, soprano soloist, and orchestra. The movements are Gloria in excelsis Deo, Laudamas Te, Domine Deus, Qui tollis, and Quoniam tu solus sanctus. As is stated in the notes, any of these movements could be performed independently. Often this modular approach leads to some unevenness, but the five movements mesh together well. Gloria is a work filled with brilliance and poignancy. Gloria in excelsis Deo is strongly reminiscent of the opening movement of John Rutter’s Gloria in both the brass and vocal writing. Soprano soloist Heather Hill was exceptional in her role in the Domine Deus and Quomium tu solus sanctus movements. Her upper register was crystalline in its clarity and beauty, with an exquisitely controlled vibrato that was perfect for this work. This listener found the Qui tollis to be particularly compelling both harmonically and stylistically. The bold final movement dies away to a quiet ending with the word Amen delivered almost in a whisper. Mr. Harris is a no-nonsense conductor, who led with understated restraint.It was a performance of which the chorus, orchestra, and soloist could be proud.

The Cry of Jeremiah tells the story of the prophet Jeremiah’s struggles as he is abused and imprisoned for his prophecies. This four-movement work is scored for narrator, chorus, organ, and orchestra, and freely uses the 20th chapter of the book of Jeremiah for the text. Those movements (and corresponding verses) are entitled Is Not His Word Like a Fire (Jeremiah 20:9), O Lord, You Have Deceived Me (Jeremiah 20:7-9), Cursed Be the Day (Jeremiah 20: 14-18),and Hallelujah! (Jeremiah 20:11-13).Each movement opens with the narrator speaking as Jeremiah before the chorus and orchestra enter.

As well as being an accomplished composer, Ms. Powell is an exceptional orator. She became Jeremiah as the words came forth with raw emotion. Those words were at turns despairing, raging, and finally, exultant. The power of her oratory was spellbinding, deepening the meaning of the music that followed. One wonders, with the narration so inextricably bound to the music, whether a less passionate narrator (or omitting the narration) might possibly nullify the power of the music, but such is the case with many similar compositions. In any case, this work most likely was written with a very specific audience in mind, and while it is an effective work for the concert stage, it is an emotionally supercharged work that would enjoy great success in performances at churches or houses of worship.

The music of The Cry of Jeremiah is eclectic. There is Baroque-influenced contrapuntal writing mingling with jazz harmonies and rhythms, and African-American spiritual/gospel vocal styles. Combined with the narration, this is a theatrical work that demands not just to be heard, but to be experienced in all its glory. Conductor William Powell led the Distinguished Concerts Orchestra and chorus with the quiet strength and confidence of one who is in full command. The chorus radiated the emotions of the spoken words with equally passionate ensemble singing. The audience was so taken by this work that they greeted the end of each movement with enthusiastic applause, in spite of the request in the program to hold all applause until the end of the final movement.

When soprano Brandy Woods came to the front of the stage in the Hallelujah! and unleashed a improvisatory solo while the chorus swayed and clapped in a frenzied joy, it brought the already excited audience to a fever pitch. When the last note was sounded the audience sprang up as one in a thunderous ovation, saving the greatest appreciation for Ms. Powell, who was the star of the evening. Ms. Powell joined Ms. Woods in a jubilant gospel-style improvisation as the chorus encored the last section of the Hallelujah. The audience clapped and swayed along to bring the evening to a triumphant close.

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents The Drop of Dawn in Review

Distinguished Concerts International New York (DCINY) presents The Drop of Dawn in Review

Distinguished Concerts International New York (DCINY) presents The Drop of Dawn
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Jonathan Griffith, Music Director; Christopher Tin, composer-in-residence
Stern Auditorium at Carnegie Hall, New York, NY
April 13, 2014
 

In a concert entitled The Drop of Dawn, Distinguished Concerts International New York (DCINY) presented the music of Christopher Tin. The title makes reference to the two works on the program, Calling All Dawns, and the World Premiere of his latest work, The Drop That Contained the Sea. Featuring eight vocal soloists and chorus members from Georgia, North Carolina, Illinois, Washington, California, Wisconsin, Vermont, Indiana, Pennsylvania, Canada, England, and “individuals around the globe” (the program listed 543 singers!), it was what I have come to expect from DCINY – an extravaganza.

Christopher Tin (b. 1976) is a composer whose works cover diverse genres. Mr. Tin has written for orchestra, electronica, film and television, and video games. Calling All Dawns won two Grammy awards, for Best Crossover Classical Album and Best Instrumental Arrangement Accompanying Vocalists (for Baba Yetu).

The concert opened with Calling All Dawns. This is the second time DCINY has programmed this work, the first time at Avery Fisher Hall on April 7, 2013. I had the privilege of reviewing that performance for New York Concert Review. For information about the background of Calling All Dawns and my impressions of that performance, interested readers can refer to that review by clicking here: Calling All Dawns in Review April 7, 2013. Since that occasion, I have had the opportunity to hear the recording of this work and study parts of the score, and have found my initial reaction to this crowd-pleaser to be mostly unchanged.

