Jeffrey Williams | New York Concert Review, Inc.

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

Distinguished Concerts International New York (DCINY) presents Ring of Fire: Pacific Sounds in Review

Distinguished Concerts International New York (DCINY) presents Ring of Fire: Pacific Sounds

Distinguished Concerts Singers international, Anthony Giles, director

Inglemoor High School Orchestra, James Rice, conductor

Inglemoor High School Wind Ensemble, Ted Christensen, conductor

Avery Fisher Hall, Lincoln Center, New York, NY

April 13, 2015

Distinguished Concerts International (DCINY) presented a concert entitled Ring of Fire: Pacific Sounds at Avery Fisher Hall on Monday, April 13, 2015. The first half was to feature the “Spice, Magic, and Mystique” of the choral music of Southeast Asia, focusing on Indonesia, Malaysia, the Philippines, Singapore, Thailand, and Taiwan. The second half was to showcase the talents of the Inglemoor High School Orchestra and Wind Ensemble (from the Inglemoor High School in Washington State).

As the hall filled, the singers from Washington, China, Indonesia, and Thailand, took to the stage. Led by Anthony Giles, their six selections proved to be filled with charm, humor, playfulness, and simple beauty. A nice touch was that pieces were introduced by selected members of the chorus, who came to the front of the stage to introduce themselves and the pieces. The order did not follow the printed program, so this was not only a nice touch, but helpful!

Distinguished Concerts International New York (DCINY) presents Ring of Fire: Pacific Sounds

The opening piece, Phra met ta, a setting of verses from Psalm 25 in Thai, was given a refined and reverential performance, with the sounds of plainchant in pentatonic being especially effective. A surge of latecomers delayed the start of the third work for at least five minutes. As the ushers herded the masses of the chronometrically challenged to their seats, Mr. Giles quipped “It’s so nice that so many people want to come to hear our concert!” which drew a roar of laughter from the audience. Finally, order was restored, and what followed was, to this listener, the highlight of the half, the Taiwanese song Diu diu dang a. This is a song about a train, complete with whistles and the sounds of a locomotive, gaining momentum and finally arriving at its destination with a final burst of steam as the train slows to a stop. It was done with a great sense of play, but without resorting to overt silliness that would have spoiled the effect- it was delightful. The chorus then took on the challenges of Janger, with its extended vocal techniques and mimicry of the sounds of a Balinese gamelan orchestra, giving it a tightly focused performance with seeming ease. They ended the half with Dumbele, a tribute to the rain god of the same name, handling the complexities of sound and style effortlessly. Mr. Giles proved himself an able leader who had prepared his singers well.

After intermission, the Inglemoor High School String Orchestra took to the stage. The first thing one noticed was the large number of players (16-24-16-16-6!!), which would be the envy of many an orchestra at any level! Led by James Rice, they led off with Gustav Holst’s St. Paul’s Suite for String Orchestra, Op. 29, No. 2. One can hear bits of Jupiter (amongst other movements from The Planets) in this 1913 work. The opening movement (Jig) was at times a bit muddled in attacks, not unsurprising with forty violinists playing at once, but the overall effect was well done, with good intonation and balance. The final movement features a “mash-up” of the Dargason and Greensleeves, which brought smiles to the faces of many in the audience. The third movement (Meditation) of Serenade for Strings by Jack Jarrett followed and showed the quality of these young players in what was a sensitive and mature reading of a poignant work. Ending with two movements from Concerto Grosso. No. 1 for String Orchestra with Piano Obbligato (I. Prelude, IV. Fugue), from Ernest Bloch, the orchestra played incisively, with just the right amount of uneasy tension, not a simple thing to accomplish, something that impressed this listener.

After a brief pause, the Inglemoor Wind Ensemble took to the stage. As any regular reader of this journal would know, this listener is a huge fan of the wind ensemble and has a keen interest in hearing ensembles of young players, so I was eagerly looking forward to this part of the concert.

Like the String Orchestra, this ensemble has a large number of players and not overly heavy in the usual sections (i.e. trumpet, flute, etc.). Conductor Ted Christensen took the podium and launched his ensemble into a carefully played Dedicatory Fanfare, by William Cherry, which, while well played, was lacking volume and intensity. This careful approach paid handsome dividends in a wonderful performance of J.S, Bach’s Bist Du Bei Mir. The intonation and balance was excellent throughout, and there are ample opportunities for any issues with both to be glaringly obvious. Next came Timothy Mahr’s Endurance, a work about Shackelton’s 1914 ill-fated Antarctic expedition (named after his ship, Endurance). It is a work that would challenge any ensemble, but these young players rose to the occasion with a polished performance. Even Mr. Christensen was delighted, to judge by his fist-pumping celebration at the end of the work! Ending with what must be one of their signature pieces, The Florentiner, a grand march in the Italian style by the legendary band composer Julius Fučik, the ensemble unleashed a performance that had the audience respond with enthusiastic applause. It was also the highlight of their selections to this listener.

