Jeffrey Williams | New York Concert Review, Inc.

Distinguished Concerts International New York (DCINY) presents A Winter Rose: The Holiday Music of Mark Hayes and Joseph Martin in Review

Distinguished Concerts Orchestra; Distinguished Concerts Singers International

Mark Hayes, composer/conductor

Andrea Lynn Cianflone, soprano; Holly Sorensen, mezzo-soprano; Omar Najmi, tenor; Colin Levin, baritone; Karen Harvey, piano

Joseph M. Martin, composer/conductor

Sue Martin, soprano; Joshua Chai, piano

Stern Auditorium at Carnegie Hall, New York, NY

November 26, 2018

Distinguished Concerts International New York (DCINY) continued its series of holiday concerts on Monday, November 26, 2018 with a concert entitled A Winter Rose, featuring the music of two DCINY favorites, Mark Hayes (his sixth appearance) and Joseph M. Martin (his seventh appearance). For those who braved the cold, rainy night, with travel difficulties, the reward was a concert of music from two talented composers with a special gift for capturing the true spirit of the season.

Mr. Hayes and Mr. Martin also conducted their respective pieces. The Distinguished Concerts Singers International included choruses from Alabama, California, Colorado, Georgia, Illinois, Louisiana, Massachusetts, New York, North Carolina, Oklahoma, South Dakota, Texas, Tennessee, Utah, Virginia, Canada, and “individual singers from around the globe.” The featured soloists for the first half were soprano Andrea Lynn Cianflone, mezzo-soprano Holly Sorensen, tenor Omar Najmi, and baritone Colin Levin. Soprano Sue Martin (the wife of Joseph Martin) was the soloist for the second half.

Mark Hayes took the podium to conduct two of his works, Gloria, and the World Premiere of his Hodie Christus Natus Est, A Carol Fantasia. This listener was already an admirer of Mr. Hayes’s work from earlier reviews (his Requiem being a particular favorite), so one had hopes that these works would confirm that admiration – and they did!

Gloria opened the concert. The opening movement, Gloria in excelsis Deo, starts with a fanfare heralding Christ’s birth. Later, the music takes on a pastoral quality, with lyrical parts for soprano and tenor. The second movement, Domine Deum, Rex coelestis begins in Romantic style reminding one of Brahms, but later shifts to a more mysterious quality, with tone clusters in the chorus and a chant-like whispering in Latin. The final movement, Quoniam tu solus sanctus, pulls out all the stops, building enormous energy until a sudden pull-back recalling a motif from the second movement, which eventually settles on a low C major chord, which slowly dies away. The effect was striking. The texts throughout alternate between the Latin original and the English translation (an approach Mr. Hayes had also used with great impact in his Requiem).

It was a joyful twenty-minute journey. The four soloists, Ms. Cianflone, Ms. Sorensen, Mr. Najmi, and Mr. Levin were uniformly excellent. While giving them full credit for their fine work. it must be said that Mr. Hayes gave them all wonderful material to showcase their talents. Praise goes to the chorus as well, especially for the haunting effects of the middle movement. It’s no easy task to get two hundred plus voices to sound like a whisper, but they pulled it off.

Hodie Christus Natus Est, A Carol Fantasia, followed. Like the Mark Hayes Gloria, it is in three parts. The opening section is another setting of Gloria in excelsis deo, with the skillful addition of Angels We Have Heard on High. The second section, I Heard the Bells on Christmas Day, is based on a Longfellow poem from 1863. It begins in despair, but ends in the regained hope that good shall prevail. The final section is an exuberant setting of Mendelssohn’s Hark! The Herald Angels Sing. Mr. Hayes led with a simple, precise manner that focused all the attention on the players and the music. The second section, with Ms. Cianflone’s soaring voice, was the listener’s favorite. The powerful setting of the text was truly compelling, and while Mr. Hayes is skilled in all aspects of composition, it is his undeniable gift for melodic writing that is his calling card. The audience gave him, the orchestra, chorus and soloists a standing ovation at the end. Bravo!

After intermission, Joseph M. Martin took the podium for the second half to conduct the New York premiere his work The Winter Rose. About the title, Mr. Martin writes in his notes, “Today, the rose remains a vital expression of love and peace both inside the church and the outside world. Her appearance in the garden is a harbinger of the coming spring’s abundance. As a gift, the rose’s delicate beauty is usually reserved for the most meaningful expressions of the heart…It is in this spirit that The Winter Rose was written.” The Winter Rose is a thirty-five minute, eleven-movement work that could be aptly called an oratorio. Mr. Martin set the texts to tunes from traditional carols and folk songs in seven movements; the remaining four are on original themes. For the sake of completeness, the six carols and folk tunes are Es Ist Ein Rose (used twice, for the Prelude and finale), The Sally Gardens (set previously by Benjamin Britten and John Corigliano, among others), Un Flambeau, Jeanette Isabella (known as Bring a Torch, Jeannette Isabella), Veni Emmanuel (the Advent carol known as O Come, O Come, Emmanuel), Early American Song by C.E Horn and G.P. Morris, and The Rose Tree (traditional Catalan carol). Sue Martin was the fine vocal soloist for several.

Mr. Martin, like Mr. Hayes, is highly skilled as a composer, but his particular gift, in my opinion, is his dramatic sense and his ability to express this sense harmonically. He puts his mark on his settings of traditional/folk music with great individuality; one doesn’t forget the original sources, but he injects them with freshness and originality. This is a quality that I admire greatly. He is also an energetic conductor, whose energy is reflected back powerfully by the orchestra and chorus. These were memorable performances.