What was especially interesting about this performance was that the soloists often took multiple roles (in multiple languages), whereas the prior performance had featured a multitude of soloists in singular roles. This was no mean feat, considering that many of the languages were not ones that one would usually encounter in the concert hall. Tenor soloist Saum Eskandani was at times inaudible in the Baba Yetu and Rassemblons-Nous movements, which I would attribute to excessive exuberance from the orchestra (especially the percussion section) coupled with the failure to quickly correct a microphone level that was too low. When Mr. Eskandani could be heard clearly, he delivered emotionally charged performances. Fadista Nathalie Pires and Mongolian vocalist Nominjin invested every last ounce of passion in their songs, while Anonymous 4 singer Jacqueline Horner-Kwiatek and Indian Classical vocalist Roopa Mahadevan showed everyone why Mr. Tin had selected them for the Calling All Dawns recording. Finally, Jerome Kavanagh delighted the audience when he came on stage in Maori tribal dress, chanting in Maori and dancing in the final movement.

Conductor Jonathan Griffith led the large forces with his customary skill, while the chorus was having the time of their lives swaying to the music as one. It was everything a performance should be – polished technically and delivered with uninhibited joy by individuals who truly love what they are doing.

At the start of the second half, Jonathan Griffith and Christopher Tin joined together for an impromptu conversation onstage about The Drop That Contained the Sea. Mr. Tin stated that he had been travelling around the world seeking the specific vocal sounds of different cultures to use for this work. The Drop That Contained the Sea is a ten-movement work. As with Calling All Dawns, each movement is in a different language, those languages being Proto-Indu-European, Turkish, Bulgarian, Xhosa, Mongolian, Portuguese, Sanskrit, Ancient Greek, Old Norse, and Lango. Even though one can say that the blueprint is similar, the end product is reflective of Mr. Tin’s deepening maturity as a composer. While retaining his marked ability for writing music with a wide appeal, he has also formed his own distinct voice without any obvious influences (including from his own Calling All Dawns). The Drop That Contained the Sea is a powerfully dramatic work, well-conceived and skillfully realized. For those persons unable to attend (or for those who want more), a recording of The Drop That Contained the Sea (due for release on May 8, 2014) is available for purchase at www.christophertin.com

The soloists had smaller roles than in Calling All Dawns, but all delivered strong performances. It was especially gratifying that Saum Eskandani’s voice was consistently heard here in its full resonance. Nathalie Pires, Roopa Mahadevan, and Nominjin returned and were joined by Mezzo-soprano Charity Dawson, who proved herself to be a powerhouse. This was a winning combination of talents, and one might hope they appear on the soon-to-be released recording.

The chorus handled the demands of the often complicated writing and the diverse languages with remarkable ability, and the Distinguished Concerts orchestra was very effective in handling the different colors and moods, from the serenity of Devipravaha (Goddess River) to the fierce Viking-like intensity of Haf Gengr Hríðum (The Storm-Driven Sea). Once again, one must praise Jonathan Griffith for leading an excellent first performance of a complex and emotionally charged work.

The final movement Waloyo Yamoni (We Overcome the Wind) ended with all the soloists, the on-stage choir joined by several hundred more singers in the balconies, and the full orchestra in an explosion of sound bringing this fine work to a exultant conclusion. Recalling what I had written in the April 7, 2013 review, “The audience reacted after the final notes with the loudest and longest standing ovation I have ever heard at any concert. Mr. Tin was called to the stage and the ovation became deafening.” The reaction tonight moved the bar up many decibels! It was a fitting end to a wonderful evening, and I eagerly await the next collaboration between Mr. Tin and DCINY.

 

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by Jeffrey Williams  for New York Concert Review; New York, NY

Distinguished Concerts International New York (DCINY) presents Calling All Dawns in Review

Distinguished Concerts International New York (DCINY) presents
Calling All Dawns
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Jonathan Griffith, Music Director; Eric A. Johnson, Geoffrey Paul Boers; Guest Conductors
Anonymous 4, Guest Artists
Avery Fisher Hall, Lincoln Center; New York, NY
April 7, 2013

 Distinguished Concerts International New York (DCINY) is an organization that gives talented musicians and vocalists an opportunity to perform in world-class venues, often performing new works of both established composers and up-and-coming talents. Today’s concert was no exception; works from Mozart, Haydn, and John Rutter, with the New York premiere of Calling All Dawns, from new talent Christopher Tin, were on the program.

In what might have been called a pre-concert performance, Anonymous 4 opened with a set of six pieces done with the skill that has made then renowned. Possibly in keeping with the “anonymous” ideal, any information about these six pieces was withheld. It was a serious omission not to have the works named, in spite of the program noting “selections to be called from the stage”.  In this day and age when everything should be done to enlighten audiences and enhance the concert experience, a golden opportunity to foster further interest was lost.

Mozart’s Regina Coeli K. 276 is a jubilant work that honors the Virgin Mary. The trumpets and timpani lend the otherwise largely string orchestration a festive quality that is in keeping with the celebration of Easter.  There is a strong reminder of Handel’s Hallelujah chorus, although it is not known whether Mozart had seen Handel’s score prior the composition.  Guest conductor Eric A. Johnson led a solid performance that featured High School and University singers from Illinois, Oregon, and California. Next came the Te Deum for the Empress Marie Therese of Franz Joseph Haydn.  Johnson styled this performance with skill, conveying the work’s regal air and showing considerable attention to detail. The transitions to C minor and back to C major were particularly sensitively done.  It seemed that conductor, orchestra, and chorus gained in confidence as the performance progressed.

