Jeffrey Williams | New York Concert Review, Inc.

Distinguished Concerts International New York (DCINY) presents Requiem for the Living: The Music of Dan Forrest in Review

Distinguished Concerts International New York (DCINY) presents Requiem for the Living: The Music of Dan Forrest

Distinguished Concerts Orchestra; Distinguished Concerts Singers International

Jo-Michael Scheibe, DCINY guest conductor; James M. Meaders, DCINY Associate Artistic Director and conductor

Dan Forrest, DCINY Visiting Composer

Viola Dacus, mezzo-soprano; Tony Burdette, tenor

Stern Auditorium, Carnegie Hall, New York, NY

January 19. 2016

On January 19, 2016, Distinguished Concerts International New York (DCINY) presented a concert at Stern Auditorium at Carnegie Hall featuring the music of Dan Forrest. While Mr. Forrest is a highly regarded choral composer, he is not what one would call a “household name”. It is his work Requiem for the Living that has put his name on the map, so to speak. This piece had its New York premiere at this same venue in a DCINY concert in 2014, at which this reviewer was present. It made such an impression that one can reasonably assume that this success led to the presentation of this concert.

For this event the Distinguished Concerts Singers hailed from South Carolina, Florida, Wyoming, Mississippi, Utah, Texas, California, Indiana, Canada, Oklahoma, Kentucky, and “individual singers from around the globe.” Recalling how I was moved by Requiem for the Living, I was looking forward to hearing more works from this very talented composer.

Conductor Jo- Michael Scheibe took to the stage to conduct Mr. Forrest’s In Paradisum, which opened the concert. It is an approximately thirteen-minute work, which was written a few years before Requiem for the Living. The text uses verses from the Bible (King James version) – Psalm 116:15, John 14:2-3, Revelation 21:4, and Luke 23:43.

In Paradisum opens with a sequence of massive fortissimo chords, in what the composer refers to as “pillar chords.” It is an apt description, as most of the work makes reference to these chords. It was an arresting beginning. Mr. Forrest’s setting of the text brings the potency of the words to life with consummate sensitivity, and his orchestration deepened the impact of each word. One might expect the work to end with the triumphant cry of the last words from Luke 23:43 – “In Paradise” – but Mr. Forrest had different plans. As he explained in his program notes, “eternity calls to the listener from the heavens,” and to illustrate this, the music fades away to complete silence. The effect of the fading to this listener was more one of being returned to Earth after a journey to Heaven, as if one had been shown the glory and brilliant light of the next life in advance, before receding from view. Maestro Scheibe was the “tour guide” par excellence as he led the orchestra and chorus with the sure expertise one would expect from a musician of his credentials.

It was a powerful, moving performance. Even the most ardent non-believers would have pause to reconsider their stance after hearing this majestic work.

Mr. Forrest has an undoubted gift for writing beautiful music. He does not resort to gimmicks or attempt to “reinvent the wheel” musically. His harmonic language is completely tonal, and he eschews needless complexity. The music world is filled with cynics who call such an approach limiting, but nothing could be further from the truth! It is what Mr. Forrest does with this so-called “simplistic” approach that is truly magical. To borrow a current expression, “Haters gonna hate!” This listener appreciates the courage of Mr. Forrest’s conviction in his style with admiration for the skill with which he writes.

The Te Deum followed. Cast in three movements (Praise to the Trinity, Prayers, Praise to Christ), the text comes largely from the Book of Common Prayer, with additions from the Psalms as well. The final movement was this listener’s favorite, with changing meters that heightened the tension before returning to the calm unifying theme. The sublime Psalm of Ascension ended the half.

As previously stated, I had the pleasure of reviewing the New York premiere of Requiem for the Living two years ago. Interested readers can follow the link for more information about the work and my impressions- DCINY Life and Liberty in Review. The first thing that I noticed was the conductor (James M. Meaders) and the mezzo-soprano soloist (Viola Dacus) were the same as last time (and several of the participating choruses as well), so I was especially interested in hearing what their experience was going to bring to this performance. I was pleased that this latest edition exceeded the high bar set by the earlier performance. Maestro Meaders was in full command – Vanitas Vanitatum had even more bite and driving intensity, the Sanctus had a feel of stars twinkling in the night sky, and the Lux aeterna was quite ethereal. Ms. Dacus was every bit as radiant as in 2014, and the luster of her voice in the Agnus Dei was heartbreakingly beautiful. One must also recognize tenor soloist Tony Burdette for a fine job. Using the same formula as in the In Paradisum, the music fades away to nothingness. When Maestro Meaders finally set the baton down after extended silence and slowly turned to the audience, they burst into thunderous applause.

Mr. Forrest joined the performers on the stage and the ovations escalated, continuing for several minutes. He undoubtedly made countless new “believers” in his music, and this listener for one is looking forward to hearing more works from him. Congratulations to the performers and to the composer. It was a memorable night for all.

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

DCINY (Distinguished Concerts International New York) presents Deborah Popham, soprano in Review

DCINY Distinguished Concerts Artists Series presents Deborah Popham

Ben Harris, piano

Weill Hall at Carnegie Hall, New York, NY

December 7, 2015

Distinguished Concerts International New York (DCINY) is renowned for their large-scale concerts featuring artists from around the globe, but what might not be as well known is they also present talented small ensembles and soloists in their Distinguished Artists Series. The latest featured artist in the series was soprano Deborah Popham, who appeared in recital at Weill Hall at Carnegie Hall on December 7, 2015.

For the sake of full disclosure, this reviewer was not present on that date, but was sent an unedited recording of the performance. As I have stated in the past when reviewing recorded concerts, my modus operandi is to listen a single time as if I were present, believing this to be the most objective manner in which to review.

The first thing one notices when viewing the program is that Ms. Popham has selected an eclectic mix of works- the first half consisting of songs from Reynaldo Hahn, Ottorino Respighi, and Sergei Rachmaninoff, the second half consisting exclusively of America composers – Ben Moore, Richard Hundley, Samuel Barber, Irving Fine, and Lee Hoiby. The text for each song was included in the program, with English translations for the Hahn, Respighi, and Rachmaninoff – something that should be a standard, but sadly is rarely done.

