Distinguished Concerts International New York (DCINY) presents Echoes of Deserts and Mountains in Review

Distinguished Concerts International New York (DCINY) presents Echoes of Deserts and Mountains in Review

Distinguished Concerts International New York (DCINY) presents Echoes of Deserts and Mountains
Highlands Youth Ensemble; Jane Deloach Morison, director
Odem High School Wind Ensemble; Steven Rash, director
Colorado Springs Youth Symphony; Gary Nicholson, director
Wajima Wadaiko Toranosuke; Tetsuta Imai; founder/director
Stern Auditorium at Carnegie Hall, New York, NY
June 11, 2016

 

Distinguished Concerts International New York (DCINY) continued their mission of bringing talented young ensembles to Carnegie Hall to give these youngsters the once-in-a-lifetime opportunity to showcase their talents in one of the world’s premiere concert halls. This concert, entitled Echoes of Deserts and Mountains featured the Highlands Youth Ensemble choir from Tennessee, the Odem High School Wind Ensemble from Texas, the Colorado Spring Youth Symphony from Colorado, and Wajima Wadaiko Toranosuke from Japan (!).

The Highlands Youth Ensemble, led by Jane Deloach Morison, opened the night.  They offered five short works, Jubilate Deo by Peter Anglea (b. 1988), O Vos Omnes, an adaption of Lamentations 1:12 (Vulgate) by Pablo Casals (1876-1973), Haec Dies from William Byrd (1540-1623), Psalm 8, as set by Dan Forrest (b. 1978), and Gloria by André Thomas (b. 1952).

The first thing one observed about the Highlands ensemble was that the ratio of women to men was quite high – the young women outnumbered their male counterparts by nearly three to one! Happily, there were very few issues with ensemble balance, and they blended well throughout.  It would have been good if the ensemble had projected more sound – this is something common for small ensembles accustomed to singing at much smaller venues. This concern aside, this ensemble was well prepared and gave highly polished performances.  Highlights for this listener were the energetic Jubilate Deo and the beautiful Psalm 8 (with violinist Natalie Lugo). After the Gloria (with kudos for soloists Sarah Shipp and Brenna Williams), the large audience gave the singers a standing ovation.

After a short pause, the Odem High School Wind Ensemble took the stage. Led by Steven Rash, they offered six works.  John Philip Sousa’s The Fairest of the Fair was their opener.  Written in 1908 for the Boston Food Fair, it has been claimed that Sousa composed this work from inspiration of the memory of a beautiful girl he had seen or met at an earlier fair  – a nice, but factually unsubstantiated story that is still making the rounds (e.g., Wikipedia). It is one of the more melodic and less martial of Sousa’s marches.  There were some instances of less than precise ensemble articulation in the more rapid passages, and the “off to the races” tempo of the final repeat of the trio was bizarre (there is no indication of this in the score); other than these issues, however, it was a solid start.

Next from the Odem ensemble came A Walk in the Morning Sun by Pierre La Plante (b. 1943). It is, according to the composer, “’a tip of the hat’ to Leroy Anderson’s unique style and contribution to American Music.” This is an apt description of this sunny work, which was played with an appropriate light touch. Gustav Holst’s Second Suite in F for Military Band, Op. 28, No.2 (omitting the third movement) followed. There was much to praise here, with still some room to improve.  Just one general observation, and that is playing loudly is too often considered the answer to intonation issues in Holst and shouldn’t be.  A Childhood Remembered by Rossano Galante (b. 1967) was played with assurance, which showed me the potential these youngsters have, and W. Francis McBeth’s 1977 Canto, Op 61 (led by Nathan Williams), was right in the wheelhouse of this ensemble. Ending with the aptly named Imaginarium by Randall D. Standridge (b. 1976), the ensemble let loose and the result was simply unbridled fun. Their many supporters (family and friends) gave them a standing ovation, something these young players will remember forever.

The Colorado Springs Youth Symphony, led by Gary Nicholson took the stage to begin the second half. They opened with a spirited and precise reading of Leonard Bernstein’s Overture to Candide, a much-loved work (and much-performed – this is the third time in three successive concerts I have had the pleasure of hearing this piece). Hopefully the audience members were familiar with this work, as it was listed in the program as being the second work! I shudder at the thought that anyone though that the playful Candide was actually Rimsky-Korsakov’s Russian Easter Festival Overture! About the Rimsky-Korsakov – it was excellently played, with special recognition to the fine soloists. The last work, John Williams’ The Cowboys, an overture constructed from music from his score for the 1972 John Wayne film The Cowboys, was the highlight of their performance. Incidentally, it was written especially for Maestro Williams’ first concert as principal conductor of the Boston Pops. The audience rewarded the Colorado group with an extended standing ovation.

After a short pause, Wajima Wadaiko Toranosuke, led by Tetsuya Imai took the stage. The members of this ensemble consist of youngsters from elementary school through high school age. As the various drums were positioned and the traditionally dressed players took their places, the audience awaited what we would call a demonstration of Taiko drumming.  The term “Taiko” includes a broad range of Japanese percussion instruments. In Japanese, the term refers to any kind of drum, but outside Japan, it is used to refer to any of the various Japanese drums called wadaiko (“Japanese drums“), and to the form of ensemble taiko drumming, more specifically called kumi-daiko (“set of drums”).

The youngsters offered four selections, all of a ceremonial nature. I’m not going to bluff here and claim any special knowledge (that is best left to those who have studied and practiced the art), but it was obvious that this ensemble was top-notch. Movement and stick-work was exquisitely precise, the energy was electric, and the stamina of the players was jaw-dropping. The audience loved it!

To close the concert, Wajima Wadaiko Toransosuke joined with the Colorado Springs Youth Symphony for the New York Premiere of Fantasia for Taiko and Orchestra by Eric Ewazen (b. 1954). This work is a concerto grosso that combines the power of taiko with the tonality of an (western) orchestra. It had all the hallmarks of Mr. Ewazen’s imaginative and all-embracing style, and it was a treat for the eyes as well as the ears. The audience responded with a standing ovation, and Mr. Ewazen took a bow from his balcony seat. Congratulations to all.

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

Distinguished Concerts International New York (DCINY) presents On The Winds of Song in Review

Distinguished Concerts International New York (DCINY) presents On the Winds of Song: An Evening with Mira Costa High School (CA)
Mira Costa High School Wind Ensemble and Symphony Band; Joel Carlson, director
Mira Costa High School Philharmonic and Chamber Orchestras and Symphony Orchestra; Peter Park, director
Stern Auditorium at Carnegie Hall, New York, NY
May 29, 2016

 

Distinguished Concerts International New York (DCINY) continued their presentation of the second of two concerts for the Memorial Day weekend on May 29, 2016 at Stern Auditorium at Carnegie Hall. This concert, entitled On The Winds of Song, featured four ensembles (two bands and two orchestras) from Mira Costa High School in California. I was looking forward to this performance, both from the standpoint of hearing how the West Coast youngsters were going to compare to the excellent Midwest ensembles heard recently and because the program featured some of my favorite works and composers. Being a California native, I will admit I was silently rooting for them, but no free passes were to be issued, lest anyone imagine otherwise.