John Rutter (b. 1945) describes his Gloria as a three-movement symphony that is “exalted, devotional, and jubilant by turns”.  Guest Conductor Geoffrey Paul Boers took the podium and wielded his baton with the demeanor of a wizard preparing to hurl thunderbolts.  From the arresting opening bars, one was put on notice that the Distinguished Concerts orchestra was pulling out all the stops, from the stunning brilliance of the brass playing to the electric energy in the percussion. It was especially enjoyable for this listener to hear these players shine so brightly, as I have almost always found them to be the equals of any I have heard anywhere.  The exuberant orchestra overshadowed the chorus in the outer movements, where the latter simply did not project enough volume. Interestingly enough, the singers’ than full sound turned out to be a blessing in the 2nd movement, where the chorus was actually quite radiant. In spite of these issues, it was an exciting, dynamic, and passionate performance that ended the half with a splash.

It must be a unique occurrence for a large-scale work to have its genesis from a theme written for a video game, but this is the case for Calling All Dawns, which was the only work on the second half.  In conversation with Jonathan Griffith, composer Christopher Tin (b. 1976) told the story of how Calling All Dawns came to be. The opening movement, Baba Yetu, was composed as the theme for the computer game Civilizations IV. It was so popular in the gaming world that the music went “viral”, with countless requests for more pieces from the composer.  Tin was inspired to write a large work that he described as a “four-year labor of love”.  Calling All Dawns is a forty-five minute, twelve-movement work, with each movement in a different language (Swahili, Japanese, Mandarin, Portuguese, French, Latin, Irish, Polish, Hebrew, Farsi, Sanskrit, and Maori). The idea of a multi-cultural world where we are more similar than different was Mr. Tin’s stated goal.  Mr. Tin has a gift for writing music that is immediately accessible in its tonal consonance, rhythmically vital, and appealing to the emotions. It is easy to understand why his music is so popular. One can detect similarities to other composers’ work  (e.g. Karl Jenkins, Henryk Górecki in his Third Symphony, and Mike Oldfield, especially his Music of the Spheres), which might cause some to suggest the music is derivative, but I prefer the idea of a composer finding his voice. All these caveats aside, the pairing of Tin and DCINY is an ideal partnership, and it will be interesting to hear Mr. Tin’s next work, which DCINY will be premiering in 2014.

Conductor Jonathan Griffith was the master of the situation, as is the norm for this consummate leader and musician. Any composer should be thrilled to have him at the helm when his works are played.  The orchestra had already been excellent this afternoon, but they saved the best for the last in a performance that was done with style and grace.  The supporting chorus, with singers from Australia, the United Kingdom, Vermont, Illinois, Pennsylvania, and New York, was vibrant throughout with a strong performance that was not wanting in volume or passion. It was a joy to see the constantly changing soloists, from Anonymous 4, to others including members of the chorus who came forward and offered passionate performances. They were all stars today.  When two Maori in tribal dress entered the stage in the final movement and not only chanted the Maori lyrics, but did a ritual dance, it was that special DCINY “touch” that I have come to expect from this fine organization. The audience reacted after the final notes with the loudest and longest standing ovation I have ever heard at any concert. Mr. Tin was called to the stage and the ovation became deafening. It must have been one of the proudest moments in his life and it was wonderful to see. It’s an image I will not soon forget. Congratulations to DCINY for another winning performance.

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by Jeffrey Williams  for New York Concert Review; New York, NY

Bluegrass 57@7: The Music of Pepper Choplin, Joseph M. Martin, and Carol Barnett (DCINY) in Review

Distinguished Concerts International New York (DCINY)
Bluegrass 57@7: The Music of Pepper Choplin, Joseph M. Martin, and Carol Barnett
Distinguished Concerts Singers International, Monroe Crossing, Guest Artists
Stern Auditorium, Carnegie Hall; New York, NY
February 18, 2013
 
Distinguished Concerts International New York (DCINY): Photo credit: DCINY Production/Hiroyuki Ito

Distinguished Concerts International New York (DCINY) : Photo credit: DCINY Production/Hiroyuki Ito

 

In a concert with the title “Bluegrass 57@7” (the 57 referring to 57th Street, the location of Carnegie Hall, and the 7 referring to the 7:00PM start time), Distinguished Concerts International New York (DCINY) presented a program dedicated to the Bluegrass genre and its various sub-genres.  Featuring Bluegrass quintet Monroe Crossing, it had the makings of an interesting and educational evening.

The first half featured the vocal music of composers Pepper Choplin and Joseph M. Martin, with the able support of Monroe Crossing. I do believe the most accurate description of the selections presented would be Bluegrass Gospel. The music was mostly joyful and almost always tonally consonant. Indeed, no dodecaphonists were harmed in the making of this music.  Each composer conducted his own works. Highlights of Mr. Choplin’s pieces were the anthem-like “Circle of Love”, featuring the talented vocalist Emily Drennan, and the electrically-charged energy of “Joy on the Mountain”.  Mr. Martin’s “Coming Home” with soloist Sue Martin’s emotional vocals was touching. Then the ebullient Martin waved Choplin back to the stage, handing him the conductor’s baton as he took to the piano for his own “Great, Great Morning.” It had the feeling of a revival meeting. It brought the first half to an exuberant close.