Four songs by Reynaldo Hahn opened the program. À Chloris (To Chloris), a song with a Handelian feel about it, provided a lovely opening. One was only occasionally distracted by Ms. Popham’s unusually wide vibrato, which sometimes affected one’s comfort with the pitch. Ms. Popham has a strong voice and a confident approach in the high Romantic works, but one sometimes wanted more delicacy. Quand je fut pris au pavilion (When I was caught in the pavilion) enlivened the mood, while L’enamourée (The Enamored One) – a song with much more Romantic “heart on sleeve” expressiveness, was well suited to Ms. Popham’s expansive style. The set closed with Ms. Popham at her most impassioned in Dans la Nuit (In the Night).

A delightful grouping of Respighi songs from Deità Silvane (Woodland Deities) followed. Highlights were Musica in Horto (Garden Music), which was colorful and exotic, suggesting sounds of little cymbals and flutes, and Acqua (Water), evoking water through tone-painting as Respighi knew so well how to do. The vocal writing exploited the best of Ms. Popham’s upper treble range in phrases that swooned, and Crepusculo (Twilight) captivated with its gentler moments, particularly in the piano part played by Ben Harris. The great forte swells in the vocal part verged on stridency at times, but this is almost an occupational hazard in this repertoire.

The musical language became even more luscious in the Rachmaninoff that followed. Ms. Popham seemed very comfortable with Rachmaninoff’s exquisite vocal writing. The rather early work Ne poj krasavica, pri mne (Do Not Sing, oh Beauty, to Me), Op. 4, No 4, opened this set and was given an outstanding performance by Ms. Popham. Na smert’ chizhika (Spring Waters), Op. 21, No. 8, was also quite beautiful. The extravagant Romanticism of Vesenniye vodi (Death of a Linnet), Op. 14, No. 11, employed some virtuosic writing for the piano, which was well navigated by Mr. Harris, and ended the first half in fine fashion.

A set by American Ben Moore (b. 1960) entitled So Free am I opened the second half. The composer states, “The cycle consists of settings of poems addressing women’s experiences by women authors from various times and cultures,” but also, “To me, this set is not about the oppression of women throughout time, but rather the freedom in being liberated from the ties that bind.” It is really the “ties that bind” which set that theme of liberty in relief. Starting with the exuberant Mutta (by Indian Buddhist nuns) depicting the casting away of restrictions, it was well suited to Ms. Popham’s extroverted temperament. Interlude (text by Amy Lowell) was well sung by Ms. Popham, who captured the shape of the work quite well. Orinda Upon Little Hector Philips (text by Katherine Philips), dealt with the heartbreaking subject of losing one’s child. By this point, one wonders whether the emotional saturation in the program might not have been a case of diminishing returns. Perhaps each song like a gem might have shone more brightly with a bit of black velvet behind it. That said, some relief came in the form of Nervous Prostration (text by Anna Wickham). The Poem as Mask: Orpheus (text by Muriel Rukeyser) was the least effective of this set, through no fault of Ms. Popham. Mettika, a very beautiful setting to a text about growing weak and tired, seemed not a specifically feminine subject, but one of universal appeal. Closing with the words “over my spirit blows the breath of liberty” the spirit of the opening exuberance of the cycle was recaptured.

The last set of songs all centered on the theme of animals, an entertaining idea that was to serve to lighten the mood. Ms. Popham showed a playful, whimsical side, “letting her hair down,” so to speak. It was the musical equivalent perhaps of a “victory lap”, as Ms. Popham had tackled this ambitious program with complete success, and was going to enjoy herself. Suffolk Owl by Richard Hundley (b. 1931) kicked off the fun, followed by Samuel Barber’s much-loved A Monk and His Cat. The Frog and the Snake (text by Gertrude Norman) by Irving Fine (1914-1962) was brimming with humor, and The Serpent (text by Theodore Roethke) from Lee Hoiby (1926-2011) ended the half and the concert in winning style. The audience gave Ms. Popham loud and prolonged applause.

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

Avalon String Quartet in Review

Northern Illinois University presents the Avalon String Quartet

Blaise Magnière, violin; Marie Wang, violin; Anthony Devroye, viola; Cheng-Hou Lee, cello

Weill Hall at Carnegie Hall, New York, NY

December 9, 2015

On December 9, 2015, Northern Illinois University presented the Avalon String Quartet at Weill Hall at Carnegie Hall in a program of works by Benjamin Britten, Mieczyslaw Weinberg, and Beethoven’s Op. 130, with the original Große Fuge finale. It was to prove to be a richly rewarding experience.

The Avalon’s members are Blaise Magnière (violin), Marie Wang (violin), Anthony Devroye (viola), and Cheng-Hou Lee (cello). They took to the stage and opened the concert with Three Divertimenti (a work originally intended to be a five-movement work based on a line from Shakespeare’s The Winter’s Tale) from Benjamin Britten (1913-1976). The work is without opus number, and the program notes state that after a poorly received performance, Britten shelved the work, and it was not performed again in his lifetime. Only the Burlesque is up the standards of Britten’s mature work, the March and Waltz being the products of a talented, but still developing, composer. This is not to disparage the attentive and lively reading from the Avalon – one can even commend them for bringing this work from one the giants of the 20th century to the public – but this work is really more of the curiosity sort.

The String Quartet No. 6 in E minor, Op. 35 (1946), from Polish-born Soviet composer Mieczyslaw Weinberg (1919-1996), followed the Britten. The program notes describe the work as “experimental in form,” having “moments of craziness” and state this work was never performed in Weinberg’s lifetime (it was premiered in 2007). How “experimental” and “crazy” it actually is is a matter of opinion (one that I disagree with on both counts), but one can make the case that the artistic environment in the Soviet Union at the time (particularly the infamous Zhdanov decree in 1948) made anything “experimental” extremely dangerous to the “offending composer.” Add to this Weinberg’s personal situation, being under scrutiny of the authorities (he was the son-in-law of Solomon Mikhoels, who was murdered in 1948 on Stalin’s orders), and later arrested in the “Doctors’ Plot,” Stalin’s last purge before his death. After the danger had passed, Weinberg had probably moved on (he was an extremely prolific composer) and the quartet forgotten. This six movement work clocks in at about thirty minutes, and proved to be a real revelation. It is a work that shows complete mastery of form, is filled with excitement, has interesting harmonic language and poignant melodies, and tests the technical abilities of the players to the maximum. I enjoyed it from start to finish, and I believe the Avalon has the opportunity to set the performance standard for this fine work. If tonight’s performance was any indication, the bar has been set very high. It ended the half in great style.