This reviewer has had the pleasure of hearing many talented young ensembles this year. They have generally followed a similar pattern – some nervousness at the onset (most often intonation and balance issues) that fades as the players settle in. Confidence grows and the playing level follows accordingly, with a strong finish. I can (and do) offer advice on how to deal with these issues. Tonight was different – there was not even a trace of hint of any nervousness whatsoever in any of the four ensembles. My usual litany of suggestions was unneeded, and this was unexpected! These ensembles all came to play, and play did they ever! This suggested to me a level of preparation that I would expect from a college or professional ensemble. For that, one must credit the excellent directors Joel Carlson (bands) and Peter Park (orchestras) – neither one needs my help!

The Wind Ensemble, led by Joel Carlson, took the stage to open the concert. Armenian Dances (Part 1), a rhapsody using four folk songs from the “Father of Armenian Music” Gomidas Vartabed (also known as Komitas) and arranged by Alfred Reed, was a terrific start. Balance, intonation, and articulation were all razor-sharp! The second movement of David Maslanka’s five-movement work Song Book for Flute and Wind Ensemble, with flute soloist Tanner Yamada, followed. The composer writes of this movement subtitled Solvitur Ambulando (It is solved by walking), “there is a centuries-old tradition that good ideas come from walking. It is a practice I have used in my creative work for some years.” It’s no secret that I am a fan of Maslanka’s work, and this is no exception. It is idiomatically written for the flute. Mr. Yamada plays with a maturity beyond his years, with a strong technique coupled with a rich, full-bodied tone. There were no instances of loss of intonation in the extreme high register, no breathiness in sustained notes, and no amorphous articulation in rapid passages. The audience rewarded Mr. Yamada with a standing ovation. When Jesus Wept, as adapted by William Schuman followed. Kudos go to the trumpets for skillful playing of Schuman’s decidedly unidiomatic passages. Eric Whitacre’s Equus was a crowd-pleasing close.

The Symphony Band was up next, and Leonard Bernstein’s Overture to Candide, one of the staples of the band repertoire, was their opener. This work is full of whimsy and subtle sarcasm, which the young players captured in fine style. Old Churches by Michael Colgrass led the listener to imagine himself in an old monastery, and John Phillip Sousa’s Manhattan Beach March was a clever follow-up. Mira Costa High School is in Manhattan Beach, CA, so the latter paid tribute to New York’s Manhattan Beach while drawing its connection to New York. It was played with careful attention to subtle detail that is so often missing when Sousa’s marches are (bombastically) played. The modern classic Havendance, which put composer David Holsinger on the map, ended their selections. It’s one of the most fun works in the band repertoire, but it is demanding and difficult to pull off in performance. I’ve heard a few too many less-than-stellar attempts, but there was nothing to worry about here. Simply put, the Symphony Band “nailed it!” What a great closer it was!

Next up was the Philharmonic and Chamber Orchestras, led by Peter Park. The aptly named Jubilant Overture by Joshua Reznicow opened. Brimming with energy and joy, it is an embodiment of Americana and the fiddling tradition. The large forces blended together effectively, and the articulation and bow-work was some of the best I’ve seen or heard at this age level. Vassily Kalinnikov’s 1891 Serenade for Strings was up next, and the lyric, sometimes melancholy themes were played without being maudlin, a common drawback with less well-prepared and less talented groups. It was the highlight of their selections.

I must express my one true reservation with the evening, and that was the Danza Final from Alberto Ginastera’s Estancia. This all-strings arrangement simply is lacking the machismo that is so important to the spirit. It’s not the fault of the players, but there was not a drop of machismo to be found. Play the full version please! You have the forces and the talents. It would rock the house!

The Symphony Orchestra took the stage for the final segment. Carl Maria Von Weber’s Jubel Overture got things off to a fine start. The World Premiere of Serenade for Strings by Lee Holdridge, which was written especially for the Mira Costa High School Symphony Orchestra, followed the Weber. Dedicated by the composer “to so many friends lost over recent years,” it suggests a nostalgic look at fond memories, with a tinge of sadness, but not despair. The work was played in tribute to Mr. Park’s late father-in-law, Dr. James Cavallaro. Mr. Park was visibly moved by the audience reaction to this work.

After the emotionally charged Serenade, it was time to get to the fun, and Gershwin’s Rhapsody in Blue, featuring alum Brian Zukotynski, fit the bill perfectly. I would have preferred an open-lid piano to the lidless one used, as the sound of the piano goes straight up instead of out, making the pianist’s job of projecting that much more difficult. One must admit that Mr. Zukotynski did a fine job in making himself heard without resorting to pounding.

Clarinet soloist Cameron DeLuca won me over. I’ve heard a lot of players give that famous opening the characteristic “wail”, but this was something special!

Mr. Zukotynski has undoubted talent and an affinity for this work. His interpretation was not “cookie cutter”, but also was not eccentric or affected, like some players feel they must do to “put their mark” on the piece. All the dazzle is “baked in the cake,” and Mr. Zukotynski clearly grasped that concept. With the orchestra’s first-rate support, it was the highlight of the evening, and the ovation was well deserved for both soloist and orchestra.

After the Rhapsody, a charming arrangement of Tico-Tico no Fubá (Sparrow in the cornmeal), made popular by Carmen Miranda, served as a built-in encore that closed the night in a joyful way. The audience loved it and the ovation was loud and long. Congratulations, Mira Costa High School Bands and Orchestras!

 

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

Distinguished Concerts International New York (DCINY) presents The Triumph of Hope in Review

Distinguished Concerts International New York (DCINY) presents The Triumph of Hope
Reno Philharmonic Youth Symphony Orchestra; Jason Alteri, director
West Monroe High School Rebel Choir; Greg A. Oden, director; Kristen Anderson Oden, accompanist
Military Wives Choir; Paul Mealor, composer/conductor; Rob Young, director; Kathy Kenny, accompanist
Stern Auditorium at Carnegie Hall, New York, NY
May 27, 2016

 

To kick off the Memorial Day Weekend, Distinguished Concerts International New York (DCINY) scheduled two concerts to commemorate the occasion. The first, on May 27, 2016, was called The Triumph of Hope and featured the Reno Philharmonic Youth Symphony Orchestra, the West Monroe High School Rebel Choir, and the Military Wives Choir from the United Kingdom.

Taking the stage to begin the concert was the Reno Philharmonic Youth Symphony Orchestra from Reno, Nevada, “The Biggest Little City in the World.” Led by Jason Alteri, the orchestra offered three works, the New York premiere of Solis by Amanda Harberg, a movement of Max Bruch’s Violin Concerto No. 1 in G minor, Op. 26, and the 1919 suite version of Igor Stravinsky’s L’Oiseau de Feu (The Firebird).