The second half opened with selections from Monroe Crossing.  Monroe Crossing takes its name as homage to the “father of Bluegrass” Bill Monroe and the fact that his music was the common thread that brought the group together (“we crossed paths through the music of Bill Monroe”). Mandolin player Matt Thompson regaled the audience with stories about the group and its members with both humor and humility. in what was probably a well-rehearsed part of Monroe Crossing’s regular performances.  All showmanship and shtick aside, when this ensemble got down to the business of playing, they showed themselves to be not only committed to the art of Bluegrass, but also possessing some serious “chops” as well. The energy was infectious as they played four signature works.  All four pieces were crowd pleasers, but the last called “Bullet Train” was just pure fun from start to finish, and the audience roared its approval.

The final work on the program, Carol Barnett’s The World Beloved: A Bluegrass Mass, was composed with the talents of Monroe Crossing in mind. Matt Thompson told the audience about the challenges Monroe Crossing faced when first receiving their parts.  Not all Bluegrass musicians read notated music, as the art of Bluegrass is largely improvisatory, so this “jumble of dots” was a challenge that was overcome by having each player learn his part by listening to a recorded version. After much hard work, the parts were mastered, and Monroe Crossing has performed this work about “40 times”, according to Thompson. Composer Carol Barnett stated, “My highest hope is that listeners coming from one tradition, classical or bluegrass (and perhaps dubious about the other), might discover something new and wonderful in the combination”. It was an interesting thought and a worthy goal, but one also might feel that neither classical nor bluegrass enthusiasts would be fully satisfied by the end result.  The work is quite moving in sections, and the addition of Monroe Crossing added color, but it is open to debate how much “Bluegrass” was present amid some of the more sophisticated rhythms. Marisha Chamberlain’s libretto is quite provocative in sections, including an unconventional Credo, the thinly veiled 9/11/01 reference in the third verse of the ballad, and the feminization of God in the Conclusion. Conductor Nancy Menk was charged with the challenge of bringing this interesting concept to life, which she did with marked ability. Any reservations I might have had were of no concern to the audience, who responded with a prolonged standing ovation. The Gloria was repeated as an encore to the delight of the audience.  Ms. Barnett and Ms. Chamberlain joined the conductor on stage for bows.

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by Jeffrey Williams  for New York Concert Review; New York, NY

The Sounds of War and Peace (DCINY): Chapter 2- The Music of Karl Jenkins

Distinguished Concerts International New York (DCINY)
The Sounds of War and Peace: Chapter 2- The Music of Karl Jenkins
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Jonathan Griffith, Music Director; Karl Jenkins, Composer-in-Residence.
Stern Auditorium, Carnegie Hall; New York, NY
January 21, 2013
 
"The Sounds of War and Peace: Chapter 2"

“The Sounds of War and Peace: Chapter 2”

“The Sounds of War and Peace,” a two-evening event begun January 20th, continued on January 21st with Chapter 2 – The music of Karl Jenkins. The United States premiere (and second performance worldwide) of Songs of the Earth was programmed with The Armed Man: A Mass for Peace and its accompanying film (also entitled The Armed Man), and it had the promise of being a fascinating evening.

The Armed Man: A Mass for Peace is probably the most frequently performed work by Karl Jenkins; in fact, it might be one of the most frequently performed works of any contemporary classical composer. Since its premiere in April 2000, The Armed Man has been performed worldwide well over 1000 times – an average of twice a week.  Although I have heard this work on recording countless times and know it well, a live performance of The Armed Man is an experience that never ceases to move me.

The Armed Man is a thirteen-movement work for orchestra, chorus and vocal soloists. Using the 15th century French song L’homme Armé as a starting point, the theme is that the armed man must be feared – an idea that is still with us in the 21st century. Using sections of the Latin Mass, the Bible, The Mahabharata, and words from Kipling, Dryden, Tennyson, Mallory, Swift, Togi Sankichi, and Guy Wilson, this hour-long work is a journey through the preparations for battle, prayers for deliverance, the call to arms, the horrors of the battle, and its aftermath, with the final declaration that “peace is better than always war”.

The accompanying film I have always had mixed feelings about. It was premiered in its current form in Johannesburg, South Africa in September 2007. The images are powerful and often disturbing, as I am sure was the intent, to highlight the horrors of war.  Quoting Jenkins, the film “greatly enhances the musical performances and inevitably leaves the audience emotionally drained, often in tears.”  I understand Jenkins’ viewpoint, but I also believe the music is powerful enough to stand on its own without any imagery.