One general reservation for this listener was that the opportunity to project a truly big sound was lost. It is rarity at this level to boast forces that are not only large but well-balanced in proportion and ability, with an amount of lower brass that has the potential to shake the walls of the hall! I wanted to be blown out of my seat with a wall of sound, and it never happened, nor was it even close to happening. When you are on the stage of one of the most famous concert halls in the world, is not the time for a well-mannered performance! Lest anyone think I am suggesting that wind ensembles are all about being loud and bombastic, be assured that that is not the case, but why have seventy-four players if you aren’t going to take advantage of your resources? To do less is akin to using a sports car to pull a trailer. Please take this all as some friendly advice from a life-long band geek- Leave it all out there, always give it your all, and go big or don’t go at all!

That all being said, these were outstanding young players and they especially impressed in terms of balance – no one section dominated. This is almost unheard of at the high school level. Mr. Rice and Mr. Christensen are to be congratulated for the fine musical program at Inglemoor that they both have been so instrumental in developing. With the huge numbers of participants, and the high level at which they play, one should expect continuing successes for this excellent program. Congratulations to all.

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

Capps-Primakov-Lavrova: Passion-Romance-Fire in Review

Capps-Primakov-Lavrova: Passion-Romance-Fire

Ben Capps, cello; Vassily Primakov, piano; Natalia Lavrova, piano

Merkin Concert Hall, Kaufman Music Center, New York, NY

March 14, 2015

Take one New York cellist, two Russian pianists, and a South African composer, and you have the beginnings of a rather unusual recipe for a concert. Serve generous amounts of Rachmaninoff and Chopin, plus a premiere for zing, and one can satisfy a full house for approximately two hours. With champagne afterwards to complete the party atmosphere, this was the recipe for Passion-Romance-Fire, a concert featuring cellist Ben Capps, pianists Vassily Primakov and Natalia Lavrova, and composer Braam van Eeden, presented by the artists at Merkin Concert Hall on March 14, 2015. Unusual as the recipe was, it made perfect sense in light of the friendships among these musicians, and the rapport was quite apparent.

Mr. Primakov and Ms. Lavrova opened the evening with Sergei Rachmaninoff’s 1894 work, the Six Morceaux for piano four-hands, Op. 11. Telling native Russians the “proper” way to play Rachmaninoff may seem a bit like telling the sun how to rise, but I would like to express one reservation I had, and that was that the Barcarolle was a bit on the heavy-handed side. This minor matter notwithstanding, it was a stunning performance one would expect from two such highly accomplished pianists.

Abraham van Eeden (b. 1989), or Braam, as he prefers to be called, hails from South Africa. Mr. van Eeden is pursuing a master’s degree at the University of Pretoria in piano and compostion and theory. He is currently studying composition in New York City with one of America’s finest composers, Lowell Liebermann. It is already paying dividends, judging by the quality of the work presented at this performance. Variations on a theme by Schumann, for cello and piano four hands, written especially for Mr. Capps, Mr. Primakov, and Ms. Lavrova, was given its world premiere. The theme, Fast zu Ernst, is from Kinderszenen. There are ten variations with a closing section. Cellist Ben Capps described this work as “Shostakovich and Piazzolla had a baby,” a humorous, but apt analysis. This is a highly dramatic and effective work, filled with eerie moments and excitement, all brought to a finish that Mr. van Eeden likens to an explosion. Mr. Capps, Mr. Primakov, and Ms. Lavrova wrung out every last drop of drama in a superb performance that was the highlight of the evening for this listener. Mr. van Eeden was in attendance, and stood to acknowledge the cheers of the appreciative audience.

The unusual scoring will likely limit extensive performances. It might be a good idea for Mr. van Eeden to work out a version for cello and piano, two hands, as well.

It is indisputable that Mr. van Eeden is a natural talent with seemingly limitless potential, given his youth. What remains to be seen is if he can fully develop those gifts and grow into a composer with a truly distinctive voice. The preliminary indications are looking favorable, as the Variations on a theme by Schumann is a leap forward from some of his earlier works.

Cellist Ben Capps offered two of the warhorses of the repertoire, Chopin’s Sonata for cello and piano in G minor, Op 65, and Rachmaninoff’s Sonata for cello and piano in G minor, Op .19. Expectations are high for any cellist who programs these masterpieces. Woe be to any cellist who is not up to the mark, as these works are so well known that even the average listener will easily detect flaws. There were no worries about this, as Mr. Capps “delivered the goods” with assurance in dynamic performances, further enhanced by the technical wizardry of Mr. Primakov, who made child’s play of the ferociously difficult piano parts. This is a pairing of talents with great potential! Interested listeners would be well-advised to seek out the CD of these works that Mr. Capps and Mr. Primakov recorded, which will be released on April 15, 2015- go to LP Classics for details.

Mr. Capps is all business in his demeanor- there is none of the incessant undulating that so many performers seem to feel is necessary (note to such performers: It isn’t). Playing a 1782 cello made by William Forester, Mr. Capp produces a tone that is rich, warm, and full-bodied, without any stridency in loud passages. He makes the most difficult passagework seem effortless. The closing of the Rachmaninoff sonata was scintillating and brought the audience to their feet. It was a fine end to a fine concert. Bravo to all!