Solis opened their set. In the words of the composer, “The title Solis refers to the sun-like brilliance communicated in the work’s climax.” Things got off to a rocky start, particularly some nerve-induced intonation problems in the trumpet solo that opens the piece, but this issue abated as the jitters wore away and the players settled in. Solis is an interesting and effective work that I do hope to hear again. Ms. Harberg was in attendance and appeared to be pleased, so one should take that as a cue.

Violinist Natasha von Bartheld hurried off the stage, only to return in a bright red dress for her featured role as soloist in the Bruch. An abridged arrangement of the Finale’s Allegro Energico was offered. Ms. von Bartheld played with flair and confidence, tackling the technical challenges with apparent ease; this talented young lady has great potential for the future. The razzmatazz is there, but I’d like to hear her project her sound more, which might be helped with a higher-quality instrument. In any case, she can be very proud or her fine work. The orchestral support was excellent, and erased some of the reservations I had had earlier.

Ending with the Stravinsky, all traces of nerves were gone once and for all. I could almost not believe the difference – this was playing brimming with confidence and energy. If I had not known any better, I would have thought I was hearing, at the very least, a college-level ensemble. The audience rewarded the ensemble with a loud ovation. Congratulations, Reno Philharmonic Youth Symphony Orchestra, for a job well done!

The West Monroe High School Rebel Choir from Louisiana, led by Greg A. Oden, took the stage next. There were no notes or texts about their selections included in the printed program, which to this reviewer is an inexplicable and inexcusable omission. It is hardly common knowledge that the text for their first work, Williametta Spencer’s At The Round Earth’s Imagined Corners, comes from John Donne’s Holy Sonnet 7! The hard working young performers deserved better, as this administrative gaffe has an effect on the audience’s understanding and enjoyment of the works. Thankfully, the product was better than the packaging, as this ensemble showed great depth and maturity in their performances. Highlights were Mark Hayes’ Grace, and Moses Hogan’s showstopper Elijah Rock. Special recognition goes to Bailey Young for her solo in Schubert’s Kyrie from the Messe in G, as well as to oboe soloist Paige Freeman and vocal soloists Rhett Finley, Olivia Myers, Kayln Clifton, Caroline Counts, Kelly Cole, Cara Ramos, Jace Cascio, Caleb Norman, and Scott David in Song for The Mira from Allister MacGillivray.

After a short pause, the Military Wives Choir took the stage. Composer/conductor Paul Mealor, himself a rising star in the choral world, told the audience about the history of the organization. Consisting of wives, mothers, sisters, active duty soldiers, and widows, the Military Wives Choir is a means for these women to join together as friends, as mentors, and as a mutual support system for what can be an uncertain and stressful life often overlooked by society in general. As Mr. Mealor stated, The Military Wives Choir now has twenty-six groups throughout the United Kingdom. It would be something beneficial for our own here in the United States.

These ladies are all heart, and it shows immediately. They are giving their all and loving every single moment. The audience was completely won over, and in spite of my best efforts to remain the hard-nosed, emotionless critic, I was won over as well, in about twenty or so seconds. They even made me enjoy U2’s With or Without You, a song I have never cared for at all! Their song set spanned from World War I’s Keep the Home Fires Burning to the World War II classics, The White Cliffs of Dover and We’ll Meet Again, pop and Broadway works, and the World Premiere of Paul Mealor’s This Song of Mine. Each selection held special meaning about war, service, and separation. For a complete list of songs, click here Program Notes.

After the last song, Stronger Together, the audience gave these wonderful women a richly earned and deserved standing ovation. Kudos to the soloists, Beth Joy, Alison Nuttall, Louise Forbes, Kirsty Ann Johnstone, Giselle Fitzsimmons, Joanna Grant, and Larraine Smith. An encore of Stronger Together, with the singers joined arm-in-arm and hand-in-hand, was a fitting close to a wonderful night.

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
From the Midwest to Midtown: The Ann Arbor Pioneer High School Bands and the Edmond North High School Band in Review

From the Midwest to Midtown: The Ann Arbor Pioneer High School Bands and the Edmond North High School Band in Review

Bob Rogers Travel presents The Ann Arbor Pioneer High School Bands (MI) and the Edmond North High School Band (OK)
David Leach, conductor; Brian Cook, conductor
Stern Auditorium at Carnegie Hall, New York, NY
April 28, 2016

 

We have often heard that the state of school music programs throughout the nation is in a sad state of affairs. Budget cuts, fewer students participating, and the shifting focus of schools on test scores are among the many reasons given. Evidently, the music programs in Ann Arbor Pioneer High School and Edmond North High School did not get the memo. These schools were on hand at Carnegie Hall on April 28, 2016 to showcase their talents, the Edmund North High School with their band led by Brian Cook, and the Ann Arbor Pioneer High School with three bands – the Wind Ensemble, the Concert Band, and the Symphony Band – all led by David A. Leach. Both schools sport impressive lists of awards and credentials. Mr. Leach and Mr. Cook are to be congratulated for their building of these school’s music programs into what they are today.

I have written often that I am a big fan of “band” music, and especially the younger players, so I was looking forward to this concert. Lest anyone think that this eternal band geek gives automatic raves, they should consider that I know all the tricks of the trade, that I cannot be fooled or dazzled by effects. Further, my expectations are higher for this very reason.

If I did not know any better, I would think that my earlier reviews of band concerts had been studied. Every one of my suggestions/gripes was accounted for:

  • Balanced instrumentation- i.e. no instrument(s) over-represented in proportion to others – check
  • Single stage seating set-up for all groups instead of shifting chairs after each group – check
  • Seating plan that is correct for the hall acoustic – check
  • Tuning including concert pitch B-flat for brass instruments – check

 

Of course, as much as I would like to take credit for all this, it is all in the playbook of the top-drawer directors that Mr. Leach and Mr. Cook are.

The members of the Ann Arbor Pioneer High School Wind Ensemble took to the stage to open the night. I watched the young players heading toward their seats, filing past a small metal trashcan festooned with stickers. I was wondering if there was some symbolic meaning to this, but that I figured would be cleared up at some point in the evening. They offered a single work, Paul Hindemith’s Symphonic Metamorphosis of Themes by Carl Maria von Weber, as transcribed by Hindemith’s Yale colleague, Keith Wilson. Arguably Hindemith’s most popular work, it is a challenge even for the most polished ensembles. The Wind Ensemble played with poise and confidence beyond their years. Other than a few issues, such as a tendency to push/pull in parts, and some very minor intonation problems in some of the more exposed sections, it was a fine start to the evening.

The Pioneer Concert Band was next, and they offered three works. John Mackey’s Xerxes was the first, a five-and-a-half minute march that paints a fine picture of the ruler’s less than stellar qualities. It is angry and nasty, as the program notes state, roaring throughout like a juggernaut – let one remember that Xerxes burnt Athens to the ground. It is an ingenious work (which one could say of almost everything that John Mackey writes) that was played to the hilt! Introduction and Fantasia, by Rex Mitchell followed, a chance for the players to show their skill in playing lush melodic material, with some spirited passagework interwoven throughout. It can be difficult to reign in the adrenaline, especially after the turbocharged testosterone of Xerxes, but it was accomplished with apparent ease. After this, it was time to fire up the engines again. The final work, Samuel R. Hazo’s Ride, is a musical “Mr. Toad’s Wild Ride,” inspired by Mr. Hazo’s hair-raising attempt to follow his mentor and colleague, the legendary Jack Stamp, to Mr. Stamp’s home via some country roads. Mr. Stamp likes to drive fast! It was a thrilling ride for the listener and a fine end to the first half.