Conductor Jonathan Griffith knows this work well and his mastery was immediately obvious.  His steady leadership kept everything under control, even deftly tackling a small ensemble problem in the “Better is Peace” movement that could have turned into a disaster. He brought it back on-track almost instantly. The Distinguished Concerts Orchestra played, especially the percussion section, with the fire this work demands. The chorus was well-prepared and a worthy collaborator to the orchestra. It was notable that the sopranos did not crash on the jagged rocks of “Charge!” in which the high A’s have claimed countless victims. Highlights included the cello solo in the Benedictus, and Iman Shamsi Ali in his off-stage Adhaan. The four vocal soloists were all impressive in their roles, limited though they were. My one disappointment was the surprisingly timid brass in the “Charge!” This was a time for them to really come to the fore and it just did not happen. All-in-all, it was a inspired performance that was held the listener from the opening snare drum marching cadence, to the chorus singing the healing words of Revelation 21:4, to end the work.

The Vocal Ensemble Brevis, an all-female choir from Croatia took to the stage to open the second half. Led by Antoaneta Radocaj-Jakovic, they presented works from the Croatian composers Josip Hatze (1879-1959) and Slavko Zlatić (1910-1961).  Hatze’s  Ljuven Sanak  (Sweet Dreams) was especially soothing after the emotionally demanding first half of the concert. Zlatić’s Varijacije na nardonu temu (Variations on a Folk Theme) was an interesting work that deserves to better known.  It was disappointing that the program notes omitted any information about the composers, the pieces, or the ensemble. This excellent assemblage deserved its proper recognition.  As a way to bridge the two large Jenkins works, the ensemble ended with his Adiemus, which they performed with great energy and polish.

While the orchestra and chorus members returned to the stage, Griffith invited Karl Jenkins to the stage to have an impromptu discussion about his new work, Songs of the Earth. Jenkins told the audience that the work came from a commission from the Cultural Olympics. He decided to use the idea of Greek mythology as the basis for the work. Jenkins’ “invented language”, first used in the Adiemus project, was the text for Songs of the Earth. Jenkins explained this gives the composer great flexibility in tone and rhythm in the vocal writing. The six movements were selected because Jenkins found them “musically stimulating” as opposed to following any defined story lines.

Songs of the Earth is an interesting combination of the early Jenkins (Adiemus and the jazz influences from his Soft Machine days) with the larger works, such as The Armed Man, Stabat Mater, and The Peacemakers. The opening movement,” Khaos”, is aptly titled. An improvised saxophone solo plays over the pulsating rhythms of the orchestra and the chorus. It has a primordial quality suggesting the birth of the unformed universe. The second movement, “Gaia: Mother Earth” has the chorus chanting her name over and over in a worshipful manner or ritualistic adoration. “Ouranos and the Heavens”, the third movement, has an ethereal quality, with a singing violin solo and another improvised saxophone solo. The fourth movement, “Dance of the Titans”, with its ever changing meter (one bar 7/8, the next bar 3/4, then the pattern repeats), has a quirky feeling that at times boarders on the grotesque. “Tethys, Goddess of Fountains and Stream”, the fifth movement, has a flowing, water-like feel that the title suggests and features another extended saxophone solo. The final movement, “The Pit of Tartarus” has a relentless driving energy that is strongly akin to the Paradisi Gloria from Jenkins’ own Stabat Mater.

Mr. Jenkins should be pleased at the fine performance of his new work which made it a great success. Congratulations are in order for the chorus from Pennsburry, Pennsylvania (consisting of the High School Concert and Women’s Concert choirs with the Community Chorus), the Distinguished Concerts Orchestra, and conductor Griffith, who combined their considerable talents to make it all come together. Songs of the Earth should take its place with other of Mr. Jenkins’ popular works, and I’m sure his many fans will be looking forward to future performances.

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by Jeffrey Williams  for New York Concert Review; New York, NY

The Sounds of War and Peace (DCINY): Chapter 1 in Review

Distinguished Concerts International New York (DCINY)
The Sounds of War and Peace: Chapter 1
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Francisco J. Núñez, composer/conductor; Jonathan Willcocks, composer/conductor
Stern Auditorium, Carnegie Hall; New York, NY
January 20, 2013
 
DCINY

The Sounds of War and Peace: Chapter 1

 

Distinguished Concerts International New York (DCINY), well-known for themed programs, created a concert series called “The Sounds of War and Peace”.  Over two nights, each “chapter” focuses on music that expresses not only the horrors of war and its aftermath, but also the idea of peace through the idea of multi-cultural understanding and cooperation.  On January 20, 2013, Chapter 1 was performed- the first half “peace”, and after intermission, “war”.