It is not practical to discuss all eleven movements, so I will mention a few favorites. The third When Will He Come (set to Un Flambeau, Jeanette Isabella), filled with excited anticipation of the arrival of Christ, was packed with infectious energy. It was the seventh, Dance into the Light (words by Mr. Martin and Maddy Winter), that won this listener over. With its big, bold sound (with hints of We Three Kings and God Bless Ye Merry Gentlemen making appearances) and the sheer exhilaration of the lyrics, it was a real showstopper!

Ms. Martin has a pure, child-like singing tone that perfectly captures the essence of these songs. One could not help being enchanted by her voice. The audience gave Mr. Martin, Ms. Martin, the orchestra and chorus an extended and enthusiastic ovation. It was a welcome and much needed respite from the chaos of the day, but also another reminder of the true meaning of the holiday season. Congratulations to all.

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

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

Distinguished Concerts Orchestra, Distinguished Concerts Singers International

Jonathan Griffith, Artistic Director/Conductor

Penelope Shumate, soprano; Claudia Chapa, mezzo-soprano; John McVeigh, tenor; Christopher Job, bass.

Stern Auditorium at Carnegie Hall, New York, NY

November 25, 2018

The holiday season is now in full swing, with the post-Thanksgiving crush of shoppers trying to scoop up ubiquitous “Black Friday” deals and other irresistible goodies. In the midst of all this hoopla, Distinguished Concerts International New York (DCINY) presented their signature event and most anticipated concert of the year, Messiah…Refreshed! – DCINY’s blockbuster performance of George Frideric Handel’s Messiah. This was DCINY’s 8th anniversary performance of this magnificent work. For full disclosure: This listener reviewed the second (2012) and fifth anniversaries (2015) of Messiah…Refreshed!. The soloists, back for the third year in a row, were the “A-team” – soprano Penelope Shumate (www.penelopeshumate.com), mezzo-soprano Claudia Chapa (www.claudiachapa.com), tenor John McVeigh (www.uzanartists.com/ john-mcveigh), and bass Christopher Job (www.christopherjob.com). Eighteen choruses from California, Colorado, Canada, Illinois, Indiana, Minnesota, Pennsylvania, South Carolina, Texas, Virginia, Wisconsin, Hong Kong, Qatar, South Africa, United Kingdom, and “individual singers from around the globe” filled the ranks of the Distinguished Concerts Singers International chorus (with the program listing 467 singers). The audience members that filled the sold-out hall were rewarded with an afternoon that not only was musically fulfilling, but spiritually uplifting.

Messiah is no stranger to reworking and revision. There is no “definitive” version (“sing-along” editions and even a rock version have been heard). Handel himself rearranged and rewrote sections to suit his needs, and selections could be added or deleted based on the talents available. Mozart produced a version in 1789 that is still often used. The version presented by DCINY is generally attributed to Sir Thomas Beecham and Eugene Goossens, although Beecham’s contribution was overstated for many years by his widow. Lady Beecham’s claims were refuted in the 1990s; the score was completely Goossens’s work.

Beecham recorded this version in 1959; it is still available on CD today, and while some consider it the “gold standard, ” it continues to be controversial. Traditionalists who believe that Handel’s conception should remain true to the original find the Goossens version to be vulgar, while its proponents aver that the expanded forces enhance the grandeur of the work. This reviewer is firmly in the later camp.

As I stated in 2012; “Make no mistake; this is not your great-grandfather’s Messiah. It is brash, extroverted, and at times bombastic. It is not Messiah – it is MESSIAH, with double the sound, new and improved, with cymbals and triangle! It is Messiah on steroids, the epitome of the saying ‘Go big or go home.’” Those words are just as true in 2018 as they were then. What this listener was wondering was how this year’s performance would compare to 2012 and 2015. The quick answer is that the 2018 version exceeded both.

One can credit this success to conductor Jonathan Griffith. Dealing with such gargantuan forces can be like trying to herd cats. It would be so easy to lose control, but Griffith has proven time and time again that he has an uncanny ability to master these large forces. He is part coach, part drill sergeant, and part wizard all rolled up into one! His direction focused on delivering the big sound of Goossen’s version without overwhelming the singers and without losing focus on the music itself. The playing was excellent throughout, and while I admit I missed seeing and hearing the exuberance of the percussionists from prior years (especially 2012), the net effect was one of a more polished performance that reflects Maestro Griffith’s heightened refinement of the work. The choruses (the chorus for Part One gave way to a different chorus for Parts Two and Three) were prepared well by their respective leaders. Their balance was exceptional, the diction was precise, and the strong direction of Maestro Griffith helped inspire them to a level higher than they probably imagined was possible.

The four soloists, the “A-Team,” all brought their “A-game” today. To sing Handel’s demanding solo parts is challenging enough for even the most accomplished of singers, but to avoid being overwhelmed by the large forces behind them and to project a tone that is neither strident nor forced make up a tall order. That order was filled. Strength and confidence are a hallmark of these talents; the vocal gymnastics that abound were dispatched with apparent ease (and easy it was not!). There was never a moment when any singer was in peril of being drowned out. There is much to praise, but I will try to focus on highlights for each. Soprano Penelope Shumate’s bright voice soared, but she also enchanted in softer passages. Rejoice greatly, O daughter of Zion had remarkable flair. Mezzo-soprano Claudia Chapa continues to astonish with her robust voice (with the added reality of the orchestra often being in the same register), but her exquisite sensitivity in her shaping of phrases was truly striking. Her He was despised was, as before, this listener’s favorite. Tenor John McVeigh’s clarity of tone and complete involvement were always front and center; Ev’ry valley shall be exalted was the highlight of his performance to this listener. Bass Christopher Job is a powerhouse. His voice commanded attention as it filled the entire hall. Why do the nations so furiously rage together? was the high point of his outstanding singing.