After intermission, the Edmond North High School Band took the stage. Their first work, Abram’s Pursuit, by David Holsinger, was led by associate conductor Mitch Hebert. Abram, is of course, Abraham, who the program notes state was “(the) father of the Jewish nation, and a very close friend of God.” With such a close friend, it was no wonder that Abram was able to arm 318 servants to go liberate his kidnapped son Lot, and go Old Testament on a group of baddies including the kings of Sodom and Gomorrah (and that before his good friend took care of business once and for all). The work lived up to the story line, and the playing was equal to the task as well.

Brian Cook took the podium for October, an early work of Eric Whitacre. While known primarily for his vocal works, Whitacre has written a number of pieces for band. October is lush and romantic in the style of Vaughan Williams, but unmistakably Whitacre in the tonal language. The band played with good intonation, which is vital in Whitacre’s works, given the very close harmonies he is so well-known for employing. Just a little slip here or there can ruin the entire effect of the work. There were no such issues here. Another Samuel Hazo work, Arabesque, was the final selection. Filled with the mystical sounds of Middle Eastern music, it was given a sparkling performance. The audience, including members of the Pioneer Bands that had already performed, gave them a standing ovation, a nice gesture that made quite an impression on me.

The Pioneer Symphony Band took the stage to close the concert. Beginning with Paul Dukas’ fiendishly difficult Fanfare from La Peri for brass was crisp, well balanced, and precisely articulated. I’ve heard professional musicians make a mash of this on several occasions, so I was doubly impressed by the maturity of the playing. It was to be a recurring impression, from the charm of Percy Grainger’s Molly on the Shore, to the suave sophistication of Arturo Márquez’s Danzon No. 2 (made popular by Gustavo Dudamel), to the breathtaking beauty of Morten Lauridsen’s O Magnum Mysterium. Without taking anything away from the preceding ensembles, this was playing that truly was a cut above, and at a level I have rarely encountered. The showstopper Asphalt Cocktail, from John Mackey, was the final work. Quoting the composer, “it aims to capture the grit and aggression that I associate with the time I lived in New York.” The Symphony Band blew the roof off the building in a “no holds barred” performance. A member of the percussion section came to the front and picked up that metal trashcan that had been sitting on stage throughout. He held it up in the air for a moment, something I first thought was some sort of inside salute, but then proceeded to smash it down on a piece of wood on the stage over and over until it was dented. I laughed out loud – it was all part of the piece! When the frenzy all ended, the audience erupted into a standing ovation, one that these young players will remember for a lifetime.

One final thought – I have written on these pages on numerous occasions that I encourage the young ensembles to “go for it,” to set aside the “play it safe” mentality that is the product of playing for festival ratings. The quest for “superior” ratings has made many performances technically polished, but with a lack of personality, a homogeneity of sound that becomes stale upon repeated hearings. I am thrilled to report that these ensembles let loose with some of the most refreshingly brash and exciting playing I have heard at this level, or any level for that matter. There was nothing “safe” about it – I wanted to shout, “This is what I’m talking about!” This alone is what took what was an excellent concert into the truly memorable. Congratulations to all!

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents Misatango 20th Anniversary in Review

Distinguished Concerts International New York (DCINY) presents Misatango 20th Anniversary in Review

Distinguished Concerts International New York (DCINY) presents Misatango 20th Anniversary
Distinguished Concerts Orchestra; Distinguished Concerts Singers International
Martín Palmeri, composer/conductor
Maine Festival Chorus
Richard Nickerson, Robert Westerberg, co-directors; Darrell Morrow, accompanist
Stern Auditorium at Carnegie Hall, New York, NY
April 17, 2016

 

On April 17, 2016, Distinguished Concerts International New York (DCINY) presented a concert to celebrate the 20th anniversary of the composition of Misa A Buenos Aires, more widely known by its subtitle Misatango: A Tango Mass from Argentina. What better way to way to bring in the spring season than with the vibrant, lively sounds of far away Argentina, courtesy of performers from France, Germany, Poland, The Netherlands, Switzerland, and of course, Argentina. Also featured was the Maine Festival Chorus, in what was to be a most enjoyable evening.

The Maine Festival Chorus took the stage for the first half. Led by Co-directors Richard Nickerson and Robert Westerberg, this fine ensemble offered eight works. Mr. Westerberg led the first four works, and Mr. Nickerson, the final four. They wasted no time in announcing their presence in an arresting opener- Williametta Spencer’s At the Rounded Earth’s Imagined Corners. Set to the text of John Donne’s Holy Sonnet 7 of the same name, this work captures the essence of Donne’s shattering words with consummate skill. It’s highly unusual for me to find an opening work as my favorite, but this was far and away the case, in what was simply a first-rate performance. The touching For the Beauty of the Earth by Philip Stopford, and Twilight on the Beach by Andrew Hurst, a musical rendering of the Maine coast, followed. The last of Mr. Westerberg’s set was the joyous Alleluia of Paul Basler, with the added talents of French Horn player Justin Drew. Mr. Nickerson took the baton and opened his portion with Lamentations of Jeremiah by Z. Randall Stroope. This piece reminds one of Carl Orff’s O Fortuna from Carmina Burana with its driving intensity. Jenny by Nick Myers was a heartbreaking song of a lost love that had many in the audience in tears. The poignant Scottish anthem Caledonia by Dougie Maclean (arranged by Richard Nickerson) was lovely. Keith Hampton’s jubilant A Shout of Praise was like a victory lap for this ensemble, and ended their part of the program in triumph.

Some general observations – balance was superb throughout, with a rich sound of middle and lower voices that are often covered by the higher ones. Diction and intonation were spotless. The Maine Festival Chorus is one of the best vocal ensembles I have heard, and I have heard many excellent ones. Congratulations to the singers, and to Mr. Nickerson and Mr. Westerberg!

After intermission, the stage was set for the featured work of the evening, Martín Palmeri’s Misatango. As the three hundred plus singers filed onto the stage, I was thinking back to the January 18, 2015 DCINY performance of this work. I had had my doubts about concept of tango music with the Mass (largely fueled by my earlier hearing of another Mass using non-traditional form that I found to be problematic), but was won over in the end. What was of particular interest for me on this occasion was that the composer himself was to conduct.