What immediately made a favorable impression to this listener (and viewer!), was the lack of excessive movement of the players as they played. I have written in the past how much I dislike the sight of watching four people writhing about on stage like fish out of water, and how such histrionics detract from my enjoyment of the music. The players have a certain rapport and no one player outshines the other- a true ensemble. The Avalon is all about the music- their passion comes through in the sound, as it should be!

After the intermission, it was time for the centerpiece of the night, Beethoven’s String Quartet No. 13 in B-flat major, Op. 130, with the Große Fuge, Op. 133. The program notes give an excellent music analysis, one that musicians would appreciate in its detail, but there was nothing to say about why Beethoven wrote an alternate finale and published the Große Fuge as a separate work, other than “upon reconsideration,” which suggested Beethoven was unhappy his original finale. Nothing could be further from the truth! Why Beethoven agreed to his publisher’s request for an alternate finale will never be known for certain, but the most plausible theory was for the need for money (which for Beethoven was always in short supply).

What continues to be remarkable about this work is that it sounds much more “modern” than many works written more than a hundred years later, a testament to Beethoven’s visionary genius. The six movements have no readily discernible commonality, but it nonetheless all “works”. The question was to how the Avalon would handle one of the most famous works in the repertoire, with a rich performance history from some of the most notable string quartets throughout the ages. The answer was “very well indeed!” The first four movements were excellent, but the fifth movement, the Cavatina, was especially moving in the hands of these wonderful players. The Avalon saved their very best for last. The Große Fuge was played with a ferocious intensity, but without the stridency that often mars so many performances. The Avalon was in complete command, confident and assured, as they negotiated the demands of this tour de force with an apparent ease that belied the extreme difficulty. It would stand up to comparison to any other ensemble. The audience gave the players a prolonged standing ovation.

The Avalon String Quartet is a fine ensemble, and one that all true lovers of chamber music should hear. I do hope to hear them again.

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

Distinguished Concerts International New York (DCINY) presents “Messiah…Refreshed!” in Review

Distinguished Concerts International New York (DCINY) presents “Messiah…Refreshed!”

Distinguished Concerts Orchestra, Distinguished Concerts Singers International

Jonathan Griffith, Music Director

Diana McVey, soprano; Claudia Chapa, mezzo-soprano; John McVeigh, tenor; Christopher Job, bass.

Stern Auditorium, Carnegie Hall, New York, NY

November 29, 2015

‘Tis the season! The post-Thanksgiving “holiday season” is here, with talk of “Black Friday” and “Cyber Monday”, and a never-ending stream of enticements for eager shoppers. In the backdrop of this commercial madness, Distinguished Concerts International New York (DCINY) offered their own enticement to music lovers, their 5^th anniversary performance of George Frideric Handel’s Messiah, in what they call “Messiah…Refreshed!” Using the 1959 Eugene Goossens re-orchestration for full symphony orchestra and with chorus members from Colorado, Florida, Georgia, Kansas, New York, Tennessee, Washington, Brazil, Canada, France, Guatemala, Hong Kong, Russia, United Arab Emirates, and “individual singers from around the globe,” the mood was set for what was to be a special afternoon.

I had the pleasure of reviewing the second anniversary of Messiah… Refreshed! in 2012. I will not repeat the historical background of the work and this particular version here; however, the interested reader can follow the link to read what I had written in 2012- Messiah 2012. What was to be of particular interest to me for this concert was the following: 1) How would the soloists fare with such large forces behind them? 2) How would the 2015 performance compare to the 2012?

Jonathan Griffith took the stage and led this mighty assemblage with the practiced assurance that I have come to take for granted from this fine musician. Maestro Griffith never resorts to any histrionics, but one can see how hard he is working at the podium and how much he brings out of his performers. From the clear direction he gives to the orchestra to the sure hand with which he guides the chorus, his expertise is always in evidence in what is not at all an easy task.

DCINY Messiah … Refreshed!

Let’s answer the second question first. What was apparent to me was the greater restraint shown by the percussionists, as opposed to the much more extroverted 2012 edition. The orchestra playing was polished, exuberant without excessive bombast, and showed that continued performances of this work are sure to show continued deepening. It was still “big” without being “big and clumsy.” It should be interesting to follow the continued evolution of future Messiah performances from DCINY.

The vocal soloists were more than equal to the dual challenge of dealing with their extremely demanding parts while projecting above and through the wall of sound behind them. Soprano Diana McVey, who was announced as a last-minute substitute, deserves bonus kudos. Rejoice greatly, O daughter of Zion was the highlight of her solos. Mezzo-soprano Claudia Chapa probably had the most difficult task, as her range often finds itself swallowed by the large forces in the orchestra, but she projected well throughout. She wrung every drop of despair out of He was despised, in what was the highlight of her solos. Tenor John McVeigh’s voice soared throughout with complete assurance. It is not easy to single out one solo for special mention, but Behold, and see if there be any sorrow, was my favorite. Bass Christopher Job was a powerhouse. His Why do the nations so furiously rage together? showed his skill to great advantage.

The chorus was well prepared, and their diction was remarkable, especially when considering that English was likely not the first language of a large number of the chorus members.

One cannot speak about Messiah without mention of the Hallelujah chorus. This listener has been to many DCINY concerts, so I knew very well what was to come. Both second and third tiers were filled with singers, ready to rise on cue. Yes, I knew that that was coming, and when it was to occur – and yet when it did, I was still floored! The magnificent sound of over 400 voices filling the hall as the audience stood (many of those in the audience singing along) washed away my most stubborn attempts to be jaded. Over the top? Perhaps. Thrilling? Absolutely! The audience must have felt likewise, as the thunderous applause at the end of the chorus continued for several minutes.

What follows this is almost an anti-climax, yet the final chorus Worthy is the Lamb that was slain was also given the grand treatment. This time it was the audience that got caught in the excitement and began to applaud at the grand pause that precedes the extended “Amen” from the chorus. The Amen was a glorious ending to a glorious performance. The audience applause was immediate in what quickly became a thunderous ovation. Congratulations to all for a truly uplifting concert experience.