One cannot speak about Messiah without mention of the Hallelujah chorus. This listener has been to many DCINY concerts, and Messiah in particular, so I knew the coming “surprise”. Both second and third tiers were filled with singers (the chorus from Part One), ready to rise on cue. I knew what was coming and when it was to occur, and I was braced for it – and yet once again, it blew me away! The sound of nearly five-hundred voices filling the hall as the audience stood (many of those in the audience singing along) was simply magnificent. Yes, it’s over the top, but it is still a thrill! The audience roared its approval at the end of the chorus. The applause continued for several minutes until Maestro Griffith beckoned the audience to sit down.

After this, Part Three is almost an anti-climax. The closing chorus, Worthy is the lamb that was slain, also had the participation of the singers in the tiers. The excitement built to a fever pitch, but there were no mishaps (as in prior years) after that final dramatic pause. The work was brought to a rousing close, and the audience responded with thunderous applause for the soloists, choruses, orchestra, and Maestro Griffith. It was a well-deserved ovation to a memorable concert. Congratulations to all!

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

Distinguished Concerts International New York (DCINY) presents A Symphony of Carols in Review

Distinguished Concerts Orchestra, Distinguished Concerts Singers International

Jonathan Griffith, Artistic Director/Principal Conductor

Pepper Choplin, composer/conductor

Randol Bass, DCINY composer-in-residence

Stern Auditorium at Carnegie Hall, New York, NY

November 18, 2018

The holiday season is upon us, in what seems to be coming earlier and earlier each year. The retailers are already clamoring for shoppers with promises of “doorbusters” and other deals galore – it can be overwhelming even to the hardiest souls! With a nod to the “early” idea, Distinguished Concerts International New York (DCINY) offered a pre-Thanksgiving Day concert on November 18^th entitled A Symphony of Carols, featuring the music of Pepper Choplin and Randol Bass. The commercial aspect was nowhere to be found, as this was a concert focused on the original concept of Christmas, the celebration of the birth of Jesus Christ. Singers from Arizona, California, Colorado, Illinois, Georgia, New Jersey, New York, North Carolina, South Carolina, Canada, and “individual singers from around the globe” made up the choruses of the Distinguished Concerts Singers International.

Pepper Choplin took the podium to conduct the first half, which consisted of two of his works, Come, Emmanuel, and Christmas Presence (World Premiere). This is Mr. Choplin’s sixth appearance with DCINY. I have written about Mr. Choplin multiple times, but I will simply restate that he pairs an outsized personality with the strong spiritual faith that is a hallmark of his compositions.

Come, Emmanuel is a bright three-minute work for chorus and orchestra filled with joy at the anticipation of the birth of Christ. It is what the composer calls a “simple motet” – but with a “surprise ending.” It was an upbeat opener, with the surprise ending being (spoiler alert) an enormous shout of “Come!” by the chorus.

Christmas Presence is a thirty-minute, eight-movement work. About the title, the program notes state, “In this work the concept of being present weaves throughout the music and narration [and] presents a challenge to experience Christmas in God’s presence and the presence of those around us” (italicized words are in the text of the notes). This is a high ideal and one that I do believe Mr. Choplin did aspire to in his composition.

The diction of the chorus was remarkable. Each word was crystal clear, so that while the listener had the texts available, they were completely unnecessary. This is rare experience. All credit is due to both Mr. Choplin’s skill in vocal writing and the superb preparation of the chorus. Special mention goes to soloist Renee Calvo, whose lovely voice filled the hall in the sixth movement, Still They Are Here (at Christmastime).

As well as being a composer, Mr. Choplin is a dynamic conductor who energized both orchestra and chorus into giving it their utmost. Every movement had so much emotion that one could not help thinking that each one could easily be used as a stand-alone piece. That said, this listener must express some reservations. There was a need for more contrast from selection to selection, and there was what seemed to be a planned formula of climaxes. I am a huge fan of tonal music, but when it is unrelentingly consonant and sweet, it quickly becomes featureless, and when climaxes are so frequent, one risks sounding trite.

Whatever reservations this listener had were not shared by the large audience, who cheered loudly after each movement, and rewarded Mr. Choplin and the musicians with a standing ovation at the end. Mr. Choplin knows his audience well. If his goal is to please them, then one must admit that he was highly successful.

After intermission, Randol Bass joined Jonathan Griffith for an impromptu conservation about Ms. Bass’s works being played this evening. Like Mr. Choplin, Mr. Bass has a big personality, paired with a modest, self-effacing sense of humor enjoyed by all; on a serious note, however, Maestro Griffith told the audience that he wished to dedicate the second half of the concert to the memory of Mr. Bass’s mother, who recently passed away.

The half opened with Gloria, which is probably the most frequently performed of Mr. Bass’s works. When asked about it, he joked about it being short (seven minutes) and being used as program filler. He’s being far too modest – Gloria is a dynamic work, filled with rhythmic vitality, and also playable by a large variety of ensembles of wide-ranging abilities. It was a rousing start.

The World Premiere of Carols from a Victorian Fireside (movements two and three) followed. As Mr. Bass related in his talk, the melodies for this work come from the pen of Sir Arthur Sullivan (yes, that Sir Arthur Sullivan). Mr. Bass came upon these melodies while exploring a website dedicated to Sullivan – they were intended for a larger work that was never completed, sketches of which only exist in a facsimile of Sullivan’s handwriting. Mr. Bass took these sketches and orchestrated them with chorus. The first, Christmas Bells at Sea was a ballad that was probably more Bass than Sullivan, but the second, The Marquis de Mince- Pie/Care is all Fiddle-dee-dee, was as if the spirit of Sir Arthur channeled directly from the pen of Mr. Bass. It was a delightful romp that was the highlight of the evening for this listener, all the more remarkable as I do not care for Gilbert and Sullivan in the least! Bravo, Mr. Bass!