As I wrote in January 2015, Misatango is a six-movement work scored for chorus, string orchestra, bandoneón (for this performance there were three bandoneón players), and mezzo-soprano soloist. Quoting Mr. Palmeri, “…my objective in this composition was to maintain the harmonic language, rhythms, melodic designs, and all the characteristics of the tango within the orchestra score, thus allowing the chorus to have the full liberty to ‘just sing the mass.’” It seems to be completely counter-intuitive, but it works, and it works brilliantly. From the quasi-cadenza bandoneón solo that opened the Kyrie to the last note of the serene Agnus Dei, it was passion-plus that captured the hearts of the audience (who broke convention over and over with boisterous applause between movements). As was the case in 2015, the Credo was my favorite, but I also found the Benedictus to be especially beautiful. Of course, all six movements command attention. Soprano Carla Filipcic Holm was a revelation; her voice soared to the heavens with angelic grace, but she also possessed striking power and intensity. Kudos as well to the three bandoneón players, Daniel Binelli, Emmanuel Trifilio, and Rodolfo Marcelo Zanetti.

After the music of the Agnus Dei faded to silence, the audience reacted with a thunderous ovation. Mr. Palmeri then encored a section of the Credo, to the delight of all.

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

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

Distinguished Concerts International New York (DCINY) presents The Music of Christopher Tin in Review

Distinguished Concerts International New York (DCINY) presents The Music of Christopher Tin
Jonathan Griffith, DCINY Artistic Director and Principal Conductor
Distinguished Concerts Orchestra; Distinguished Concerts Singers International
Sydney Guillaume, composer/conductor
Christopher Tin, composer-in-residence
David Geffen Hall at Lincoln Center, New York, NY
April 3, 2016

 

Distinguished Concerts International New York (DCINY) is well known for their large-scale concerts, which they consistently deliver with the utmost skill. Every last detail is meticulously planned and executed in a way that can be an example for any organization. Even so, they still offer several “blockbuster” concerts each year. By my reckoning, there have been two concerts yearly that consistently merit that designation, the annual Music of Karl Jenkins, and the holiday Messiah…Refreshed! It is time to change that number to three, and the honor is accorded to the concert dedicated to the music of Christopher Tin. For the third time, DCINY programmed the music of Mr. Tin in concert, with the Grammy Award winning Calling All Dawns as the featured work. As if that were not enough, a World Premiere of the overture from Flocks a Mile Wide   (a work that Mr. Tin is presently at work on), and works from the pen of choral composer Sydney Guillaume were also in the mix. In the spirit of Rassemblons-Nous, a movement from Calling All Dawns, singers from California, Indiana, Vermont, Washington, Australia, Canada, Germany, Italy, The Netherlands, and “individual singers from around the globe” answered the call, in what was to be a memorable afternoon of music.

For the first time, a DCINY concert was broadcast on the Internet via live stream. This is an exciting new step in reaching out to capture more listeners, and I am hoping it is the first in many more broadcasts. Those who were not in attendance (and those who were) can see and hear this concert through the courtesy of DCINY by visiting their page on Facebook – Watch the Concert.

The first half featured the music of Sydney Guillaume, who was on hand to conduct as well. He offered five works, all written in Haitian Creole, reflecting his proud heritage. Mr. Guillaume is a skilled composer, whose works are filled with spirituality and passion. This was especially evident in the first two selections, the powerful Lesklavaj (Slavery), with the plaintive chant of a tenor soloist amidst the steady strength of the chorus behind him, and the equally powerful Dominus Vobiscum (The Lord be with you).

Mr. Guillaume spoke to the audience about Por Toi, Mère, a work he wrote as a college student after learning of his mother’s cancer diagnosis. He spoke of her remission for a period of ten years, but also that the cancer has now returned, and how she was being treated with chemotherapy and was not well enough to attend this concert. He dedicated this performance to her. I hope she can see the recorded concert – she would be so proud of her son. It is a beautiful work, and it was a beautiful performance.

Kanaval (Carnival) and Tchaka (A stew) were energy packed celebrations, filled with clapping, dancing, and joy. Morgan Zwerlein, Haitian drummer, added even more flavor. It was a happy ending to the half.

After intermission, conductor Jonathan Griffith and Mr. Tim took the stage for an impromptu conversation. Mr. Tin spoke about his in-progress work, Flocks a Mile Wide. Mr. Tin’s works are known for having a unifying theme, and for this work it is about birds, specifically the extinction of bird species. Mr. Griffith informed the audience that a free download of this piece will be available. Click here to get your copy- Free Download. Mr. Tin hopefully is hard at work, as Maestro Griffith has already made mention of a 2018 premiere of Flocks a Mile Wide.

After this brief chat, a representative from Guinness Book came to the stage and presented Mr. Tin of a Guinness World Record title for the first video game music theme to win a Grammy award. This was not the end of the fun, as Maestro Griffith informed the audience that Mr. Tin’s 40th birthday is in May, but that the celebrations for 40th birthdays can be all year long, so with that in mind, he led the orchestra as the chorus and the audience serenaded Mr. Tin with a rousing “Happy Birthday”. Mr. Tin was given a giant-sized birthday card signed by hundred of admirers. Not a bad day at all!

Oh yes, there was still the second half as well. The World Premiere of Flocks a Mile Wide is filled with poignant lyricism. I have mentioned before that Mr. Tin is highly gifted as a melodist, so this comes as no surprise at all. I look forward to hearing the full work.

I have written about the specifics of Calling All Dawns in past reviews, so I leave it to the reader to reference that material by following this link- Calling All Dawns 2013. I know that work well, so I was in the rather infrequent position of “turning the meter off,” so to speak, and sit back and enjoy without having to make notes or other “critic” things. I was very pleased to see that the “’A’ team” was on board – the same core soloists, who can always be counted on to deliver impassioned performances. They are Jacqueline Horner-Kwiatek (mezzo-soprano), Saum Eskandani (tenor), Nominjin (Mongolian singer), Taniya Panda (Indian classical vocalist), Nathalie (Fadista, who evidently is no longer using her last name Pires professionally), Roopa Mahadevan, Shobana Ram, Shiv Subramaniam (Indian classical vocalists), and Jerome Kavanagh (Maori chanter). They were all top-notch (with special kudos to Saum Eskandani, whose supercharged Rassemblons-Nous had the audience cheering for him even after the next movement had begun).

What I find compelling about Calling All Dawns is that each time I hear it, I discover something new, and this deepens my appreciation for this work. I would highly recommend the listener to read the texts of each movement, as it is easy to overlook how carefully chosen and apt they are – Program notes .

I will take the risk of sounding like a broken record when I state that Jonathan Griffith showed his mastery for the nth time. The orchestra was razor-sharp, and the chorus well prepared, with good diction, no mean feat given the many languages used. It was forty-five minutes of superior music making. Watch the video and you will agree!

The audience was caught up in the record book excitement and vied for inclusion into the Guinness Book by offering the loudest and longest standing ovation this reviewer has heard. I hope the Guinness representative took note!

For today’s social media savvy world, I offer this contribution- #TinFTW. Spread the word, tweeters!