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

Distinguished Concerts International New York (DCINY) presents a cappella NEXT in Review

Distinguished Concerts International New York (DCINY) presents a cappella NEXT

Harmonia Chamber Singers, Robert Pacillo, director; Choeur de Chambre du Québec, Robert Ingari, director; Elore Festival Singers, Noel Edison, director

Weill Hall at Carnegie Hall, New York, NY

March 13, 2015

For the superstitious, the idea of a concert on Friday the 13th might be considered to be an ill-advised undertaking to be avoided at all costs. While those with paraskevidekatriaphobia stayed home, the hall was filled with those intrepid souls who refuse to subscribe to such beliefs, and they were rewarded with a truly outstanding concert. On March 13, 2015, Distinguished Concerts International New York (DCINY) presented a concert entitled a cappella NEXT, an evening dedicated to contemporary choral chamber music. Featuring the talents of three choruses, one from New York and two from Canada, it was a night filled with the sounds of some old classics and exciting new works.

I had the privilege of reviewing the 2014 a cappella NEXT concert ( a cappella NEXT 2014 review), so I was looking forward to this year’s edition. Without taking anything away from the talented ensembles that sang so well in 2014, the three ensembles this year not only met the high standards of their predecessors, but moved the bar up several levels.

The Harmonia Chamber singers opened the concert. Led by Robert Pacillo, this New York based ensemble got the night off to a fine start with a rock-solid performance of My Soul, There is a Country, an anthem by the composer best known for Jerusalem, Hubert Parry. Eulogy, by Rob Deemer, with text by Brian Turner, followed. Eulogy is a written account of a solider’s suicide in Iraq. With pitch bends and near bi-tonality at times, suggestive of the waves of heat on the battefield, the pause after the solider shoots himself, and the tight harmonies as the work ends in almost a whisper, Eulogy is hauntingly moving. Mr. Deemer was present in the audience and must have been pleased by the superb performance of his piece. The next work, She Walks in Beauty by Lord Byron, was skillfully set by Jeffrey Trenchard, a member of the ensemble. Mr. Trenchard was visibly moved to tears when he stepped forward to acknowledge the audience after a lovely performance. Goin’ Home, using the Largo movement from Dvořák’s Symphony No.9 “From the New World” and a playful Nelly Bly by Stephen Foster brought the Harmonia Chamber Singers’ portion of the program to a close. An appreciative audience loudly cheered for this fine ensemble.

After a short break, Choeur de Chambre du Québec took the stage. As one would expect from an ensemble from Québec, their entire portion (dix chansons) of the program was sung in French. The details of their entire set, plus translations, can be viewed by clicking the following link: a cappella NEXT program 2015. Conductor Robert Ingari not only led his ensemble with careful attention to details of timbre, but proved to be an accomplished composer as well. His settings of the poetry of Paul Verlaine in Chanson d’automne and Soleils Couchants were compelling. Not to be overshadowed by their maître, ensemble members Guillaume Boulay and Jean-Charles Côté contributed fine works as well, all performed with flawless intonation, balance, and style. French, and French-Canadian composers (Debussy, Poulenc, Lionel Daunais, and Mark Sirett) rounded out their program. Choeur de Chambre du Québec sang these works with the native flair that a non-francophone would be hard pressed to emulate. After the last sounds of Sirett’s ravishing Ce beau printemps faded away, the audience reacted with a standing ovation for this first-rate ensemble. Bien joué, Choeur de Chambre du Québec!

After another short break, the Elora Fesitval Singers took the stage for the last set. Based in Elora, Canada, they are led by the able Noel Edison. Their opening piece, Immortality, by Timothy Corlis, was for this listener, the highlight of the evening. A crowd-pleaser from start to finish, it is a work with something for everyone- driving energy, brilliance, spine-tingling moments, sublime beauty, and a build-up to a climax that explodes before fading away. It was a great lead-off work, but I believe this placement was a tactical error- it should have been the last work on their program. Two well-known and popular works from Eric Whitacre followed- Sleep and Her Spirit Soars. The close harmonies that are so characteristic of Whitacre, were delivered precisely by the ensemble, making for a truly wonderful performance. Gloria Deo per immensa Saecula, by Healey Willan, closed the concert. This motet was the product of a challenge from a colleague about the lack of new five-part works (two other examples of similar challenges readily come to mind J.S. Bach’s Musical Offering and Thomas Tallis’s Spem in alium). It is a remarkable work and was given a remarkable performance- a real tour-de-force that might be better appreciated by choral specialists than by the average lay listener. In any case, my reservations about sequence are a matter of preference, and in no way detract anything from the fine performances. The audience gave the Elora Festival Singers a well-earned standing ovation.

Congratulations to all three ensembles. It was a lucky Friday the 13th indeed!

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

Mirror Visions Ensemble presents Journeys in Review

Mirror Visions Ensemble presents Journeys

Mirror Visions Ensemble- Vira Slywotzky, soprano

Scott Murphree, tenor

Jesse Blumberg, baritone

Grant Wenaus, piano

SubCulture, New York, NY

March 10, 2015

To celebrate the upcoming release of their CD entitled The Three-Paneled Mirror (Centaur Records CRC 3381/3382), comprised entirely of commissioned works, Mirror Visions Ensemble presented a program called Journeys at SubCulture in New York City. Featuring works from the standard repertoire paired with premiered commissioned works from contemporary composers (not included on their CD), it proved to be a trip filled with wonder and whimsy.

