Distinguished Concerts International New York (DCINY) presents Celebration and Reflection, Part 2 in Review

Distinguished Concerts International New York (DCINY) presents Celebration and Reflection, Part 2 in Review

Distinguished Concerts International New York (DCINY) presents Celebration and Reflection, Part 2
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Bob Chilcott, conductor; Danielle Talamantes, soprano, Christian Reinert, tenor
René Clausen, conductor
Alice Tully Hall, Lincoln Center; New York, NY
May 26, 2014

 

The Distinguished Concerts International New York (DCINY) presentation of the two-part concert series “Celebration and Reflection” continued with Part 2 on May 26, 2014 at Alice Tully Hall. Headlining this concert was the Requiem by Bob Chilcott, and the World Premiere of Festival Te Deum from René Clausen, with the added dimension of having both composers conducting their own works. The afterglow of Part 1 was still very much with me, and I was hopeful that the high standards would continue in Part 2. With chorus members from California, Georgia, Minnesota, New Jersey, New York, Ohio, Virginia, Italy, Korea, The Netherlands, Spain, and “individuals from around the globe,” there to lend their collective talents, it had the makings of an enjoyable evening.

The first half consisted of the Requiem by Bob Chilcott (b. 1955). Requiem was commissioned for performance in concert with Beethoven’s Mass in C major, and Mr. Chilcott followed Beethoven’s example in using the same orchestration of double woodwinds, trumpet, timpani, and strings. The traditional Latin Mass text was used, but the Dies Irae and Libera me were omitted and in their place, Mr. Chilcott used text from the Book of Common Prayer, “Thou knowest, Lord, the secrets of our hearts.” It was Mr. Chilcott’s stated goal to write a piece that “could be sung by singers of all abilities.” Drawing upon his own extensive experience as a singer and conductor, Mr. Chilcott has succeeded in the realization of his goal. Requiem is gentle and reflective, with accessible harmonic language and effective vocal writing that allows lesser-skilled singers to shine. There are moments of breathtaking beauty, most notably the Lux aeterna, but the entire work is uniformly excellent, in what this listener is now adding to his list of “finds.”

Mr. Chilcott proved himself to be an able conductor, who was completely immersed in the work. One could sense that he was performing the choral parts in tandem with the chorus. Soprano Danielle Talamantes and tenor Christian Reinert were revelations as well in their refined and emotionally powerful performances. The last measures of the Lux aeterna, featuring a soft ascending figure in the upper register, were sung by soprano Danielle Talamantes with a perfect diminuendo al niente, or to complete silence, and a child-like innocence that was exquisitely controlled and crystalline in its clarity. It was as if an angel were ascending into the heavens – a simple, but stunning effect. The audience immediately leapt to their feet to reward the composer with a justly earned ovation.

After a brief intermission, Grammy award-winning composer René Clausen (b. 1953), a DCINY favorite, took the podium. His work, On This Shining Night, using the poem of the same name by James Agee as text, opened the second half in a new arrangement for chorus and orchestra. Colorful and rich in melodic ideas, the scoring of the orchestra with the chorus enhanced the already expansive work, which was given an artistically satisfying performance.

Of his Festival Te Deum, Dr. Clausen writes, “The compositional style of the work can be rather easily classified as neo-Romantic, with straightforward rhythms, harmonic language that does not significantly move beyond traditional tension/resolution, and vocal and instrumental writing that is idiomatic, yet takes full advantage of instrumental and vocal capabilities.” These qualities are a hallmark of Dr. Clausen’s works and the reason why he is a great favorite of choral ensembles of all levels. As the title implies, this is a festive work full of vitality, optimism, and celebration. This listener, already an admirer of Dr. Clausen’s work, was impressed by both the piece and the first-rate performance. Festival Te Deum is yet another example of the gifts Dr. Clausen possesses as a composer, and is a work that is sure to enjoy extensive performances, as it will surely enter the standard repertoire.

As a final reminder of the occasion, An American Hymn by Cecil Effinger, with orchestration by René Clausen, closed the evening. This setting of America, The Beautiful was given a stirring reading, which ended the concert with a splash.

 

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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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