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
Lee Walter Associates presents John Hersey High School in Review

Lee Walter Associates presents John Hersey High School in Review

John Hersey High School Symphonic Orchestra, Choral Ensembles, and Symphonic Bands
Sara Michael, choral conductor; Thomas Beckwith, Concert Band conductor
Scott Casagrande; Symphonic Band conductor; Joshua Stewart; Symphonic Orchestra conductor
Stern Auditorium at Carnegie Hall, New York
April 1, 2016

 

Music is alive and well in the Land of Lincoln. For the second time in two weeks, a concert featuring the talents of high school students from the state of Illinois took place on the main stage of Carnegie Hall. The collective programs (choir, band, orchestra) from John Hersey High School had the honors on this date. Interested readers can refer to the prior week’s review for my thoughts about high school music programs- Click here.

Before anything else, I must comment on the duration of this concert, which was (through no fault of the young players) prolonged to the point of becoming exasperating. While I understand the motivation to maximize the once-in-a-lifetime opportunity to pack in as much as possible, I was less enchanted with the revolving door of conductors (eight in all), and the four (yes, four!) long pauses for shifting chairs and stands, by which nearly an hour was added to the concert’s total length. Given an 8pm start time, it was well after 11pm before the final assemblage was on the stage to end this concert. Thankfully the hall was filled with family and friends, because otherwise the exodus of departing souls would have been in the hundreds. I would have preferred the sight of empty chairs and stands with a single set-up to allow continuity and flow, rather than all this fussiness.

(For the sake of completeness, the eight conductors, in order of appearance, were Sara Michael, Ollie Watts Davis, Thomas Beckwith, John Casagrande, Scott Casagrande, Stephen Peterson, Joshua Stewart, and Donald Schleicher.)

Now, with that off my chest, it is time to get to the music. The choral group led off with Randol Bass’ Gloria. Complete with brass choir and percussion, it is a work that showcases the talents of younger and developing performers. Good balance with smart brass playing (reviewer’s note: Thank you for tuning to Bb!) made for an excellent start to the night. No Time (arranged by Susan Brumfield) and Robert’s A. Boyd’s Blessing were both done with sensitivity. The high point was Rest, by V. Michael McKay. With the soaring voice of soprano soloist Ollie Watts Davis (who also conducted), it was a journey of gospel styles that in the words of Dr. Davis, “promises relief and release from besetting conditions that affect soul, body, and spirit.”

The Concert Band (the Junior Varsity to the Varsity Symphonic Band) showed how deep the layers of talent are at John Hersey. A skillful arrangement of Ravel’s Laideronnette, impératrice des pagodes from his Mother Goose Suite (Ma mère l’Oye), by Brian Beck, was played with confidence. My one quibble was that there was a need for slightly more clearly articulated passagework in the woodwinds. Wayne Oquist’s A Solemn Place (a wind arrangement of his vocal work O’ Magnum Mysterium) had remarkable subtlety and depth, and a fun-filled His Honor March by Henry Fillmore ended their selections on a happy note. The Symphonic Band wasted no time in putting their cards on the table with a first-rate performance of Frank Tichelli’s Blue Shades. I could scarcely believe this was a performance by a high school ensemble. These young players made it all seem so easy, but it is assuredly anything but easy! Special kudos to the (uncredited) clarinet soloist. Gershwin’s Catfish Row Scenes from Porgy and Bess, with Dr. Davis returning to the stage as soprano soloist, was another example of how accomplished these young players are. I have heard many young ensembles, but this one was among the very best without a doubt.

I was puzzled by the Chamber Orchestra’s offering of the first two movements of Dmitri Shostakovich’s String Quartet No. 8 in C minor, Op. 110. It came off as some sort of “sampling” (i.e. The DSCH motif and some quotes from earlier works). As there is a complete version for chamber orchestra, it would be preferable to do all five movements or none at all. In any case, one must admit that it was very well played.

The Symphonic Orchestra offered three works – a polished and moving rendition of The Awakening (with the choir) by Joseph Martin, a spirited first movement of Haydn’s Symphony No. 104 (“London”), and a fiercely passionate Carmen Suite No. 1 from Georges Bizet. The latter brought the audience to their feet in a long and loud standing ovation. Howard Hanson’s Song of Democracy, with members of every group filling the stage, ended the long night in triumph. The players and conductors should all be proud, as John Hersey High School has an excellent music program that could be the envy of many schools around the country. Congratulations to all.

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by Jeffrey Williams  for New York Concert Review; New York, NY
Rolling Meadows High School Music Department presents Music from the Land of Lincoln in Review

Rolling Meadows High School Music Department presents Music from the Land of Lincoln in Review

Rolling Meadows High School Music Department in association with Bob Rogers Travel
Rolling Meadows High School Bands, Choirs, and Orchestra
Christopher Butti, Band director; Caitlyn Walsh, Choir director; Patrick Sullen, piano; Kevin Carroll, Orchestra director
Stern Auditorium at Carnegie Hall. New York, NY
March 24, 2016

 

It is no secret to any regular reader of this journal that this reviewer has a particular interest in band performances (“wind ensemble” if you prefer), especially those with young players. On March 24, 2016, at Stern Auditorium at Carnegie Hall, the Rolling Meadows High School Music Department (Band, Orchestra, Choir) from Illinois was on hand to showcase their talents. Watching the young people file onto stage transported me back to those long ago days when I was a youngster, myself, getting ready for concerts. I was especially taken by the sight of one wide-eyed young lady walking out with her hand covering her mouth as if saying to herself, “I’m on the stage of Carnegie Hall!”

A concert with high school players presents a number of challenges to a reviewer – does one adopt a “one size fits all” standard, or does one make allowances for the age and experience level of these performers? It is my belief that constructive criticism, tempered with regard to age, is what is appropriate. I have the utmost respect for high school music directors and the challenges they face, such as the vast range of abilities of the players, the difficulty in maintaining a solid foundation of players when the personnel is constantly changing, too many/too few of particular instruments, finding music that is level appropriate yet sounds sophisticated, and trying to maintain “law and order” with a large number of teens. On the other hand, this does not mean that a wholesale “free pass” is being issued. Intonation, balance, and precise articulation are non-negotiable items.

Leading off was the band, directed by Christopher Butti. I was immediately intrigued by the multi-note tuning (first A, then F), something I have not encountered before. That being said, it has always been my belief that tuning for junior high/high school bands should center on Bb instead, as using A (a notoriously sharp note for Bb Trumpets) has a tendency to bring the overall pitch toward the flat side later. I was curious to see how this was going to work out (or not) in practice.

Let’s get the criticisms out of the way first. The set-up of the instruments was at odds with the acoustics of the hall, which made the percussion section sound much too loud (through no fault of the percussionists), which also “muddied” up some of the rapid passages. Intonation issues occurred throughout, some jarringly severe. There were numerous missed and cracked notes in solo passages. Of course one can factor nerves into the equation, but this is an issue very common with younger players, who mistakenly approach some notes from the bottom up instead of aiming slightly above (which allows the player to “slide down” if necessary, while trying to “pull up” almost always causes cracks or just plain missing of the note).