Mirror Visions Ensemble, directed by Tobé Malawista, has stated their mission as “performing and commissioning musical ‘mirror images’- multiple settings of the same text by one or more composers,” and presenting programs that are “built around themes and always include new works commissioned by the ensemble.” Each member of Mirror Visions has an impressive list of accomplishments and credentials as soloist and was featured as such in at least one work in the program.

Journeys included works about exploring the sea, islands, and forests, letters from friends, as well as visits to churches and several hotels. There were sixteen works total on the program with the earlier being songs from Hugo Wolf, Hector Berlioz, Joseph Haydn, Felice Blangini, Henri Duparc, 20^th century masters Samuel Barber and Francis Poulenc, and popular composers Cole Porter and Stephen Schwartz. The newer were commissioned works by Gilda Lyons, Scott Wheeler, Deborah Fischer Teason, Tom Cipullo, and William Ryden.

As much as I would like to give a detailed account of all the songs, I will concentrate mostly on the commissioned works. For the older works, I will mention three highlights: Baritone Jesse Blumberg dynamic, full-bodied performance of Hugo Wolf’s Auf einer Wanderung, tenor Scott Murphree’s hilarious take on Cole Porter’s Tale of the Oyster, which had the audience roaring with laughter, and Samuel Barber’s setting of James Joyce in Solitary Hotel performed in Film Noir style, with soprano Vira Slywotzky taking the part of the femme fatale as she slinked to the front of the stage – it was campy to be sure, but how very effective it was!

Moving on to the commissioned works, Great Barrier Reef by Gilda Lyons, from “recent studies, adapted by the composer,” featured swirling sounds of the waves, as the music “flowed” from one performer to the next in rapid sequence, and with some added sound effects. It was an ingenious work given a polished performance.

Letters to Isabella, by Scott Wheeler, uses the texts of three letters written to art collector and museum founder Isabella Stewart Gardner. The first from Henry James (for tenor), the second from Paul Bourget (for soprano), and the last (for baritone) from Kakuzo Okakura, ostensibly written to his cat, who was “visiting” with Ms. Gardner. Mr. Wheeler expertly captured the tone of each letter, from the longing sighs of James, to the world-weary Bourget (who found Florida especially odious), and the playful teasing of Okakura, and the performers projected those qualities with consummate grace.

The Bells at Saint-Aignan by Deborah Fischer Teason, using text from Jeffrey Greene, was to this listener the highlight of the commissioned works. As told in the program, each bell at this church has three names, the first the name of a noble woman, the second after bees or wasps, and the third for the notes they sounded. This commemorative piece was conveyed with haunting tonal ambiguity in both the vocal and piano writing, never straying too far toward atonality, but remaining unsettled throughout. It was a mesmerizing effect, given an equally mesmerizing performance.

At the Windermere Hotel, by Tom Cipullo, with text from Nightmare at the Windermere Hotel by Edna St. Vincent Millay, was a sure-fire crowd pleaser. The audience was in stitches as the quest for an elusive cup of coffee from room service took an absurdly comic route. Even pianist Grant Wenaus got into the act – when he called out “Kitchen Speaking,” the audience howled in laughter. This was just pure fun and Mirror Visions played it for all it was worth.

William Ryden’s The Owl and the Pussy-Cat, using Edward Lear’s verses, was a delight and brought the program to a successful finish.

It was gratifying that all the composers of the commissioned works were in attendance and able to be acknowledged for their compositions by the appreciative audience.

The Ghost of Madame de Sévigné at the Carnavalet, by Christopher Berg, was offered as an encore, after which the Ensemble greeted the many people who wished to see them. Mirror Visions Ensemble is not only highly accomplished musically, but also pulls in their listeners with their winning personalities on both the individual and group level. Add those qualities to the great service they do for contemporary composers by their continual commissioning and performing of new works, and the end result is a win for everyone. I look forward to hearing more from and about Mirror Visions Ensemble.

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

Distinguished Concerts International New York (DCINY) presents Two Cultures, One Dream in Review

Distinguished Concerts International New York (DCINY) presents Two Cultures, One Dream

Jonathan Griffith, DCINY Artistic Director and principal conductor; Jie Yi, Debut Conductor

Earnestine Rodgers Robinson, visiting composer; Heather Sorenson, arranger, orchestrator and accompanist

Ana Isabel Lazo, soprano; Ting Li, tenor; Tshombe Selby, tenor; Chai-Lun Yueh, baritone; Brian Wahlstrom, baritone and narrator; James T. Meeks and Michelle R. McKissack, narrators; Jiaju Shen, pipa

Distinguished Concerts Orchestra; Distinguished Concerts Singers International

Stern Auditorium, Carnegie Hall, New York, NY

February 16, 2015

Two Cultures, One Dream was the title of the concert presented by Distinguished Concerts International New York (DCINY) on February 16, 2015. While the “two cultures” were only implied as East and West, the “one dream” was explicit – freedom from oppression and the triumph of the people against their oppressors. With singers from Connecticut, Illinois, New Jersey, New York, North Carolina, Ohio, Texas, Washington, Canada, China, New Zealand, Taiwan, and “individuals from around the globe,” the stage was set for that at which DCINY excels – the “big show.”