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

Distinguished Concerts International New York (DCINY) presents Triptych: A World Without End in Review

Distinguished Concerts International New York (DCINY) presents Triptych: A World Without End

Distinguished Concert Singers International; Fullerton Chamber Orchestra

Alicia W. Walker, Robert Istad, DCINY Debut Conductors; Kimo Furumoto, director; Tarik O’Regan, DCINY Composer-in-Residence

Stern Auditorium at Carnegie Hall, New York, NY

November 15, 2015

Distinguished Concerts International New York (DCINY) is an organization that has made it a mission to bring to the public music of the immortal masters together with works by talented contemporary composers. In a concert entitled Triptych: A World Without End, works by Mozart, Haydn, Stravinsky, and Bartók were paired with those of Daniel Elder and Tarik O’Regan. Featuring singers from California, Missouri, New Jersey, New York, South Carolina, and others from throughout the United States, in addition to the Fullerton Chamber Orchestra of Fullerton, California, it was to prove to be yet another DCINY success.

Before the concert, an announcement was made in which audience was asked to observe a moment of silent reflection in response to the horrific terrorist attacks in Paris on the evening of November 13^th. A quotation from Leonard Bernstein was apt: “This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before.”

DCINY Debut Conductor Alicia W. Walker took the podium and led a fine performance of Mozart’s Missa Brevis, K. 192. The playing was crisp and bright, and the chorus was well-balanced, singing with precise diction. Special mention goes to soprano Tina Stallard, mezzo-soprano Janet Hopkins, tenor Walter Cuttino, and bass Jacob Will, for their admirable work both as soloists and in ensemble with each other. It was an auspicious start to the afternoon.

A World Without End by Daniel Elder (b.1986) in its World Premiere for Chamber Orchestra followed the Mozart. Employing the English translation of the Te Deum from the 1549 Book of Common Prayer for its text, it is scored for chorus and brass sextet (2 trumpets, 2 trombones, horn, tuba), with organ and percussion, a compelling instrumentation. It is a work that mixes the old with the new, the old being, according to the composer, the more “taut” and “principled” writing for the brass, while the new is the freely composed, harmonically and rhythmically modern vocal writing. Kudos go to the brass players, who, by some regrettable omission, were not credited in the program. Their playing was incisive and often arresting. This reviewer (and brass player) enjoyed it immensely. The large chorus was well prepared and their ensemble was strong throughout. Dr. Walker is to be congratulated for the skill in which she led this piece; it was a persuasive performance of a remarkable work.

After intermission, Kimo Furumoto bounded on the stage to lead the Fullerton Chamber Orchestra. An animated conductor, Mr. Furumoto radiated his energy to the ensemble, which responded in kind in delightful performances of works by Haydn (the Overture from Armida), Stravinsky (Eight Instrumental Miniatures, arrangements of “five-finger” piano pieces Stravinsky wrote for budding pianists), and Bartók (Román népi táncok – Romanian Folk Dances). The wind players shone particularly in the Stravinsky, with nimble playing in the demanding passagework, tossed off with ease. After the last note of the Bartók, the string players all held their bows in the air as if suspended in time, until Mr. Furumoto lowered his baton, much to the delight of the audience.

After a short pause, Robert Istad took the podium to conduct the final two works of the afternoon by Tarik O’Regan (b. 1978), The Ecstasies Above, and Triptych. The Ecstasies Above uses text from Edgar Allan Poe’s poem Israfel, about an angel briefly mentioned in the Qur’an, a four-winged master musician whose stance reaches from the earth to the pillars of the heavens. It is highly complex work, scored for two vocal quartets representing, according to the composer, the songs of the angel, a string quartet representing Israfel’s heart constructed of lute strings, and a chorus representing the song of the stars. It is not an easy work to grasp on a single hearing, but nonetheless packs a powerful emotional punch. To quote an audience member seated directly in front of me, “It makes me want to cry, it’s just so beautiful.” This simple statement means more than any complicated musical analysis, and one with which I am in complete agreement. Dr. Istad was an able leader in conveying the power of Mr. O’Regan’s work.

Triptych was originally two separate works (the first consisting of one movement) commissioned for two separate choirs a year apart from each other. The works were joined together in 2005 to become Triptych. The three movements, Threnody, As We Remember Them, and From Heaven Distilled a Clemency, focus on the ways we perceive death. Mr. O’Regan has chosen eclectic texts for his work, William Penn, Muhammad Rajab Al-Bayoumi, William Blake, and Psalm 133 from the 1611 King James Version of the Holy Bible for the Threnody, Roland Gittlesohn for As We Remember Them (with a short epilogue from John Milton), and Rumi, William Wordsworth, 9th century Indian Bundahisin, and Thomas Hardy for the From Heaven Distilled a Clemency.

Threnody opens with the chorus alone, but launches into highly charged and pulsating writing, with the text presented in what the composer calls “collage style.” As We Remember Them is heartbreakingly poignant, especially the “call and answer” between the soprano soloist, Kathryn Lillich, and the chorus. From Heaven Distilled a Clemency is full of energy and drive, culminating in the declaration of the closing text from Rumi “Why then should I be afraid? I shall die once again as an angel blast.” These words end the work in triumph. The audience was visibly moved, and many had tears in the eyes as they rose in a standing ovation. It was a powerful end to an outstanding concert. Mr. O’Regan came to the stage and had to be prodded by Dr. Istad to take a bow, appearing to be somewhat embarrassed by the acclaim.

Congratulations to all the performers. In a world of madness, even if for only a few hours, music triumphed. Lenny would have been proud.

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

Distinguished Concerts International New York (DCINY) presents True Concord Voices and Orchestra in Review

Distinguished Concerts International New York (DCINY) presents True Concord Voices and Orchestra

True Concord Voices and Orchestra; Eric Holtan, music director and conductor

Alice Tully Hall at Lincoln Center, New York, NY

September 11, 2015

September 11, 2001 is a day that will be forever etched in the minds of those who were witness to its horrors. On the 14^th anniversary of 9/11, Distinguished Concerts International New York (DCINY) presented a concert in remembrance, featuring the True Concord Voices and Orchestra. The program consisted of two works, Mozart’s Requiem, K. 626, and the New York Premiere of Prayers and Remembrances by American composer Stephen Paulus (1949-2014).