Now, let’s get on to the many good things. There was much to praise in the overall ensemble playing – the balance (making allowances for the acoustics) was nicely done, individual players showed a lot of talent and promise, and Mr. Butti is to be commended for choosing works that were of a level that was right for his ensemble, and which showed them to the best advantage. I’ve heard too many young groups “crash and burn” on Grade 5 works, when there are so many terrific Grade 4 works that they could really shine in.

The band offered four selections. Phillip Sparke’s Merry-Go-Round is aptly called a mini “Concerto for Band,” with the melody making its way around the instruments. Other than the acoustical issue, it was a playfully fun opener. Selections from John Williams’ Lincoln was given a solid reading. The highlight of their selections was Elements by Brian Balmages. Subtitled Petite Symphony, this four-movement piece (Air, Water, Earth, Fire) is a highly-effective Grade 4 work that these young players put their collective all into, and it showed in a wonderful performance. They ended with a medley of hymns from the five branches of the Armed Forces that earned them a nice ovation.

The choir followed, led by a very animated Caitlyn Walsh. Ms. Walsh had prepared her choir well in what were well-conceived and tight performances. The joy of the South African hymn Siyahamba was clear, and the “spoken chorus” work, Geographical Fugue by Ernst Toch, was well done (though simply a “diversion” according to the composer). The touching Susan Brumfield arrangement of No Time and Joseph Martin’s The Awakening were excellent. Well done, Ms. Walsh and Choir!

After intermission, the orchestra took to the stage, led by Kevin Carroll. Mr. Carroll addressed the audience, thanking them on behalf of himself and his colleagues for their support in making this concert in a “hallowed ground of music” possible. They led off with Aaron Copland’s An Outdoor Overture. Written with young ensembles in mind, this work has all the hallmarks of the Copland style while being within their technical grasp. There were intonation problems in the exposed sections, but the overall effect was good, and the balance issues that vexed me earlier were no longer in evidence (different seating plan!). Percy Grainger’s Irish Tune from County Derry (which most will recognize as “Danny Boy” or Londonderry Air) was wistful, but needed more “lift” from the string players. Selections from the popular musical Chicago followed and was delightful, with the raunchy growls of the trumpets and jazzy elements coming through with panache.

The combined forces joined together for the World Premiere of Fanfare and Fantasia on Illinois, commissioned by and written especially for Rolling Meadows High School, by Don Owens. With quotes from the Illinois State song, the Rolling Meadows High School alma mater song, and other Illinois related themes, it is an effective work that should figure highly in concerts for years to come from Rolling Meadows. The audience filled with family and friends gave their “stars” a standing ovation, a fitting end to a night that these young people will cherish for a lifetime.

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents Mortals & Angels: A Bluegrass Te Deum in Review

Distinguished Concerts International New York (DCINY) presents Mortals & Angels: A Bluegrass Te Deum in Review

Distinguished Concerts International New York (DCINY) presents Mortals & Angels: A Bluegrass Te Deum
Jonathan Griffith, DCINY Artistic Director and Principal conductor
Distinguished Concerts Singers International
Dailey & Vincent, special guests
Jay Disney and Linda Powell, narrators
Luigi Salerni, director
Carol Barnett, DCINY composer-in-residence; Marisha Chamberlain, librettist
Stern Auditorium at Carnegie Hall, New York, NY
January 25, 2016

 

How do you get to Carnegie Hall? Practice, practice, practice? Not this week! “Shovel, shovel, shovel!” quipped Jamie Dailey of Dailey & Vincent, the world-renowned bluegrass group, to the delight of all those in attendance. In the aftermath of what some were calling “Snowmageddon” (or “Snowpocalypse”, if you prefer), Distinguished Concerts International New York (DCINY) presented a concert entitled Mortals and Angels: A Bluegrass Te Deum. The first half was selections from Dailey & Vincent, and the second half was the world premiere of the work for which the concert was named, Mortals and Angels; A Bluegrass Te Deum, a “follow-up” of sorts to composer Carol Barnett and librettist Marisha Chamberlain’s earlier collaboration The World Beloved: A Bluegrass Mass.

As I entered the hall, I noticed that hundreds of white handkerchiefs (with the name of the concert and date printed on them) draped over the seats. I pocketed this concert swag and was sure it was going to be of some use later.

I will admit that I had my doubts about this program beforehand. On a previous program, with the same composer and librettist, I was not entirely convinced that either musical style of the combination, bluegrass or classical, was well served, and I had some reservations about the libretto. Interested readers can follow to link to read more- Bluegrass 57@7 review. In fairness, it should be mentioned that my colleague David LaMarche did not have any such issues when he reviewed the same work in 2014 – Sounds of Americana review. Would I have the same opinion with this new work?

Dailey & Vincent took the stage to open the night. The nine members are Jamie Dailey (vocals/guitar), Darrin Vincent (bass/vocals), Aaron McCune (guitar/vocals), BJ Cherryholmes (fiddle), Bob Mummert (drums), Buddy Hyatt(piano), Jeff Parker( mandolin/vocals), Jessie Baker (banjo), and Shaun Robertson(guitar).”How many of you have heard bluegrass?” asked Jamie Dailey. “Well, you’re gonna hear some now!” he said as the group launched its six-song set. This listener is no bluegrass expert, but he is more than capable of recognizing expert playing and singing. The six selections alternated between fast and slow works, but all offered ample opportunities for these fine musicians to showcase both their individual talents in solo passages and very tight ensemble play.

Jamie Dailey bantered with the audience between numbers, introducing his band mates and telling stories about each. Darrin Vincent introduced Mr. Dailey. Just one fun fact – Shaun Robertson was appearing with the group for the first time, after being discovered on Instagram and being invited to audition for the group! We live in interesting times!

A cover of “Elizabeth”, the Statler Brothers’ hit (for which Dailey & Vincent received a Grammy nomination in 2011) was lovely, and “American Pride”, a patriotic song written by Jamie Dailey, brought the house down. A visibly moved Mr. Dailey humbly accepted the standing ovation. He has a voice that can soar with the best of them!

There was no intermission, but as Dailey & Vincent played on, the stage began to fill with singers dressed entirely in white, soon to be joined on the side of the stage by a much smaller number of very young singers dressed in all black. Conductor Jonathan Griffith took to stage dressed in blue jeans, flannel shirt with bandana, and hat, and took out his hankie and waved it to the audience, signaling the start of Mortals and Angels. Commissioned by the DCINY Premiere Project, Mortals and Angels is a thirteen-movement work that is close to an hour in length. Jay Disney was the spokesperson for the Mortals, who were represented by the children’s choir dressed in black, Dailey & Vincent, and the audience members on the parquet level. Linda Powell was the spokesperson for the Angels- the choir members dressed in all white and the audience members in the upper levels. Mr. Disney gave the “back story” for what was to happen; in short, the “Mortals” were on a fishing vacation and happened to encounter a group of Angels at the same spot (just go with it…). Mr. Disney and Ms. Powell were both “personality plus”, and their playful banter with each other and the audience as they “defended” their sides’ interests was good, clean fun, and added to the theatric quality of the work, though I’m not sure if it was really necessary. Perhaps I’ll leave it at that and let others argue for each side.