Yet one more World Premiere followed, Laus Nativitatis. This combined two well-known Latin Texts, Hodie Christus Natus Est (Christ is Born Today) and O Magnum Mysterium (O, Great Mystery). It is filled with that exuberance and rhythmic vitality that is a hallmark of Mr. Bass’s style, but it is also harmonically interesting, with highly chromatic writing. The chorus was at times covered by the orchestra, but the overall effect was excellent. This work has the same potential for popularity as Gloria.

Symphony of Carols, in the form of a four-movement choral symphony, closed the concert. Each movement took a traditional carol, sung first in the original language (French, Catalan, German, and Latin), and then repeated in English translation. Mr. Bass dedicated this work to John Williams, and it has a certain similarity to Williams’ style. The familiar sounds of Stille Nacht and Adeste Fidelis filled the hall with Christmas cheer, as Maestro Griffith led with his customary steady hand. It was a fine ending to a night of joy and celebration.

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

Distinguished Concerts International New York (DCINY) presents The Great War: Commemorating 100 Years in Review

Distinguished Concerts Orchestra; Distinguished Concerts Singers International

Patrick Hawes, composer/conductor

Paul Mealor, composer/conductor

Diana McVey, soprano; Scott Joiner, tenor

Stern Auditorium at Carnegie Hall, New York, NY

November 11, 2018

On the 11th hour of the 11th day of the 11th month in 1918, the guns that had raged for four years fell silent. The Great War (what we later called World War One) was over. One hundred years later commemorations of those millions of lives lost take place in ceremonies throughout the world. At Carnegie Hall in New York City, Distinguished Concerts International New York (DCINY) presented a concert entitled The Great War: Commemorating 100 Years, featuring two United States premieres, Patrick Hawes’ The Great War Symphony and Paul Mealor’s Requiem: The Souls of the Righteous. It was a meaningful way to pay tribute to the memories of the fallen during this centennial anniversary.

The Distinguished Concerts Singers International had choruses hailing from Connecticut, Kansas, New Mexico, New York, Texas, Wisconsin, Australia, Canada, Germany, Hong Kong, United Kingdom, and “individual singers from around the globe.” Soloists Diana McVey (www.dianamcvey.com) and Scott Joiner (www.scottjoinertenor.com), both DCINY favorites, were present to lend their considerable talents.

Patrick Hawes (www.patrickhawes.com) took the podium to conduct the United States Premiere (Joint) of The Great War Symphony. Each movement covers one year of the war: I. Praeludium (1914-1915), II. March (1915-1916), III. Elegy (1916-1917), and IV. Finale (1917-1918). The conception is highly programmatic. The calm before the storm and steadfastness of duty of the first movement gives way to the horrors of battle in the second and to the disillusionment and despair of the third movement. The fourth and last movement expresses the final year of fighting, the silencing of the guns, and the heartache of paying tribute to those countless lives lost – with resolution never to forget the sacrifices. The Great War Symphony has a decidedly British (and Commonwealth) focus. One can hear the influences of the great British Composers (most notably Elgar, Holst, and Vaughan Williams) throughout. This is not at all surprising considering the origin of the commission in the United Kingdom and the fact that the losses were closer to home and more extensive in Britain than in the United States (where the history of World War One is often taught something like this: Archduke Franz Ferdinand is assassinated, Europe goes to war, things bog down into trench warfare where neither side makes any progress, then the United States gets involved after the Lusitania is sunk -after waiting two years! – and suddenly it’s all over).

The texts were chosen with care, and Mr. Hawes provided good program notes that I hope will be available at the DCINY website, as they have usually posted programs in past concerts. Check this link : DCINY The Great War: Commemorating 100 Years.

At the beginning of the third movement, concertmaster Jorge Ávila played a violin that belonged to Herbert Simmons, who was killed in action at the Somme in 1916. “Uncle Bertie,” as he was called by his family, was an amateur violinist who dreamed of becoming a professional musician. His brother Lawrence kept the violin to remember him, and each generation that followed learned to play on it. The family allowed the violin to be brought to New York to be used in this performance.

Tenor Scott Joiner has a strong voice that can fill any hall. While his lyric gifts were abundantly displayed, it was his bitingly ironic tone in “The Song of the Mud” from the third movement that this listener enjoyed the most. Soprano Diana McVey sang with a poignant beauty as she gave voice to the heartache of mothers. daughters, wives and fiancées, not to mention the women who witnesses events first-hand.

The Great War Symphony is a work by a composer of craft and skill. It does not descend into sentimental tripe nor does it explode into cheap “war” bombast. This listener was engaged for the hour-long duration and thought, given the programmatic aspect, that adding a visual component (such as a projection of pictures from the war) would heighten the experience for many listeners, especially those with no real knowledge of World War One.

The chorus was well-prepared, with good balance and clear diction throughout, and the orchestra played with intense focus and energy. The audience gave Mr. Hawes a standing ovation for his fine work.

After intermission, Paul Mealor (www.paulmealor.com) took the stage to conduct the United States premiere of his Requiem: The Souls of the Righteous. This forty-minute, ten-movement work uses sections of the traditional Requiem mass with scripture from the King James Bible, and poems from Grahame Davis.

My colleague Frank Daykin wrote in an earlier review of Mr. Mealor that “if there ‘is’ a heaven, I want it to sound like the music of Paul Mealor.” One tends to understand why when listening to his Requiem – Mr. Mealor’s God is unfailingly compassionate, His judgment of souls is heavily tilted towards mercy, and all souls are worthy of Heaven. This work is filled with serene beauty from start to finish – even Fauré’s Requiem sounds fearsome in comparison!