True Concord Voices and Orchestra hail from Tucson, Arizona. Founded in 2004, their original name was the Tucson Chamber Artists. On their name change in 2015, music director Eric Holtan explained that, “The original 14^th century meaning of concord is ‘hearts together.’ Shakespeare later described the emotional impact of music as ‘true concord’- something we strive to achieve among composers, performers, and listeners.”

True Concord Voices and Orchestra — Photo Credit: Nan Melville Photography/DCINY Production.

Mr. Holtan took to the stage to lead the ensemble in Mozart’s Requiem. The story behind the creation of this masterpiece is so well known that the program had no notes at all, save for a “completed by Süssmayr” designation. I leave it for the reader to do his own investigations if he wishes to learn more. Mr. Holtan led a skillful, highly polished performance. It was at once obvious that these musicians brought considerable talents to this work, and had refined their interpretation from continued performances. The relatively small forces of this ensemble lent a sense of intimacy and immediacy, in contrast with the bombast of some performances by larger forces. It was a sound on a scale that I was unaccustomed to hearing, but one I found to be compelling in its nuance. Special mention must be made of the Tuba Mirum’s excellent trombone soloist, who played with amazing clarity and tone, and to the vocal soloists, soprano Megan Chartrand, mezzo-soprano Margaret Lias, tenor Charles Blandy, and bass Paul Max Tipton, for their excellent work. What was especially gratifying was that each soloist was a member of the chorus, and not a “special guest” recruited for the performance. When it was all over, the large audience shouted their approval in a way one does not expect for this work – a clear indication that the many friends and supporters of the True Concord Voices and Orchestra were in attendance to support them. It was a well-earned and justifiable reaction.

After intermission, Mr. Holtan returned to the stage. He shared with the audience the story behind the commissioning of Prayers and Remembrances, and how closely Stephen Paulus worked with the ensemble in the recording of this work in 2013. Tragically, Mr. Paulus suffered a massive stroke six weeks after the recording and never recovered (Mr. Paulus passed away on October 19, 2014). The loss to music was immeasurable, but we can be grateful for the hundreds of works Mr. Paulus created.

Prayers and Remembrances is a seven-movement work, each movement using carefully selected poems, both secular and non-secular, that all touched on the concept of grief, but also recovery and spirituality in living. Quoting Mr. Paulus, “My concern was to write a work that would not only honor the 9/11 tragedy and all those who perished, but also one that would address the memories, the grieving and the recovery for anyone dealing with a circumstance in which loved ones had perished.” The scoring is similar to that of the Mozart, with the addition of flute, oboe, horns, harp, and percussion (with the clear idea of being paired in performance with the Mozart). The music is tonal, with harmonic language that is familiar sounding, yet somehow distinct without resorting to cheap effects. The melodies are often poignant and moving, but never lapsing into mawkish sentimentality. The addition of the extra percussion added a layer of dramatic tension that deepened the already compelling musical effect.

Mr. Holtan led with total commitment, his gestures seemingly coaxing the utmost from his ensemble in a performance that held this listener’s complete attention for the work’s entire thirty-five plus minutes. I would love to talk extensively about all seven movements, but I will just mention the fifth movement, In Beauty It Walks, with text from Traditional Navaho Prayer, as my favorite. The simple but moving text is set with consummate skill, and the orchestral writing has a radiance that shines upon the vocal with powerful effect. It is a shame that Mr. Paulus was not with us this night, as I am sure he would have been pleased with the results. Prayers and Remembrances is an outstanding work, and it should be a centerpiece at any 9/11 memorial concert, or any concert for that matter. As with the Mozart, featured vocal soloists were also members of the chorus, a different set of four this time. Congratulations go to soprano Margot Rood, alto Emily Marvosh, tenor Patrick Muehleise, and bass David Farwig, for matching the high standards of their colleagues from the first half. The very quiet ending was something the audience was not expecting, but once the last sounds faded away, they reacted with an increasing amount of applause, as if each second made them realize what a unique work they had just heard.

For those who were not in attendance, but are interested in hearing Prayers and Remembrance, the recording that Mr. Holtan spoke about has been released. Called Far in the Heavens – Choral Music of Stephen Paulus, (Reference Recordings FR-716– click on the link for more information), it also features other works by Mr. Paulus that are equally worthy of attention.

Congratulations to the True Concord Voices and Orchestra for living up to the ideals of their name and for the wonderful performance.

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

Distinguished Concerts International New York (DCINY) presents Future Vibrations in Review

Distinguished Concerts International New York (DCINY) presents Future Vibrations

The Central Oregon Youth Orchestra, Amy Goeser Kolb, founder/executive director; Julia Bastuscheck, Eddy Robinson, directors

Vancouver Pops Orchestra, Tom Kuo, director

Distinguished Concerts Singers International, Francisco Núñez, guest conductor; Jon Holden Piano

Stern Auditorium at Carnegie Hall, New York, NY

June 14, 2015

On June 14, 2015 at Stern Auditorium at Carnegie Hall, Distinguished Concerts International New York (DCINY) presented a concert called Future Vibrations, featuring two youth orchestras and a choir consisting solely of treble voices from Florida, New Jersey, New York, and Ohio. I am always very interested in hearing young people display their musical talents, so I was looking forward to this afternoon’s concert.

Opening the concert was The Central Oregon Youth Orchestra. Before mentioning anything else, I want credit the members of the orchestra wrote the program notes for the works they played. Full of youthful enthusiasm, they coupled some personal thoughts with history and background, making these notes a delight to read. Congratulations to Nathan Hughes, Reagan Lithgow, Gabrielle Sarao, Isaac Spackman, and Alyssa Clark for a job well done!