The first half of the program was the Yellow River Cantata (which was reworked in 1969 at the instigation of Madame Mao into the well-known Yellow River Piano Concerto, by a “committee” of five Chinese composers) by Xian Xinghai (1905-1945). Xian was one of the first Chinese composers to have adopted western influences, having studied composition with Vincent D’Indy and Paul Dukas in Paris, and no doubt with Soviet composers during his time in the Soviet Union in the 1940s. Given the honorific “The People’s Composer” by Mao Zedong, Xian’s legacy rests largely his with his more “populist” works, the Yellow River Cantata being his best-known work with western influences.

Distinguished Concerts International New York (DCINY) presents Two Cultures, One Dream

The “original” Yellow River Cantata was written in 1939, which, according to Xian’s daughter, took only six days to complete. Using the poetry of Guang Weiran as the text, there are four performed versions, with seven to nine movements. The version performed on this occasion is the most frequently played, with seven movements. The writing is tonal and bears the influences of Mr. Xian’s western studies, sometimes in a derivative way. The melodic material is largely folk-influenced and uncomplicated. The work is to exhort the Chinese people to resist and repel the Japanese invaders who were occupying China at the time (1939). The idea of a musical work to rally the people is not unique (Shostakovich’s Symphony No.7 “Leningrad” being one of the most obvious examples), but it is chiefly this context that makes Yellow River Cantata effective. Each movement begins with a male narrator exhorting the people to action, using the Yellow River as a symbol of Chinese identity.

Now, after all this background, it is time to talk about the actual performance. This was one of the most energetic performances of any work I have seen in many years! There were no half-measures at any time; it was full tilt from start to finish by all. It was especially interesting to see how involved the chorus was in performance. It was obvious they were giving it their all, with evident pride, as if to say “This is our music, and we are proud to share it with you.” Conductor Jie Yi was a force of nature, with boundless energy and enthusiasm that won the day. Mr. Jie has star potential and charisma that reminds one of Gustavo Dudamel and the young Leonard Bernstein. The soloists were outstanding as well. Baritone Chai-Lun Yueh was confident and projected with both strength and dignity, tenor Ting Li and baritone Brian Wahlstrom in duet were well matched as Jiaju Shen set the mood with accompaniment on the pipa, while soprano Ana Isabel Lazo captured the heartbreak in “Lament of the Yellow River” with perfection. Finally, Mr. Wahlstrom’s narration was excellent, in both English and Chinese, as his voice filled the hall. The net result was, to this listener, a rare occasion where the quality of the performance exceeded the actual intrinsic value of the work itself.

After intermission, it was time for the world premiere of Exodus, a four-part oratorio depicting the story of the Israelites being held in captivity in Egypt, their ultimate escape, and their triumph in reaching the Promised Land. The story is so well known that I will not recount it here. The composer, Earnestine Rodgers Robinson, has written two other critically acclaimed oratorios, The Crucifixion and The Nativity. It is highly likely that Exodus will join these two works in similar esteem, as it is a piece of great power, worthy of the subject matter and never losing its hold on the listener in its nearly one-hour length. The vocal writing is highly effective and the first-rate orchestrations by Heather Sorenson serve to strengthen the work even more. I would like to make special mention of the setting of Psalm 23 in Part IV, which has been set by some “heavy hitters” in musical history. Ms. Robinson’s version can hold its own with any of them.

With the dynamic narrations from Pastor James T. Meeks and Michelle R. McKissack (a daughter of Ms. Robinson), the talented tenor Tshombe Selby, the return of Ms. Lazo with the hard-working Mr. Wohlstrom, and the passionate and well-prepared chorus, it was a winning performance. Led by the supremely able Jonathan Griffith, who has made an art form of leading forces of several hundred, and the fine Distinguished Concerts Orchestra, it was a great end to the evening. The audience obviously found this to be so, given the ovation and the cheers for Ms. Robinson when she came to the stage. Congratulations to all for a great concert.

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

Karl Jenkins, composer/conductor

Jonathan Griffith, DCINY Artistic Director/Principal conductor

Lucy Knight, soprano; Mark Watson, baritone

Distinguished Concerts Orchestra; Distinguished Concerts Singers International

Stern Auditorium, Carnegie Hall, New York, NY

January 19, 2015

In what has become an annual tradition, Distinguished Concerts International New York (DCINY) presented a concert in celebration of Martin Luther King, Jr. Day featuring the music of Karl Jenkins. This edition was truly global in scope, with singers from Germany, South Africa, United Kingdom, Switzerland, Sweden, Canada, Russia, Ireland, Italy, California, and Massachusetts (including a children’s chorus). With a first half consisting of the United States premieres of Llareggub and The Healer, a second half featuring The Peacemakers, and a post-concert opportunity to greet Mr. Jenkins and have him autograph his latest CD release, it had all the makings of a special evening.

Before the concert proper, Mr. Jenkins joined DCINY conductor Jonathan Griffith on stage for an impromptu conversation about the works on the first half. There was much laughter as Mr. Griffith attempted to pronounce poet Dylan Thomas’s (invented) “Welsh” word Llareggub. Mr. Jenkins smiled as he gave what would be a “proper” Welsh pronunciation (k(ch)la-REG-gub), and then told the audience that when spelled backwards it has a very different meaning in English, a wordplay betraying Thomas’s sense of humor. I leave it for the reader to figure it out! Mr. Jenkins also expressed his admiration and thanks for the many texts written especially for him by his wife, Carol Barratt, a formidable talent in her own right. After a few closing words about Mr. Jenkins’s esteem for Terry Waite (who was captured by terrorists in January 1987 while working to secure the release of hostages, and held captive for nearly five years), who provided friendship and texts to the composer, Mr. Jenkins then took to the podium to conduct Llareggub.