There were numerous soloists (uncredited) from the chorus, all who did well in their featured roles, but special mention goes to one tenor, a very tall young man, who really filled the hall with his strong voice. The chorus was lovely, but one has to acknowledge that while they did excellent work, the “heavy lifting” was already done by the composer. The string orchestra was perfection in balance and ensemble.

The use of tuned wine glasses in the final movement (Lux aeterna: And let there be a Heaven) provided an ethereal effect that was enchanting. When the very last vibrations of the wine glasses slowly died away, one could feel the entire audience holding their breath as one. Then a loud and extended standing ovation followed, richly deserved.

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

Distinguished Concerts International New York (DCINY) presents Transform. Innovate. Inspire in Review

The Rensselaer Orchestra

Nicholas DeMaison, conductor

Shirley Ann Jackson, Ph.D, President of Rensselaer Polytechnic Institute

Stern Auditorium at Carnegie Hall, New York, NY

October 24, 2018

To celebrate the addition of the Bachelor of Science in Music degree at Rensselaer Polytechnic Institute (founded in 1824), Distinguished Concerts International New York (DCINY) presented the newly formed Rensselaer Orchestra in a program called Transform. Innovate. Inspire. – all ideals that Rensselaer emphasizes.

The degree is designed for what the institute calls “21st century careers in music, in fields such as sound design for virtual reality, composition for interactive games, and algorithms for music networks.” While a student may opt for a single major, the idea of pairing with a STEM (Science, Technology, Engineering, Mathematics) discipline is the intent, in a program called Art_X. This pairing of art with another field (“X”) will appeal to a wider demographic of students who have talents in both fields.

Shirley Ann Jackson, the President of Rensselaer Polytechnic Institute spoke before the concert to outline these goals and to thank the many sponsors (individual and corporate) who made this evening a reality.

Bearing in mind that this is an orchestra just formed, and that their numbers were greatly enhanced by the addition of “professional musicians” (the printed program’s designation), it would not be productive to be overly critical. However, there are always some ideals that must be met (intonation, balance, ensemble, etc), and there are no free passes issued. The fact that the program was what most would consider to be a half of a full concert speaks of the challenge of preparing works for concert performance. This is not meant to be a criticism, as it is always better to play a short program well than to struggle with a longer one.

Nicholas DeMaison took the podium to conduct Missy Mazzoli’s River Rogue Transfiguration in its New York City Premiere. Commissioned by the Detroit Symphony Orchestra, River Rogue Transfiguration was inspired by a 1927 photo by Charles Sheeler of the Ford Motor Company’s River Rogue Plant, which was the largest integrated factory in the world. There is a definite “working” sound (think of Raymond Scott’s “Powerhouse” without the cartoonish-ness), which is highly evocative – a ten-minute musical tour of a factory with all the chaos amid highly organized production.

It seems to this listener that the work never quite reached critical mass, that it simmered but never smoldered. A bit more boldness would have made a world of difference, but aside from this reservation, it was a solid performance of a imaginative work.

Sibelius’s Symphony No. 5 in E-flat major, Op. 82 was the final work on the program. Written in 1915 and revised several times (the 1919 final revision was played), it is Sibelius looking both into the past and the future simultaneously with his consummate mastery.

The opening was excellent, which had my expectations heightened for what was to come. The results were variable. While there were moments of sublime playing, there were issues of balance (winds overpowering the strings), some problematic intonation within sections, and a certain timidity in the string section. To be fair, these are all issues that affect much more established orchestras as well. The basics are there, but there is a need for polishing the finer details.

The second movement suffered from heaviness of sound under the lovely “chirping” theme of the woodwinds, an issue easily solved by reining in the exuberance of the brass section. Even with this issue, it was still enchanting.

The strings came into their own in the third movement finale, with incisive, crisp playing and a boldness I had been hoping for earlier. The horn motif (which Donald Tovey likened to “Thor swinging his hammer”) was arresting. The final six staggered chords, all separated by silences, were tossed off like thunderbolts, which was thrilling to hear.

Maestro DeMaison is an ideal conductor for this orchestra. One can see his continual coaching and encouragement to his musicians, his clear and decisive direction, and his unflagging energy. Given time, he should have these players at a higher level that will not require any supplementing from outside musicians.

The supportive members of the Rensselaer community gave their stars a prolonged standing ovation, of which they can feel very proud. Congratulations, and may the program realize the promise of what was launched on this night.

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

(le) Poisson Rouge presents Taka Kigawa

Taka Kigawa, piano

(le) Poisson Rouge, New York, NY

August 27, 2018

On August 27, 2018, pianist Taka Kigawa (www.takakigawa.com) presented a program called “Music of Aucoin, Furrer, Yamane, Berio” at (le) Poisson Rouge. It was to prove to be a fascinating experience of encountering music of up-and-coming talents (Aucoin and Yamane), an established leading composer of today (Furrer), and an undisputed master for the ages (Berio).

Poisson Rouge has established itself as one of the leading non-traditional venues for classical music concerts. It is a club, complete with food and drink service, in a setting that one might call “edgy.” The audience members included students, middle-aged folks, and assorted hipsters – a mix one doesn’t always see at “traditional” halls. The idea is to “shake things up,” breaking all the so-called rules of classical concerts. It’s not for everyone, and some might argue that the idea itself misses the point of a concert experience, but I’ll leave that debate for others.

There were brief program notes for each work, as written by their respective composers. This was helpful for the listener to gain insights into the works. To learn more about the composers, one can follow these links: Matthew Aucoin , Beat Furrer, Akiko Yamane.