The “Mortals” sans Dailey & Vincent were overwhelmingly outnumbered by the “Angels”. I’m still wondering if it was intended for a child’s choir to be “battling” forces seven times their numbers (Mr. Disney made a remark about the 222 singers behind him, as he pointed to the “Angels”). These youngsters gave it all they had, but they were almost completely covered. This is perhaps something that should be considered in future performances.

The text of the work flows with a natural ease, without any agendas (hidden or unhidden), and the music is sincere and without any pretense. This is a winning combination, and with the unique talents of Dailey & Vincent, it was a winning performance. The audience got into the act with the waving of those white handkerchiefs. It was definitely not your typical concert experience, but it was full of raucous joy, something our world today is often lacking.

“We Don’t Stay Afraid for Long” was a favorite, both for the music, and the verse, especially the lines, “Oh, some of us believe in zombies/Some in fairies and elves/Some of believe in angels/And some of us just believe in ourselves.” There’s a lot of wisdom in those words.

So one might ask who won, the Mortals or the Angels? Let’s call it a draw, or better yet, let’s say everyone won, with special credit to Dailey & Vincent, who were the stars not just of this work, but of the entire concert.

 

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

Distinguished Concerts International New York (DCINY) presents The Music of Karl Jenkins in Review

Distinguished Concerts International New York (DCINY) presents The Music of Karl Jenkins
Distinguished Concerts Orchestra; Distinguished Concerts Singers International
Jonathan Griffith, DCINY Artistic Director and Principal Conductor
Karl Jenkins, Composer-in-Residence
Joanie Brittingham, soprano; Katherine Pracht, mezzo-soprano; Peter Scott Drackley, tenor; Michael Scarcelle, baritone; Almedin Jashari; muezzin, Iris Derke, recorder/flute
Stern Auditorium, Carnegie Hall, New York, NY
January 18, 2016

 

In what has become an annual event, Distinguished Concerts International New York (DCINY) presented a concert featuring the music of Karl Jenkins in celebrating the life and work of Martin Luther King, Jr. on the holiday named for Dr. King. The first half was to consist of the Songs of Sanctuary and the Te Deum, with the second half featuring the sixty-five-minute blockbuster The Armed Man: A Mass for Peace. A post –concert event was to follow where one could greet Mr. Jenkins and have a copy of his new autobiography, Still With the Music, signed. With singers from California, Pennsylvania, Canada, France, Germany, Italy, Spain, Switzerland, United Kingdom, and “individual singers from around the globe,” it had the makings of a special night.

Opening the concert was Songs of Sanctuary. This 1995 work was born of a commission from Delta Airlines to compose “something ethnic.” Adiemus was the result, using what the composer called “invented words,” a phonetic approach that allows the listener to focus on the musical content as opposed to the text. Songs of Sanctuary consists of nine pieces (Adiemus, Tintinnabulum, Cantus Inaequalis, Cantus Insolitus, In Caelum Fero, Cantus Iteratus, Amaté adea, Kayama, Hymn), which can be performed as set or individually. From the first moments of the opening of Adiemus, it was clear that the young singers were well prepared and ready to go. I could not help but smile. It was a feeling that would continue throughout the night.

Experienced Jenkins listeners will at once recognize that the melody for Amaté Adea was re-used in his later Stabat Mater in the And the Mother Did Weep movement. Highlights for this listener were the haunting Cantus Insolitus and the exuberant Kayama.

It was a delight to see the young singers on stage having the time of their lives, with faces joyfully beaming. Even the most jaded listener could not help being moved by such a sight. Conductor Jonathan Griffith served as a gentle and patient guide to his young singers with clear directional cues, such as a sweeping movement with his left hand upward when the singers were to “slide up” to the next pitch in a quasi-glissandi effect. One must give kudos to the featured vocal soloists, Joanie Brittingham and Katherine Pracht, who were excellent, and DCINY’s own Iris Derke, who did double duty with lovely recorder and flute solos.

This younger chorus filed off the stage and the Pennsbury High School Choir and Pennsbury Community Chorus from Pennsylvania took their place for the next work, the Te Deum. This 2009 work has five sections (Te Deum laudamus, Te ergo quaesumus, Aeterna fac cum sanctis tuis, Miserere nobis, Te Deum laudamus (reprise)), but is performed without pause between sections. It is a joyous, high-spirited and optimistic work. There were moments when the chorus was obscured by the orchestra, but these were passing instances that one can attribute to the orchestra’s exuberance. With the final words Non confundar in aeternum, the singers thrust their arms in the air. It was a triumphant finish to the first half, and the audience rewarded the performers with a standing ovation.

During the intermission, pictures of Mr. Jenkins and important events in his life were projected on the back wall of the stage as the stage was being prepared for the second half. Singers then began to file onto the stage, indeed so many that about thirty singers “overflowed” to the left of the stage.

In another tradition, Karl Jenkins (or more properly, Sir Karl Jenkins, O.B.E.) joined conductor Jonathan Griffith on stage for an impromptu conversation before the commencement of the second half. Maestro Griffith offered congratulations for Mr. Jenkins’ recent elevation to knighthood and being the very first Welsh composer to be so honored. Mr. Jenkins was asked if there had been any changes in his life as a consequence. “Sometimes it is easier to get a table at a restaurant,” was the reply, much to the amusement of the audience. Mr. Jenkins shared a quip made by Princess Anne, who performed the duties of the knighting- “It seems wrong to have a sword on the man who wrote The Peacemakers.” Maestro Griffith told the audience that The Armed Man had now surpassed 1800 performances since its premiere in 2000, an average of two performances a week, every week, for fifteen years.

I have written about the history of this work previously, so those readers who wish to know more can follow the link to a previous review from 2013- The Sounds of War and Peace, Chapter 2- The Music of Karl Jenkins. Maybe the meaning of the work can be summed up in a quote from the final movement “Better is peace than always war.” As it was in 2013, the accompanying movie (also called The Armed Man) was projected onto the stage back wall.

It is evident that Maestro Griffith has made this work one of his specialties. His approach is confident and assured. Even the synchronization with the images on screen was razor sharp, in a way that was truly breathtaking. This was the master at work!

Even though I have heard this work countless times, I was still struck with the power and emotion of the piece, something that happens with me quite infrequently. Some highlights included the brass rising to the challenge of the Charge! movement with the bold and decisive attacks that this section demands, in a way that missing from the 2013 performance. It made a world of difference to this listener! The Benedictus as well stood out and was especially poignant. The chorus was exceptional from start to finish, and one must recognize the fine soloists (Joanie Brittingham, soprano; Katherine Pracht, mezzo-soprano; Peter Scott Drackley, tenor; Michael Scarcelle, baritone), even if their roles were limited. The audience reacted with a prolonged standing ovation. It was an excellent concert.

Perhaps it is fitting to close this review with words of Dr. Martin Luther King, Jr. as projected onto the screen at intermission: “Darkness cannot drive out darkness. Only light can do that. Hate cannot drive out hate. Only love can do that”.

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