The first half, featuring elementary and middle school-aged performers from Georgia, Connecticut, Texas, Pennsylvania, and Maryland was conducted by the multi-talented Francisco J. Núñez.  Billed in the program as “Music for Future Peacemakers”, it was a selection of works that could be best described as having the qualities of child-like innocence, rather than having any more overt “peace “message. It was more William Blake than Mohandas Gandhi.  Opening with Kayama from Adiemus: Songs of Sanctuary by Karl Jenkins, the night got off to a good start. One of Jenkins’ earlier works, it already incorporates many elements of what could be called his signature sound – an easily sung melody combined with the flavor of diverse multi-cultural influences, especially in percussion and rhythm. The “words” of this piece are invented and are not part of any recognizable language, lending it what the program notes described as a  “tribal” sound.  It was given a joyful performance.  Dôme épais, better known as the “Flower duet”, from Leo Delibes’ Lakmé followed. The soprano and mezzo-soprano soloists (whose names were not mentioned) sang this favorite with polish in an arrangement by Núñez. The chorus was challenged by the some of the upper register sections, not at all surprising considering the age of the performers.  It did seem to be a curious selection that did not really fit in with the other works or the theme of the concert itself. Three Dominican Folk Songs, as arranged by Núñez, captured the essence of nursery songs. From the playful, to the poignant, and even to the mocking, the young performers brought it all to life.  After this whimsy, a more serious selection was in order, and selections from Misa Pequeña Para Niños (A Children’s Mass) fulfilled this. Composed by Núñez in memory of his father, it is a fitting tribute written by a composer who has a great understanding of the limitations and possibilities of the child’s voice.  The three selected movements were rendered with great feeling and in conjunction with the “big sound” of the orchestra elicited from the young performers a collective sound beyond their years.  The remaining selections brought back the spirit of joy and hope. The polyrhythmic clapping in Aaron Siegel’s The Light Come Down was a highlight of the evening and brought the crowd’s roaring approval. Sesere Eeye, complete with hands waving, jumps, and leaning forward, was the signal that the fun was back, which continued in Oye by Jim Papoulis.  Even Núñez got into the act, dancing at the podium while the singers spun around in their own dance, reminiscent of Gustavo Dudamel with the Simón Bolívar Youth Orchestra.  Ending with the anthem-like Give Us Hope from Papoulis, the hearts of the audience were won over completely. It was truly touching to see the smiles and excitement on the faces of the young performers – a memory that will be with them always.

The adults took to the stage for the “war” second half- the Carnegie Hall premier of A Great and Glorious Victory, conducted by the work’s composer Jonathan Willcocks.  This work was commissioned to mark the bicentenary of the Battle of Trafalgar. Scored for tenor soloist, chorus and orchestra mirroring Haydn in his Nelson Mass, the four movements use words from the Latin Requiem Mass, the Book of Common Prayer, and contemporary accounts of the events, including Nelson’s.

This four- movement work not only commemorates the well-known battle and it’s most famous personality, Admiral Nelson, but a much lesser-known event that occurred after the battle. A terrible storm after the battle had finished threatened all the combatants and in the spirit of cooperation and brotherhood, they put their differences aside and aided the others regardless of nationality.

The first movement, Preparation, is a solemn prelude to the coming battle. One can feel the rising tensions as there are prayers for strength and hope of victory. The second, Conflict, has the chorus singing the Dies Irae while the tenor soloist is singing the words of Nelson at the same time.  It was an inspired idea that highlighted the idea of battle.  Eventually, the battle slows and the Lacrymosa quietly ends the movement. Storm, the third movement, featured the tenor soloist singing off-stage (in this case, in the balcony) from the Book of Common Prayer asking for deliverance from the terrible storm. Finally, the last movement, Reconciliation, highlights the ideal of a new peace, where the former enemies cast aside their differences. It ends with the tenor soloist singing off-stage while his voice fades to silence. The composer refers to this movement as the heart of the work.

Willcocks proved to be an effective and engaging conductor, while tenor soloist Daniel Shirley’s voice soared over the large forces with strength and clarity. The DCINY orchestra played with intensity and brought out both the savage and the sublime. The large chorus was well prepared and sang with great fervor and passion.  A Great and Glorious Victory wasn’t composed with DCINY in mind, but it is a work they could make their own.  It was a memorable performance. 

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by Jeffrey Williams  for New York Concert Review; New York, NY

Distinguished Concerts International New York (DCINY) in Review

“Messiah…Refreshed!”
Distinguished Concerts International New York (DCINY): Distinguished Concerts Orchestra, Distinguished Concerts Singers International, Jonathan Griffith, Music Director; Penelope Shumate, soprano; Doris Brunatti, contralto;
Jorge Garza, tenor; Liam Moran, bass.
Avery Fisher Hall; Lincoln Center, New York, NY
November 25, 2012

Written in the space of 24 days in 1741, George Frideric Handel’s Messiah is a work with a storied performance history.  Premiered in Dublin in 1742, it has been a mainstay of the repertoire since. Using a libretto from Charles Jennens, Messiah is the story of Christ’s incarnation, death, and resurrection.

Messiah is no stranger to reworking and revision. Handel himself rearranged and rewrote sections to suit his needs; selections could be added or deleted based on the talents available. Mozart produced a version in 1789 that is still in use today, although nineteenth-century critic Moritz Hauptmann caustically remarked that Mozart’s revisions were “stucco ornaments on a marble temple.”  The controversy has not abated. There have been “sing-a-long” editions and even a rock version performed and recorded. The version performed at today’s concert is generally attributed to Sir Thomas Beecham and Eugene Goossens, although Beecham’s contribution was overstated for many years by his widow.  It was not until the 1990s that Lady Beecham’s claims were refuted; the score was completely Goossens’s work.