Mr. Kigawa spoke briefly to express his love for the music he was to play and to inform the audience that all of the works on his program were composed in the 21st century. He might have even billed his concert as music of the 21st century, which would be not only an interesting hook but a way to discourage annoying labels of “modern” and “contemporary.”

Opening with Akiko Yamane’s clever piece, Illuminated Baby, a musical depiction of a baby’s march (imagine a toddler somewhat wobbly but planting each step firmly), Mr. Kigawa showed straight away that he is a dynamic performer. It was a delightful beginning to the evening.

Beat Furrer’s Phasma ended the first half. It’s a twenty-five-minute epic journey (described by the composer as looking out the window on a high-speed train) that taxes the performer to the utmost, particularly in terms of stamina. It included playing inside the instrument and other special effects. Make no mistake, this work is challenging for the listener as well, and those with limited attention spans are forewarned. Mr. Kigawa kept the large audience engaged throughout (even as servers negotiated the tables with food and drink), which in and of itself was indicative of a first-rate talent. He was rewarded with loud cheers at the end, which were well deserved.

Matthew Aucoin’s Three Etudes (rondo which devours itself, currents, and a sounding) opened the second half. These short works were offered with virtuosic flair and probing depth. Of the three, a sounding was my favorite, but all three are effective and engaging pieces.

Luciano Berio’s Sonata ended the concert. This work seems to be anchored around the note B-flat, which is repeated continuously through much of the work (it reminded me a bit of Le Gibet from Gaspard de la nuit). It was yet another twenty-five-minute work that made heavy demands on the player. Conceptually it was more accessible than the Furrer piece, so it was an easier task for the listener, but not for the player! Mr. Kigawa was more than up to the demands and made it all seem easy. Perhaps the audience had been spoiled by his earlier dazzle and did not give him the credit he so richly deserved, much to my chagrin. As an encore, Mr. Kigawa offered the 4th (Erdenklavier) of Berio’s Six Encores.

Taka Kigawa is a pianist who not only has technique to burn but possesses an uncommon intelligence. Special note to all 21st century composers: Taka Kigawa is the pianist you have been looking for.

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

Noree Chamber Soloists NYC Concert Series Season Finale in Review

Yoon Lee, Yi Qun Xu, artistic directors

Stella Chen, Francesca dePasquale, Bela Horvath, violins; Caeli Smith, viola; Yi Qun Xu, cello; Yoon Lee, piano

Guest Artists: Catherine Cho, violin; Roger Tapping, viola; James Kim, cello

Church of the Blessed Sacrament, New York, NY

May 24, 2018

The Noree Chamber Soloists (www.noree.org), with special guest artists Catherine Cho, Roger Tapping, and James Kim lending their talents, concluded their NYC Concert Series season on May 24, 2018 with a program of Beethoven, Fauré, and Mendelssohn at the Church of the Blessed Sacrament. This program was originally scheduled for September of last year but had had to be re-scheduled. The unforeseen bonus of this delay was that the Church of the Blessed Sacrament meanwhile received a beautiful new Steinway grand piano (less than a month ago).

The well-written and informative program notes written by Jung-Min Mina Lee, Noree Chamber Soloists’ resident musicologist, made an immediately favorable impression on this reviewer. It should also be mentioned that in a previous review in this journal (The Viola Sings- Noree Chamber Soloists), the lack of printed notes had been noted, so the willingness to address this issue, which some might consider a reviewer’s fussiness, was also appreciated. Biographies of all the artists were included as well.

I will admit to having some trepidation about the acoustics of this venue, but the wise placement of the players in the middle of the hall, with the audience seated close to them, proved to be effective in keeping the sound “local”.

Pianist Yoon Lee and violinist Catherine Cho opened the concert with Beethoven’s Violin Sonata No. 3 in E-flat major, Op.12, No. 3. This early work reflects Beethoven’s most optimistic self. It is brimming with ebullience in the outer movements and lyrical beauty in the central slow movement. Even though this is a violin sonata, with a more or less equal partnership between the players, Beethoven gives the pianist the lion’s share of the difficulties – this is not at all to suggest that the violinist has a “walk in the park” (nothing could be further from the truth) – just to say that the pianist for this work deserves special recognition. Ms. Lee was equal to Beethoven’s virtuosic demands while never overpowering Ms. Cho, even though the piano was on the full stick. Ms. Cho projected a rich, vibrant tone, while tackling the technical challenges with an assured ease. It was a pleasure to witness Ms. Cho’s and Ms. Lee’s rapport. The audience was thrilled by their performance, with many shouts of Bravo! It is always heartening to this listener to witness such an enthusiastic response to a fine performance.

Fauré’s Piano Quartet No. 2 in G minor, Op. 45 followed the Beethoven. Violinist Francesca dePasquale, violist Roger Tapping, and cellist Yi Qun Xu, joined Ms. Lee. While I was impressed with the passionate playing of the opening movement, the frenetic energy of the perpetuum mobile second movement, and the “all-in” approach to the driving relentlessness of the finale, it was the third movement Adagio that set this performance apart. Of this movement, Fauré himself said he was inspired by the memory of evening bells from his childhood in the village of Cadirac. The audience listened with rapt attention as the ensemble played this “eerie reverie” (Fauré ‘s words) with exquisite sensitivity.