Conductor Julia Bastuscheck took the podium and led a spirited, if not altogether tight performance of An American in Paris. Maybe it was nervousness, but the intonation was at times lacking, and there was a feeling of the ensemble struggling to be in synch. After a shift of the violinists (in what was to occur after each work, seemingly to give different players the opportunity of occupying the coveted concertmaster chair) conductor Eddy Robinson took the podium for the next three works, the Bacchanale from Saint-Saëns’ opera Samson et Deliah, the New York premiere of DCINY favorite Christopher Tin’s Iza Ngomso, an orchestra-only arrangement of a movement from A Drop That Contained the Sea, and a short version of Tchaikovsky’s 1812 Overture. The Bacchanale was the highlight of Mr. Robinson’s work with the orchestra- it was played impressively with a well-defined sense of the nature of the piece itself. Iza Ngomso and 1812 were given solid readings.

Ms. Bastuscheck returned to conduct the last work, the Pines of the Appian Way, from Respighi’s Pines of Rome. The slow build-up was done well, with special mention going to the oboe soloist, whose playing was simply outstanding, easily up to the standard of many professional players. What would have made this good performance great would have been more vigor in the triumphant last section (I want to hear that gong loud and clear- I saw it struck, but never heard it). After the last chord, their many supporters in the audience gave them a loud standing ovation. After the intermission, a large number of the members of the orchestra were seated all around me. I witnessed countless proud parents and friends coming to hug their star with beaming smiles in congratulations. These young players were having the time of their lives, and it was touching to see all of this unfold. This is a group filled with many talented individuals, as was evidenced by the high level of playing from the soloists, but there is still room for elevating the level of the entire ensemble. More consistency in intonation, both within sections and the entire ensemble, a little more boldness from the strings, and a little less of the same from the brass will make all the difference.

After a short break, the Vancouver Pops Orchestra took the stage. Led by Tom Kuo, they offered four medleys from the hit movies My Neighbor Totoro, How to Train Your Dragon, Star Trek: Into Darkness, and Aladdin. Mr. Kuo was a dynamic leader, and the orchestra responded well to his direction in four polished performances. There were fleeting issues with intonation, but these issues never became a distraction. The highlight of their selections was Star Trek, which was played enterprisingly (no pun intended…well, maybe a little pun intended!). The program notes stated the Pops was dedicating the performance to the late Leonard Nimoy, and I suspect that Mr. Spock would have found the presentation to be “most logical.” After the last notes of the delightful Aladdin, the large audience gave them a well-earned standing ovation for their outstanding playing.

After intermission, the multi-talented composer and conductor Francisco Núñez led the 119-member strong Distinguished Concerts International Singers, which consisted of only treble range voices. They offered selections from Mozart (Papageno-Papagena duet from The Magic Flute), Jim Papoulis (Sih’r Khalaq – Creative Magic), and three of Mr. Núñez’s own works, Misa Pequeña para Niños (A Children’s Mass), Pinwheels, and La Sopa de Isabel (Elizabeth’s Soup). A few folks songs were thrown in for good measure, Dobrú Noc (Good Night) and Love Lies Under the Old Oak Tree). It was unfortunate that an excellent violin soloist was uncredited, as were a cellist, percussionist, and guitarist in their appearances.

The highlights of the half were Mr. Núñez’s three works. Mr. Núñez has a definite gift for bring the very best out of his young singers. His energy radiates to the young musicians, and they radiate it right back with joy. His compositions show his expertise in writing for young voices in a way that not only lies within their developing capabilities, but also gives them a sound beyond their years. This is most apparent in his Misa Pequeña para Niños, which was performed with a surprising level of sophistication. Pinwheels was poignant both in the message and the music. La Sopa de Isabel brought the house down as the young singers spun around multiple times, while Mr. Núñez turned to the audience to get them to join in by clapping along, which of course they did with gusto! Mr. Núñez swayed back and forth with dance-like movements, and soon after, the chorus members paired up, joined hands, and began dancing with each other. The audience laughed in complete delight, and when it was all over, they leapt to their feet in a raucous standing ovation. It was a delightful end to a delightful afternoon. Congratulations to all!

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

Distinguished Concerts International New York (DCINY) presents Requiem À Deux in Review

Distinguished Concerts International New York (DCINY) presents Requiem À Deux

Distinguished Concerts Orchestra; Distinguished Concerts Singers International

Jonathan Griffith, Music Director/conductor

Iris Derke, flute

Craig Jessop, conductor laureate

Erica Miller, soprano; Stephen Lancaster, baritone; Leah de Gruyl, mezzo-soprano

Stern Auditorium, Carnegie Hall, New York, NY

June 7, 2015

Distinguished Concerts International New York (DCINY) is well known for their presentation of theme-related concerts. The concept of multiple requiems in a single concert is one DCINY has used before, in fact, the very first concert I reviewed for New York Concert Review, Requiem X 2, featuring Mozart and René Clausen, used this plan. On June 7, 2015 at Stern Auditorium at Carnegie Hall, Requiem À Deux, with requiems from Gabriel Fauré and Maurice Duruflé, including a New York premiere of Dinos Constantinides’ Homage – A Folk Concerto for Flute and Orchestra, was the program. With singers from California, Hawaii, Kansas, Maryland, Massachusetts, Missouri, New Jersey, New York, Texas, Utah, Wisconsin, British Columbia, Ontario, France (including Ensemble Vocal Maurice Duruflé!), Mexico, Spain, and “individuals from around the globe,”(the program listed 433 singers!) it was an impressive assemblage.

The first half opened with Homage- A Folk Concerto for Flute and Orchestra (1988) by Greek-American composer Dinos Constantinides (b. 1929). As I had written in an earlier review, Mr. Constatinides is a stylistically eclectic composer, but one who is particularly adept in his Greek-influenced writing. This characteristic showed to great advantage in the Homage. Scored for flute soloist and string orchestra, plus two oboes and two French horns, the three-movement Homage draws on folk-like material of the Greek Islands (without using any actual folk material). The writing is highly idiomatic for the flutist. DCINY Co-founder and General Director Iris Derke was the flute soloist. Ms. Derke has an impressive list of appearances as a soloist throughout the world, and after hearing her performance, it is easy to understand why. Ms. Derke handled the challenges with ease, with quick passage work precisely articulated, rapid descending figures rendered with clarity (and not with the quasi-glissandi effects that one often hears from less skilled players), and excellent intonation, especially in the “danger zone” of the extreme high register. The second movement, Idyll, which is basically an extended cadenza, was the highlight of her performance, but the third movement, Dance, was a very close second. Conductor Jonathan Griffith was an able and attentive collaborator, showing that he excels with small ensembles as well as the large. The composer joined Ms. Derke and Maestro Griffith on-stage, and all took their bows to the applause of the appreciative audience.