Beecham commissioned fellow conductor and composer Goossens to re-orchestrate Messiah to utilize the full forces of the Royal Philharmonic Orchestra. He felt that larger forces were needed to project the sound in increasingly large venues.  Beecham recorded this version in 1959; it is still available on CD today, and it continues to be controversial.  Purists who believe that Handel’s conception should remain true to the original find the Goossens version to be vulgar, while its defenders argue that the greater forces enhance the grandeur of the work.

Make no mistake; this is not your great-grandfather’s Messiah. It is brash, extroverted, and at times bombastic.  It is not Messiah – it is MESSIAH, with double the sound, new and improved, with cymbals and triangle! It is Messiah on steroids, the epitome of the saying “Go big or go home.”  This version is tailor-made for DCINY; an organization that never fails to pull out all the stops in putting on a big show.

Conductor Jonathan Griffith led the orchestra and 200-plus chorus with a sure hand. It would have been easy to lose control of these large forces, but Griffith was up to challenge of delivering the big sound without losing focus on the music itself.  The playing was excellent throughout and the exuberance of the percussionists was a special joy to see and hear. The trumpet playing in Behold, I tell you a mystery was particularly striking in its clarity and beauty of tone.  The chorus was well balanced and strong in its supporting role.

The four soloists had the biggest challenge, to sing their demanding parts while having to project enough to be heard over the large forces behind them. There were moments when each singer was in peril of being drowned out, but happily, they all overcame the dangers and delivered fine performances.  I believe each soloist became stronger and more confident as the performance progressed, as they made adjustments to project their voices.  Soprano Penelope Shumate was confident and assured; There were shepherds abiding in the field was a highlight of her performance. Contralto Doris Brunatti was compelling in her role; Behold, a virgin shall conceive was her best of several excellent solos. Tenor Jorge Garza sang his role with total involvement; one could feel the venom in the word “rebuke” in his solo, Thy rebuke hath broken his heart.  It was his He that dwelleth in heaven, though, that was the highlight of his performance to this listener. Finally, the talented Bass Liam Moran was not to be overshadowed by his fellow soloists. His solo, Why do the nations so furiously rage together?, was the high point of his outstanding singing.

One would be remiss if not making special mention of the Hallelujah chorus. It did not disappoint, delivered in a manner that could be described as over-the-top, complete with young members of the Distinguished Concerts Singers International joining in from the second tier in the audience (in what is becoming a signature feature of DCINY concerts). The audience stood spontaneously as they often do for the Hallelujah, and many could be seen singing along.  At the close, the audience roared its approval for several minutes.  The closing chorus, Worthy is the lamb that was slain, was performed with similar spirit. The excitement built to such a fever pitch that one bass in the chorus jumped in a moment early after a dramatic pause. The work was brought to a rousing close, and the audience responded with five minutes of thunderous applause, eliciting several curtain calls for the soloists and conductor Griffith. It was a well-deserved ovation to a memorable concert. Congratulations to DCINY for yet another winning performance.

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by Jeffrey Williams  for New York Concert Review; New York, NY

“This Shining Night”: The Music of Whitacre and Lauridsen in Review

Presented by DCINY
Distinguished Concerts Singers International
Eric Whitacre, conductor
Stern Auditorium at Carnegie Hall; New York, NY
April 1, 2012
 
This Shining Night: The Music of Lauridsen and Whitacre. Photo Credit: DCINY Production/Richard Termine

This Shining Night: The Music of Lauridsen and Whitacre. Photo Credit: DCINY Production/Richard Termine

 

 

Eric Whitacre conducted amazingly well-prepared choruses in presentations of his music, which ranged from 1992 to the present, and he also conducted two lovely renditions of works by Morten Lauridsen. The singers, mostly students from high school and university choruses throughout the United States, all sang from memory with excellent pitch, diction, balance, phrasing and rhythm, plus complete devotion to each work. The music contrasted from the sublime (most of the works had to do with the night, sleep or dreams) to the ridiculous (Ogden Nash’s texts in “Animal Crackers”), and the full-house at Carnegie Hall seemed captivated by every selection.

The evening began with “Lux Aurumque”, a serene and poignant work with fascinating harmonies. But even more touching and unsettling was the setting to Octavio Paz’s text to “A Boy and a Girl”. By contrast, “Animal Crackers”– in two short volumes–riotously showcased boys singing high falsetto in “The Cow”, and cleverly incorporated familiar strands such as the opening chords of Tchaikovsky’s B-flat Piano Concerto and “Oh Tenenbaum” in the song “The Kangaroo”. Just as catchy was “The Canary”, humorously set to repetitious music on the words “..never varies”. The excellent pianist for the evening was Tali Tadmor. Ogden Nash’s texts are indeed hysterical, but Whitacre’s music added even more to the hilarity. The audience had a blast.

“Five Hebrew Love Songs”, with a fine string quartet at hand, provided a welcome variety within its five settings. It was idiomatic and ethnically authentic, complete with precise tambourine in its dance movement. There was some ragged ensemble (in the male voices) only once in a tricky section. The work entitled “the city and the sea” contained more dense harmonies and even more fascinating counterpoint; the “Little Man in a Hurry” movement was the highlight, with its catchy melisma and mixed meters.“Cloudburst” was as evocative and mystical as “the city and the sea” was invigorating and exuberant. It goes ‘Old World’, with chants in 5ths, but then intersperses modern techniques such as aleatoric writing and minor-second clusters. The sustained voices over the counterpoint sounded sublime. The celestial swells were reminiscent of Ravel’s “Daphnis et Chloe”, and the rattling percussion, plus clapping and snapping sounds provided with unity and confidence by the chorus added to the sensations and imagination.