After Intermission, violinists Catherine Cho, Stella Chen, Francesca dePasquale, Bela Horvath, violists Caeli Smith and Roger Tapping, and cellists James Kim and Yi Qun Xu joined forces for Mendelssohn’s Octet in E-flat major, Op. 20. Written when Mendelssohn was sixteen as a birthday gift for his violin teacher Eduard Ritz (pity the other gift givers who had to follow that!), the Octet is, as stated in the program notes, “a dazzling display of individuality and imagination not commonly matched with a sixteen-year-old.” One could easily add “or one of any age!” It is no mean feat even for ensembles who have played together extensively to successfully navigate not only the technical challenges, but the ensemble ones as well, so I was adopting a “wait-and-see” outlook. Happily, these players meshed together wonderfully. Balance and intonation were excellent, and passagework was crisp and clearly articulated. The third movement, the well-loved Scherzo, which takes inspiration from Goethe’s Faust, had a light, puckish playfulness that sparkled with elfin magic. It was the highlight of not only the Octet, but the entire performance for this listener. After the thrills of the Presto finale, the audience rewarded the players with a richly deserved standing ovation. A wine reception awaited the audience after the concert.

Noree Chamber Soloists is a group with great promise. These young players already possess technical mastery and, given more time playing together, they should mature into a first-rate ensemble.

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

Carnegie Hall presents Laureates of the Sphinx Competition in Review

Elena Urioste, violin; Gabriel Cabezas, cello; Xavier Foley, bass; Tom Poster, piano

Zankel Hall at Carnegie Hall, New York, NY

May 3, 2018

Zankel Hall was the venue for a special concert entitled Laureates of the Sphinx Competition on May 3, 2018. Founded by Aaron P. Dworkin to address the underrepresentation of people of color in classical music, the Sphinx Organization is dedicated to transforming lives through the power of diversity in the arts. Their programs focus on four main principles: education and access, artist development, performing artists, and arts leadership. One can learn more about this outstanding organization by visiting www.sphinxmusic.org. The artists presented, in addition to being fine musicians, have dedicated themselves to furthering the mission of music by spearheading their own groups.

Before anything else, I would like to take the time to mention the excellent program notes, which not only gave both “at a glance” and detailed explanations of the works, but biographical information about the composers and the performance histories of the works. There any many performers who feel that program notes are unnecessary and even chide the reviewer for making it an issue! This is missing the point that audiences are not all experts (and not all so-called “experts” know everything either!), and that to leave the listeners without explanations risks leaving them feeling lost or frustrated. The opportunity to educate is lost, and those left behind will perceive classical music as elitist. One cannot bemoan dwindling attendance levels while failing to do the utmost to make listeners want to return.

Laureates of the Sphinx; Tom Poster, Elena Urioste & Gabriel Cabezas; Photo Credit: Pete Checchia

Cellist Gabriel Cabezas led off with Robert Schumann’s Fünf Stücke im Volkston (Five Pieces in Folk Style), Op. 102, with pianist Tom Poster. Schumann was a master of small forms, and this work is no exception. One sees both his Florestan (1,4, and 5) and Eusebius (2 and 3) personalities in this work. While I found Mr. Cabezas to be technically assured with a warm, rich tone, it was the slower works (2.3) that this listener found to be the most compelling, showing Mr. Cabezas to be a sensitive artist who digs deep into the emotional depths of Schumann without making it overly-sentimental or mawkish.

Violinist Elena Urioste and Mr. Poster followed with two works: Olivier Messiaen’s Theme and Variations (1932) and Amy Beach’s Romance, Op. 23. The Messiaen was mesmerizing; Ms. Urioste’s extreme upper register was crystalline, and, combined with Mr. Poster’s attentiveness to balance, the performance was everything one would hope for. The building in intensity of each successive variation was thrilling. The Beach Romance was lush as one might expect, but also a virtuosic showpiece that showed that Ms. Urioste “has the goods” and can wow an audience. Again Mr. Poster is to be lauded for his superb work, in what was consistently excellent throughout the concert.

Laureates of the Sphinx Competition; Tom Poster & Xavier Foley; Photo Credit: Pete Checchia

I’m going to flip the order of the pieces performed by bassist Xavier Foley to discuss his own composition first. His 2016 Cranberry Juice (a New York premiere) was inspired by the music from StarCraft, a real-time strategy game. Mr. Foley writes that his work features 90’s alt-rock sounds with the slightest dash of R&B. A quote from The Simpsons theme song from the earlier solo version was removed due to possible legal issues. D’oh! Cranberry Juice is a fun trip, with frenzied moments delivered by Mr. Foley in a playful way. He is an extroverted performer and a real crowd-pleaser; it is almost as enjoyable to watch him play as to hear him. Two works by Reinhold Glière, Intermezzo, Op 9, No.1, and Tarantella, Op.9, No. 2 showed Mr. Foley’s technical prowess. It’s no mean feat to navigate the rapid passagework on the bass without blurred, muddy sounds and to maintain a singing tone in the higher range, but Mr. Foley made it all look like child’s play.

Ms. Urioste, Mr. Cabezas, and Mr. Poster took the stage for the World Premiere of Divertimento (2018), commissioned by the Sphinx Organization from composer Gabriella Smith (b. 1991). Ms. Smith writes she was inspired by the “quirkiness” of Haydn and the Scherzo from Beethoven’s Eroica Symphony. Complete with extended techniques, pitch bends, and other noises, it featured “special guest appearances” of themes from Papa Haydn and Beethoven, which peeked in as if the players were naughty children, only to have them return to creating mischief when they turned away. It was the product of a highly imaginative and talented up-and-coming composer. Ms. Smith was in attendance and rose to greet the players and the audience to accept the well-earned applause.

Ms. Urioste spoke briefly to thank Sphinx and Carnegie Hall, but also to explain some of the thoughts behind the concert. Diversity not just of skin color, but of gender, country of origin, and musical style, was considered, as well as the presentation of living composers. Ms. Urioste then said that, “we don’t need to talk about it, but just do it” – to some laughter. The message was clear; talk is nice, but action is better.