After a short break, the stage was set for Gabriel Fauré’s Requiem. Fauré began writing the Requiem in 1877, but did not complete it in its final orchestration until 1900. One of the best-loved works in this form, Fauré’s vision of death as a “happy deliverance…rather than a mournful passing,” did not find favor with his employers at La Madeleine, one of the largest churches in Paris. One of the clerics there tartly remarked, “Monsieur Fauré, we do not need these novelties. The Madeleine’s repertoire is quite rich enough.” No doubt his omission of the fearful Dies Irae, the core of the Latin requiem mass, had something to do with this remark. One can say that Fauré won in the end, as this serene work continues to enchant listeners with its beauty.

Conductor Laureate Craig Jessop took the podium. He was tasked with leading a chorus of over 200 singers, which he did his utmost to do, coaxing the maximum from them. One has to note that, in spite of his efforts, there were still problematic issues. Intonation from the sopranos in the more exposed sections of the Introitus et Kyrie was at times quite shaky, and their ensemble in the same section suffered from a lack of a cohesive feeling. Perhaps it was jitters, but nonetheless, it was an uneasy moment that periodically recurred throughout the entire work. Maestro Jessop did show excellent rapport with the orchestra, with the Sanctus and In Paradisum being especially well done. Soprano Erica Miller voice soared in the Pie Jesu, and baritone Stephen Lancaster projected the pathos of the Libera me with great strength.

The overall performance was solid – the orchestra taking the lion’s share of the kudos along with the soloists. The chorus was uneven, and this is what made what had the potential to be an outstanding performance into what was merely a good one. I do not wish to be overly critical, but I truly was hoping for more. The audience did not share my reservations, as many of them responded with a standing ovation.

After intermission, Jonathan Griffith returned to the podium to conduct the Requiem, Op. 9, of French organist, pedagogue, and composer, Maurice Duruflé (1902-1986) in the original 1947 version. Like Fauré’s Requiem, this serene work is largely devoid of the fearsome elements of the requiem mass (it also omits the Dies Irae).

Whatever misgivings I might have had about the Fauré were more than offset by the first-rate performance of the Duruflé. The orchestra playing was excellent, but especially bold and decisive in the Domine Jesu Christe in a way that filled the hall with sound, which was a thrilling thing to hear! Mezzo-soprano soloist Leah de Gruyl captured the beauty of the Pie Jesu with her exquisite voice, and baritone Stephen Lancaster was back to deliver the Libera me with power as in the Fauré. The chorus was outstanding as well. Once again, one must tip one’s hat to Maestro Griffith, who “delivered the goods” in what this reviewer has come to expect as the norm when he conducts the large DCINY forces.

The last notes of the In Paradisum had barely faded away before the audience sounded a loud and immediate standing ovation that went on for close to five minutes. It was a justly deserved reaction for a truly superior performance.

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

Distinguished Concerts International New York (DCINY) presents A High Lonesome Bluegrass Mass in Review

Distinguished Concerts International New York (DCINY) presents A High Lonesome Bluegrass Mass

Navo Middle School Varsity Treble Choir: Mary Margaret Sadler, director; Denise Stephens, accompanist

Tim Sharp, composer/conductor

The Chuck Nation Band: Chuck Nation, fiddle/mandolin; Susan Nation, acoustic bass; Libby Nation-Whitehead, mandolin/guitar; Jody Hughes, guitar/banjo; Steve Vincent, drums

Distinguished Concerts International Singers

Stern Auditorium at Carnegie Hall, New York, NY

May 22, 2015

Distinguished Concerts International New York (DCINY) presented a concert entitled A High Lonesome Bluegrass Mass: From the Voice Comes Inspiration on May 22, 2015 at Stern Auditorium at Carnegie Hall. Featuring the Navo Middle School Varsity Treble Choir, singers from Colorado, Georgia, Idaho, Missouri, North Carolina, Oklahoma, Tennessee, and special guests The Chuck Nation Band, it was to prove to be a most enjoyable evening for all in attendance.

The thirty-six-member Navo Middle School Varsity Treble Choir took the stage for the first half. Their eleven pieces were quite eclectic, with works from Handel and Mozart mingled with Stephen Foster, Samuel Barber, and more recent, popular works from Greg Gilpin and others. Each selection was introduced with a special quote in the program, which the reader can find here: Program Notes. Led by Mary Margaret Sadler, the choristers proved to be mature beyond their years. Most Middle School ensembles struggle with single-line and full-unison singing, but these young ladies handled complex works with confidence and precision. One would have liked more projection, but this is a minor quibble, and one that can easily be attributed to the still developing voices of the young singers. Highlights included an arrangement of the Adagio movement of Mozart’s Clarinet Concerto, K. 622, with the chorus taking the clarinet melody and clarinet soloist Perry Phillips playing in a quasi-improvisatory style in accompaniment, a delightful Oh! Susanna, in a Mark Hayes arrangement with violinist Julianne Booth, and the haunting Ose Shalom from John Leavitt, with Mr. Phillips and Ms. Booth. Ending with an energetic Nothin’ Gonna Stumble My Feet from Greg Gilpin, their many supporters in the audience rewarded the young singers with a standing ovation. To see thirty-six beaming faces when it was all done was the highlight of the evening to this listener.

After intermission, The Chuck Nation Band took the stage and offered works composed by Susan Nation, Chuck Nation, and legends such as JJ Cale and Hank Williams, Sr. Between pieces, Chuck Nation bantered a bit with the audience as he introduced his band members, including a funny story about his own song If You Leave Me, written especially for his wife, Susan. (“If you leave me, I’m coming with you!”). The seven-piece set showcased their considerable talents as singers and instrumentalists. Ending with a red-hot Orange Blossom Special, that old classic where “Paganini meets Bluegrass” in a rousing display of fiddling pyrotechnics at breakneck speed, Chuck Nation “burned the house down” as the sparks flew off his bow in a jaw-dropping virtuosic fiddling display. The audience loved it and roared in approval.