Llareggub is a musical snapshot of life of the fictional village setting of Dylan Thomas’s Under Milk Wood. The three movements, Starless and Bible-Black, Eli Jenkins’ Prayer, and At the Sailor’s Arms, are played without break. Starless and Bible-Black is serene, with an atmospheric feeling that is strongly suggestive of a pitch-black night that slowly moves towards daybreak. The second movement, Eli Jenkins’ Prayer, features a quote from a hymn, “Burnt Oak”, written by Karl Jenkins’s father (not to be confused with Eli Jenkins, who was a creation of Dylan Thomas and bears no relation to the composer’s father). Concertmaster Jorge Ávila played his solo part with expressive feeling that was sentimental, but never maudlin. The finale, At the Sailor’s Arms, is a visit to the local pub, filled with chat, drinking, merriment, more drinking, brawling, and drinking until drunk. Complete with a honky-tonk piano, it was just like being there in the thick of it. One could easily imagine Dylan Thomas amongst the locals, matching them drink for drink. Mr. Jenkins led the Distinguished Concerts Orchestra with his customary understated manner, always letting the music and the musicians take center stage. Llagerggub was a delightful quarter-hour visit to the wonders and whimsy of Wales, a trip this listener very much enjoyed taking. I suspect the large audience shared my opinion, as they gave Mr. Jenkins a hearty ovation.

Karl Jenkins

After this happy romp, it was time to move to the serious side with The Healer. Subtitled A Cantata for St. Luke, The Healer is a nine-movement work scored for soprano and baritone soloists, chorus, strings, oboe (doubling on cor anglais), and percussion. Taking a page from his earlier Stabat Mater, the composer uses the middle-eastern percussion instruments (the riq and darbuca) to accentuate the sounds of the ancient land. With text from the Book of Common Prayer, St. Luke (from the Authorised Version (Luke 15: 3-7) and Vulgate (Luke 2:29-32) version of the Holy Bible), William Blake, Fyodor Dostoyevsky, Carol Barratt, Vivien Harrison, and Terry Waite, The Healer is another demonstration of Mr. Jenkins’s seemingly limitless ability to capture the essence of such evocative material with the simplest of means. A perusal of the score highlights this – it is deceptively simple, but the net effect is one of great import. This is the mark of a composer who has the courage to stick to his guns in a musical world that often scoffs at such an approach as pandering to the hoi polloi.

Highlights for this listener were in abundance, however I will limit myself to those I found the most compelling. Soprano Lucy Knight captured the essence of “The eyes of a child” with true innocence. Baritone Mark Watson projected strength throughout, and his “The Shepherd” was particularly fine. The large chorus was well prepared, from the chant-like Prologue to the Epilogue (Nunc dimittis). Special mention goes to oboe/cor anglais soloist Ryan Walsh for his excellent playing. The Healer can well join the growing list of works by Mr. Jenkins that should enjoy widespread performances.

After Intermission, it was time for the two-part, seventeen movement The Peacemakers. Scored for orchestra, chorus, soprano soloist, bass and ethnic flutes, ethnic percussion, Uilleann pipes, soprano saxophone, and electric bass, The Peacemakers resembles his earlier works The Armed Man in its blueprint and Stabat Mater in multicultural influences. Quoting Mr. Jenkins, “One line from Rumi sums up the ethos of the piece: ‘All religions, all singing one song: Peace be with you.'” This is an ideal that our world sadly is sorely lacking, as the composer himself lamented in his program notes. The texts for The Peacemakers comes from a variety of sources, some expected (Scripture from the Bible and Qur’an, Gandhi, the Dali Lama, Nelson Mandela, etc.), some unexpected (Albert Schweitzer, Percy Shelley, Anne Frank), and of course, Carol Barratt and Terry Waite.

Unlike The Armed Man, with the duality of war and peace, The Peacemakers is singularly focused on peace. The music draws one in and holds one in its thrall, rather than grabbing and pulling one as The Armed Man does. This is not to say that there are not any martial moments in The Peacemakers, but when they appear, it is a joyful call in the name of peace rather than any warlike saber rattling. As much as I would enjoy commenting on each of the seventeen movements, I am going to single out two movements that were my favorites, the hauntingly beautiful The Dove, with Lucy Knight’s exquisite heart-melting voice, and the amazing He had a dream- Elegy for Martin Luther King Jr. with the soprano saxophone’s bluesy riffs winding in and out of the melody, complete with a quote from Robert Schumann’s Träumerei. It could easily stand alone in performance , and would be a welcome addition to any musical tributes for Dr. King. Kudos to all the soloists (Jorge Ávila, Violin, Jesse Han, Bass Flute, Premik Russell Tubbs, Bonsuri and Ethnic Flutes, from NYJAZZ: Rob Derke, Soprano Saxophone; Carlo de Rosa, Electric Bass; and Andy Blanco, Ethnic Percussion, Joseph Mulvantrey, Uilleann Pipes), the Distinguished Concerts Orchestra, and the Distinguished Concerts Singers International.

