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
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 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.

 

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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 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.

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by Jeffrey Williams  for New York Concert Review; New York, NY
Avalon String Quartet in Review

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.

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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!” 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 5th 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!

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.

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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 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 13th. 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.

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