After this, it was time for the featured work- Come Away to the Skies: A High, Lonesome Mass. A few words of explanation about the title might be helpful here. High lonesome is a style that Bill Monroe, the “Father of Bluegrass,” popularized. It features the lead voice in the middle, while the highest voice sings in an often dissonant tone (“the high, lonesome sound”). Composer Tim Sharp combined this idea with a play on the term “High Mass,” including the Introit, Kyrie, Gloria, Credo, Sanctus, and Angus Dei, set with carefully selected folk hymns. I recommend referring to the excellent Program Notes for a more detailed explanation. Guitarist Harry Musselwhite joined with The Chuck Nation Band to add his talents to the mix and tenor Nollie Moore was to have a featured role.

As I watched the Distinguished Concerts International Singers take the stage, I must admit to feeling some reservations about the idea of another “Bluegrass Mass.” Based upon an earlier concert featuring a different bluegrass mass in which the joining of “classical” and “bluegrass” was not entirely satisfying to either genre, I was hoping this would not be the case here. Happily, those reservations were dispelled almost immediately. Come Away to the Skies: A High, Lonesome Mass works, because it is unfailingly true to itself, lacking in pretense, simple, direct, and heartfelt.

Composer Tim Sharp came to the stage carrying a banjo. After placing the banjo on a stand, he took the podium and directed with unflagging energy. It was a dynamic, crowd-pleasing performance. The combination of the Distinguished Concerts International Singers with the Chuck Nation Band was a winning pairing that had the audience breaking convention by applauding enthusiastically after each movement of the Mass.

Special credit to the chorus for the high-speed rendering of the words Et in terra pax hominibus bonae voluntatatis Gloria with such clear diction!

The audience burst into a prolonged standing ovation as the chorus and the Chuck Nation band took their well-earned bows. Mr. Sharp took up his banjo and joined all playing the Credo as an encore. The audience excitedly clapped in rhythm, and many even sang along. It was a joyful end to the night.

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

Ensemble 212 and Multicultural Sonic Evolution (MuSE) present Voices in Harmony in Review

Ensemble 212 and Multicultural Sonic Evolution (MuSE) present Voices in Harmony

Ensemble 212- Kyunghun Kim and Yoon Jae Lee, conductors

MuSE Chorus- Yuti Kitamura and Hirona Amamiya, choral directors

Julia Gebhardt, soprano; Mio Kanehara, mezzo-soprano; Christian Davakis, tenor; Jeffrey Goble, baritone

Good Shepherd Presbyterian Church, New York, NY

May 20, 2015

Ensemble 212, a New York based orchestra, and Multicultural Sonic Evolution (MuSE) joined forces on May 20, 2015, in presenting a concert entitled Voices in Harmony. Featuring two world premieres, performances by Co-Grand Prize Winners of the Ensemble 212 2014-15 Young Artist Competition, William Chen and Alyssa Kim, a selection from Mendelssohn’s A Midsummer Night’s Dream, and Mozart’s Coronation Mass, it was a program with “something for everyone.” The combination of these two fine ensembles proved to be an inspired pairing. Kyunghun Kim and Yoon Jae Lee conducted.

While this review will cover the entire event, the primary focus will be on the conductor Kyunghun Kim. This reviewer has had the pleasure of reviewing Mr. Kim’s work in the past (Kyunghun Kim,conductor in review) and was looking forward to hearing his work with Ensemble 212 and MuSE.

Mr. Kim took the podium for the first half of the program. Leading off with Mozart’s C major Mass, K. 317, the Coronation, he led a well-conceived and tautly executed performance. The orchestra playing was crisp and precise, balance between chorus and orchestra was excellent, and the four soloists were uniformly outstanding in their roles. It was a fine start to the night. The Song and Chorus from Mendelssohn’s A Midsummer Night’s Dream is a charming piece – at times witty, and at other moments poignant. Mr. Kim gave this short, light-hearted work the same attention to detail as he did the Mozart. Ending the half was the world premiere of Song for the Earth, which was introduced by the composer, Yui Kitamura (b. 1983). In her excitement and obvious enthusiasm, Ms. Kitamura spoke much too quickly and not quite loudly enough for one to get the maximum understanding about her piece. Song for the Earth is a highly effective combination of the folk sounds and harmonies of the East co-mingling with those of the West. The text for the chorus is in Japanese and suggests that we ask the Earth to be temperate and indulge us (the human race) with patience and understanding. Mr. Kim proved again to be striving to the utmost to explore all the subtleties in a fine reading of this interesting work.

Upon hearing Mr. Kim in 2012 with a non-professional orchestra, this reviewer had found his conducting style to be extremely physically demonstrative, not surprisingly. One might have expected a more economical approach with these more accomplished players, however Mr. Kim maintains the same expansive and expressive style that served him well in my last encounter with him at the helm. He is a fully involved and extroverted leader, with a gift for nurturing developing ensembles and coaxing extra effort from highly skilled players.

After intermission, Yoon Jae Lee took the podium to lead the second half. The first work, Orche-mino, (another world premiere) was introduced by Texu Kim (b.1980), the composer. The title is a contraction of “orchestra” and “domino”, and the work itself was inspired by a YouTube video of domino tricks. The video Insane Domino Tricks (click to view) was projected as the work was played. The music cleverly captured the various tricks in what was a whimsical three-and-half-minute romp.

While the stage was being readied for the young soloists, Mr. Lee explained that Ensemble 212 uses a multimedia approach to reach a wide audience. Definitions and explanations of basic music terms and forms in simple language, background information about the composition being played, and interesting facts about the composer are projected on a screen as the works are being played. This is an approach I find myself to be much in favor of, and would like to see it utilized more often.

The co-winners of the Ensemble 212 2014-15 Young Artist Competition, eleven-year-old William Chen, who played the first movement of Chopin’s F minor Piano Concerto, and fourteen year old Alyssa Kim, who played the finale of Saint-Saens’s Third Violin Concerto, are talents to watch in the coming years. Mr. Lee was an attentive and steadying influence for the young soloists.

Kyunghun Kim returned to lead an encore of Amazing Grace, which to this listener was too hackneyed in its “showstopper” arrangement. The audience members were encouraged to sing along, which many did. Conductors, composers, and soloists joined together for well-deserved bows from the appreciative audience.

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