Maestro Jonathan Griffith led yet another winning performance, as I have come to expect from this fine musician. It is no surprise that Mr. Griffith was awarded the 2014 American Prize in Conducting- professional orchestra division. The ovation was long, loud, and well earned. Mr. Jenkins took to the stage and modestly bowed while saluting the performers. It was a wonderful ending to a exceptional evening of music. I am already looking forward to January 18, 2016.

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

Distinguished Concerts International New York (DCINY) presents Misatango: A Tango Mass from Argentina in Review

Distinguished Concerts International New York (DCINY) presents Misatango: A Tango Mass from Argentina

Flutopia Wind Ensemble; Jennifer Lapple, Director

Tierra Adentro De Nuevo Mexico Dance Ensemble; Joaquin Encinias, Director/Vocalist

Pablo Christian Di Mario, Director; Martín Palmeri, Visiting Composer/Pianist; Kristy Swann, mezzo-soprano

Distinguished Concerts Orchestra, Distinguished Concerts Singers International

Stern Auditorium, Carnegie Hall, New York, NY

January 18, 2015

On a cold, rainy afternoon in New York, Distinguished Concerts International New York (DCINY) presented a concert entitled Misatango: A Tango Mass from Argentina. What better way to way to escape the weather than with the vibrant, lively sounds of far away Argentina, courtesy of performers from France, Brazil, Denmark, Germany, Switzerland, and of course, Argentina. Also featuring the Flutopia Wind Ensemble and the Tierra Adentro De Nuevo Mexico Dance Ensemble, the stage was set for a performance that proved to be a treat for the ears and eyes alike.

Distinguished Concerts International New York (DCINY) presents Misatango

The Flutopia Wind Ensemble took to the stage for the first half. Led by Jennifer Lapple, Flutopia is comprised of high school wind players from the Washington, D.C., and Northern Virginia areas. As one might guess from the name, the group is heavily weighted with flutists (with nineteen flutists among the forty-nine total players listed in the program). Opening with Beyond the Horizon, by Rossano Galante (a work that bears more than a passing resemblance to Frank Erickson’s Toccata for Band) the young players of Flutopia got off to a nervous start, with intonation issues and cracked notes in the brass section. One might chalk this up to jitters, but there was also a rather timid, “play-it-safe” approach that any experienced brass player will tell you is almost a guarantee for these problems to occur. Happily, the second piece, Zoltán Kodály’s Dances of Galanta was played with precision and charm. If anything (and this was a recurring theme throughout), one wanted a lot less restraint and more extroverted, ebullient playing. The ever-popular Eric Whitacre’s October was nicely played, and David Shaffer’s Costa del Sol was just pure fun. Ending with an energetically played Danse Bacchanale (from Camille Saint-Saëns’s Samson et Dalila), Flutopia brought their many supporters to their feet in a loud ovation. No matter what reservations I might have about a performance, it is always a delight to see the beaming smiles of the young performers from the stage.

A Tango Mass from Argentina

There were many individual soloists who played with great skill and polish. I would like to make special mention of the excellent (un-credited) clarinet soloist, as her playing was a cut above her talented band mates. Ms. Lapple led with a clear baton technique and demonstrative gestures to her players. Even between pieces, she took the time to step off the podium and communicate with the group. This is a well considered, nurturing approach, which can only benefit the developing young musicians. As a final thought from an eternal band geek, I would very much like to see Flutopia “go for it”, to take risks and really let loose.

After intermission, the Tierra Adentro De Nuevo Mexico Dance Ensemble, a group of young men and ladies, gave a wonderful performance of the art of flamenco. I will leave any specific commentary about the dancing to those who know better. That said, I will channel my inner Bruno Tonioli (the extremely passionate and animated judge of Dancing With the Stars), grab my score paddle, and thrust it up while shouting “TEN!”

Misatango: A Tango Mass from Argentina

The last work of the evening, Misa A Buenos Aires (Misatango), is a pairing of the traditional mass with the sounds of the tango. I admit that I had my doubts about this concept, but was still intrigued about it all as I watched the three-hundred-plus singers take the stage. Misatango is a six-movement work scored for chorus, string orchestra, bandoneón, and mezzo-soprano soloist. Quoting the composer, Martín Palmeri, “…my objective in this composition was to maintain the harmonic language, rhythms, melodic designs, and all the characteristics of the tango within the orchestra score, thus allowing the chorus to have the full liberty to ‘just sing the mass.'” One can say with certainty that Mr. Palmeri succeeded brilliantly in his objective. Misatango captures the simmering tension of the tango without any kitsch in the vocal writing. Indeed, one can sense the influences of Mozart throughout with a distinctive Argentinean flavor. Of the six movements, the Credo was the most compelling to this listener, but each movement commands interest.

Special praise must go to Kristy Swann, whose voice was simply ethereal, a beacon of light that would pierce any darkness. Conductor Pablo Christian Di Mario led the chorus and orchestra with skill, keeping the huge vocal forces from covering the orchestra while allowing them equal prominence. The Distinguished Concerts Orchestra was particularly outstanding in one of the better performances I have heard from these players. The audience rewarded all the performers a loud and prolonged ovation, giving Mr. Palmeri the lion’s share of the applause.