“Go, Lovely Rose”, Whitacre’s first composition from 1992, contained impressive high solos for tenor and soprano, and they were performed admirably. Harmonically, the piece is more daring than you would think from such an early composition (he was only 21 at the time). “Sleep”, was evocative, atmospheric and beautifully performed by the large chorus; the cloudy harmonies and mysterious atmosphere are reminiscent of “Sirenes” from Debussy’s “Nocturnes” or music from “Neptune” in Holst’s “The Planets”–both for women’s voices and usually sung off stage. Whitacre’s music, even though seemingly inspired by strokes of genius in the late 19th and early 20th centuries, still has much to offer–especially to young people. The concluding, extremely gradual ‘fade-out’ was astounding for its breath control and dynamic color; it disappeared into the night.

Morten Lauridsen’s “Sure on This Shining Night” and “Dirait-on”, based on the text by Ranier Maria Rilke from “Les Roses”, made fitting partners to Whitacre’s “Sleep” music, but instead of being ethereal-sounding like the Whitacre work, Lauridsen’s night music–while sharing similar ideologies–was less mysterious and chromatic and sounded more harmonically open, earthy and lush (an appropriate musical style for settings to poetry like “Les Roses”). Mr. Lauridsen performed at the piano while Mr. Whitacre conducted. Lauridsen’s consistently tender music provided an endearing close to this very impressive program.

The excellent choruses that participated in this successful Carnegie Hall concert were the Desoto Central High School Chorale (MS), Legacy Christian Academy Concert Choir (TX),  Orrville High School Choir (OH), West Monroe High School Choir (LA), Winter Springs High School Chorus (FL), Classical Ensemble and Bel Canto Choirs (CA), Delta State University Chorale (MS), The Lowell Choir (CA), molto cantabile (Switzerland), Olive Branch High School Choir (MS), Ridgeland High School Choir (MS), River Dell High School Select Choir (NJ), and the Rose Choir (NJ). They could not have been better prepared by their directors.

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by Anthony Aibel  for New York Concert Review; New York, NY

DCINY: A Concert of Commemoration Honoring the Tenth Anniversary of 9/11

DCINY: A Concert of Commemoration Honoring the
Tenth Anniversary of 9/11Distinguished Concerts Orchestra International
Distinguished Concerts Singers International
Rene Clausen, Guest Conductor
The Really Big Chorus
Jonathan Griffith, Rehearsal Conductor
Karl Jenkins, Guest Conductor
Avery Fisher Hall
September 11, 2011

DCINY: A Concert of Commemoration Honoring the Tenth Anniversary of 9/11

One of the most extraordinary concerts of the last few years took place at Avery Fisher Hall on September 11th, 2011. In performances presented by DCINY, known as Distinguished Concerts International New York, the audience couldn’t have received a better gift: beautifully performed, inspiring music. The crowd in attendance was so large that the lines of people spiraled around the columns in the lobby of Avery Fisher—everyone waiting to be uplifted, and they were.

Samuel Barber’s familiar “Adagio for Strings,” made even more famous by the war film “Platoon” (1986), was a highly appropriate choice for an opener. Rene Clausen prepared a solid, polished account of the work. The strings played with excellent intonation, the ensemble-playing was crystal clear, and the tempo moved along at just the right pace. The audience was clearly touched by the music and the performance. In Clausen’s own “Memorial,” the harrowing events of 9/11 were presented with a rather literal, vivid picture. For me, it hit a bit too close to home, but it ultimately seemed to win over the audience; the movements were “September Morning”, which was serene and sunny as the day began, “The Attack”, complete with crashing chords, dissonance and chaos, and the lovely “Prayers” and “Petitions” movements. It was this second half of the work that helped put people more at ease. Bradley Ellingboe, the Bass-Baritone soloist, sang with great expression and eloquence. The Distinguished Concerts Orchestra International and Distinguished Concerts Singers International performed with deep conviction and connection to all those in attendance, and as a result, the audience—some of them family members of victims—was riveted at every turn.

After intermission, we heard Karl Jenkins’s “For the Fallen: In Memoriam Alfryn Jenkins” in its US premiere. Only four minutes long, it still made an indelible impression. “Armed Man: A Mass for Peace”—on the other hand—is epic in length (63 minutes) and often had the weight, relevance and spiritual profundity of a Mahler symphony.  Even though they didn’t have a lot to sing, the soloists, Erika Grace Powell, Charlotte Daw Paulsen, Brian Cheney and Bradley Ellingboe, were excellent. The Distinguished Concerts Orchestra International and The Really Big Chorus under Maestro Jenkins sounded lush, resonant and deeply committed.

The afternoon will linger in the hearts and souls of those who were lucky enough to be on hand for this important concert on this commemorative day.

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by Anthony Aibel  for New York Concert Review; New York, NY