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

Distinguished Concerts International New York (DCINY) presents With Grace: The Music of Gwyneth Walker in Review

Distinguished Concerts International New York (DCINY) presents With Grace: The Music of Gwyneth Walker

SoHarmoniums , Elizabeth McKinney Núñez, director

Nancy Menk, guest conductor

Gwyneth Walker, composer-in-residence

Distinguished Concerts Orchestra, Distinguished Concerts Singers International

Alice Tully Hall, Lincoln Center, New York, NY

November 29, 2014

SoHarmoniums

On November 29, Distinguished Concerts International New York (DCINY) presented a concert entitled With Grace: The Music of Gwyneth Walker. There was a festive mood in the air as the audience members happily saluted their favorites. I was seated next to a group of very enthusiastic alumnae from Saint Mary’s Women’s College in Indiana, each of whom had a sleigh bell to ring with delight when the members of that school’s choir took to the stage. “The Bells of Saint Mary’s, you know,” one of these ladies quipped to me. It was yet another reminder about the DCINY experience – joy abounding for performers and audience members. One might think that this listener, a veteran DCINY concert attendee, would be jaded about this, but it still delights me, and I suspect it always will.

The first half showcased the talents of New York’s own SoHarmoniums, and the second featured the music of the well-loved Gwyneth Walker, with chorus members from Colorado, Indiana, Michigan, Pennsylvania, Virginia, and Canberra, Australia. It was a wonderful way to kick off the holiday season.

With Grace: The Music of Gwyneth Walker

SoHo based group SoHarmoniums took to the stage for the first half. Led by Elizabeth McKinney Núñez, this fifty- member women’s ensemble joined with the Distinguished Concerts Orchestra, and proved to be a well-prepared ensemble that delivered excellent performances. Opening with The Tree of Peace, adapted from the poem “O Brother Man” by John Greenleaf Whittier, the tone was set- this was not to be a “glee club” performance. It was full of import, well-controlled harmonies, and tight balance. This song was followed by a polished rendering of “O Lovely Peace” from George Frideric Handel’s Judas Maccabeus. The next work, Garland, featuring four poems of Emily Dickinson (Is Heaven a physician?, Crumbling is not an instant’s act, We cover thee, and The life we have is very great), was an orchestration by Jim Papoulis of an original composition by Mark Adamo. The essence of Dickinson’s poetry was captured in many ways – there is at times an otherworldly feel, at other times hectic and harried, and often just morose; I believe, however, that this large-scale idea is less well-suited to her poetry than the original scoring. The sparseness of the poetry cries out for a similar approach. The performance, though, was truly exceptional.

After this, we heard the song South Sámi People (Åarjel Saemieh), by Frode Fjellheim (b. 1959), whose work has gained interest largely based on his work “Vuelie”, which is the title song for Frozen, the Disney mega-blockbuster. This piece is based on the Sámi style of yoik, an ancient chanting tradition. It is thought that there are fewer than two hundred people who still speak South Sámi today. The music has a primitive, tribal feeling, with an infectious rhythmic quality. It was an effective and clever antidote to the Dickinson work. To end the half, the SoHarmoniums let loose in an unabashedly fun-filled Joy to the World/Joyful, Joyful, which can be simply described as a “Joy to the World” and “Ode to Joy” mash-up. It was a sure-fire crowd pleaser and a happy ending that won the hearts of the audience.

With Grace: The Music of Gwyneth Walker

After intermission, conductor Nancy Menk took to the podium to lead in a selection of works by American composer Gwyneth Walker (b. 1947). She reinforced my already favorable opinion of her work by her strongly focused approach. Ms. Menk runs a tight ship, and the results bear this out in fine performances.

Opening the half was I Thank You God, using text from E.E, Cummings. It was surprisingly weighty to me, perhaps based on my over-exposure to Cummings’s lighter works. At any rate, I was completely won over by the end. It was a great start to the half, and it gave this listener a healthy appreciation for Ms. Walker the composer.

Songs for Women’s Voices No. 1-6, from the 1992 choral cycle of the same name, followed. The texts for these songs comes from the poetry of May Swenson (1913-1989). Before each song, each poem was recited from the stage. The narrator was DCINY’s own Andrea Macy, who projected the various qualities of the poems, some sassy, some serene, others searching for meaning, with a strong dramatic sense, strong and confident, but never resorting to over-emoting or “hamming it up”. These are the works of a skilled composer, rich in melodic invention, without being trite or derivative. It is easy to understand Ms. Walker’s popularity when one hears a cycle like this. Highlights for this listener were the second song “Mornings Innocent” with its “natural”, pastoral qualities, the interweaving of voices in “The Name is Changeless [God]”, and the resigned feeling that remained unresolved on “In Autumn” [I Will Lie Down].

It was a good programming to follow with the light, happy feelings in This Train. Crossing the Bar was a simple, poignant, “heart-on-sleeve” piece that was magical. Ms. Walker came to the stage at the end of the piece to the cheers of the audience.

SoHarmoniums

SoHarmomiums joined with the Distinguished Concerts Singers International in a spirited performance of How Can I Keep From Singing? to end the night with a bang. The audience loved it and jumped to their feet to salute the performers, and Ms. Walker, who returned to the stage once more to collect her richly deserved accolades from the appreciative audience. It was a fitting close to a most enjoyable evening.

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