Maurice Ravel’s 1914 Piano Trio in A minor, completed at the end of August, the first month of World War One, was the final work on the program. It is not surprising that the events of the day had an influence on Ravel (“[I am] working with the assurance and clarity of a madman,” he wrote to a friend), and the end result is a work filled with strife, but also mournful majesty. I was wondering if these young players would fully grasp the pathos of Ravel’s conception and also be able to navigate the considerable difficulties that Ravel placed upon all three players. I should have not feared a thing, as this was one of the best performances of this work I have heard. It was the highlight for this listener, and the audience seemed to second that notion, judging by the extended standing ovation awarded to the players.

Mr. Cabezas humorously vamped as his partners tracked down Mr. Foley for an encore. A charming arrangement by Mr. Poster of Manuel Ponce’s Estrellita (as transcribed by Heifetz) was a lovely ending to a great evening of music. Keep up the good work, Sphinx – I look forward to hearing more from your fine organization!

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

Lynn Spurgat in Review

Lynn Spurgat, soprano

Jason Wirth, piano

Zankel Hall at Carnegie Hall, New York, NY

May 2, 2018

Soprano Lynn Spurgat and pianist Jason Wirth joined together at Zankel Hall at Carnegie Hall for a recital dedicated to songs of love; love lost, love unfulfilled, and the passion and despair were all themes. With works from Beethoven, Wagner, Liszt, and Granados, it was to prove to be a compelling concept realized with excellence.

Lynn Spurgat (www. lynnspurgat.com) is a performer with not only the requisite credentials as a singer, but with a breadth as an artist and communicator. She wrote fine program notes, which helped the listener gain further insights into the presented works. Ms. Spurgat has a commanding stage presence, complete with a big personality and an intense focus as she “locks into” her roles. Jason Wirth (www.jasonwirth.com) is an impressive musician in his own right, and as Ms. Spurgat was to relate to the audience, her “rock from day one.”

When Ms. Spurgat took the stage, the large audience gave her one of the most enthusiastic welcomes that this reviewer can recall witnessing in some time. It was a wonderful thing to see such support for an artist, and I am sure that support lent wings to her performance.

Ms. Spurgat opened with Beethoven’s Ah! Perfido, Op. 65. Ah! Perfido is sung by a woman who has been deserted by her lover, torn between wanting the gods to punish her lover or wanting them to show him mercy for his sins – or sacrificing herself. Ms. Spurgat cycled through the song’s emotions in a frenzied manner, revealing the near madness of the protagonist. It is quite a challenge for the singer to portray these quicksilver mood swings in a believable fashion, and it could be so easy to descend into cartoonish melodrama, making a mockery of it all. Thankfully, Ms. Spurgat avoided these traps. The pleading, the angry outbursts and vengeful spite, the longing and remorse, and the final despairing resignation were all stylishly captured by Ms. Spurgat. The audience loved it.

Wesendonck Lieder, WWV 91, is the common name of a set of five songs for female voice and piano by Richard Wagner, Fünf Gedichte für eine Frauenstimme (Five Poems for a Female Voice). He set five poems by Mathilde Wesendonck while he was working on his opera Tristan und Isolde. The poems are, as Ms. Spurgat (charitably) states, are not on the level of Petrarch. All issues of poetic quality aside, this work, other than the Siegfried Idyll, is the most frequently performed non-operatic work of Wagner’s. Highlights were Der Engel (The Angel), in which Ms. Spurgat’s voice was ethereally light, with nice dynamic restraint while still projecting well into the hall, the lament of Im Treibhaus (In the Greenhouse), and Träume (Dreaming) which Ms. Spurgat transported the listener to another world. Her German diction was outstanding. The audience responded with raucous approval, including many shouts of Bravo! It was a fine end to a fine first half.

After intermission, Ms. Spurgat offered Liszt’s Tre sonetti di Petrarca (Three Petrarchan Sonnets). The story of Petrarch and Laura is so well-known that it is unnecessary to discuss here. This set was the highlight of the evening for this listener. Liszt not only offers brilliant settings of these magnificent texts for the singer, but some virtuosic writing for the pianist, in what is a partnership between the two, as opposed to the secondary role the pianist plays in the Wesendonck Lieder. Ms. Spurgat was superb in projecting these emotionally charged texts with sensitivity and passion. Her voice soared in the upper register without loss of quality or intonation. Mr. Wirth was more than equal to Liszt’s challenges and deserves high praise. The entire set was exceptional, but I’ vidi in terra angelici costume (I saw angelic virtue on earth) was a cut above.

Two works by Granados, selections from the Tonadillas en estilo antiguo, and La Maja y el Ruiseñor (The Maiden and the Nightingale) from his opera Goyescas (as adapted from his 1914 piano suite of the same name) ended the recital. The Tonadillas are song portraits of the working-class neighborhoods of 19^th century Madrid. The words majo and maja refer to men and women of the poorer areas, such as Lavapiés. They are mostly light-hearted and whimsical, qualities which Ms. Spurgat played up to the hilt in a delightful way. When she shook her head and waved a finger in a “no-no” gesture in El majo discreto (The Discreet Man) the audience roared in laughter. We already knew that Ms. Spurgat has the technical goods, so it was enjoyable to see her having some unbridled fun. That said, she reminded us that while she can let her hair down, in the end she is still a force, and La Maja y el Ruiseñor was that reminder. It was a powerful close that had the audience leap to their feet in a standing ovation. After two encores, it was time for her to take her leave, with the audience still clamoring for more.

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

Distinguished Concerts International New York (DCINY) presents The Music of Eric Whitacre in Review

Eric Whitacre, composer/conductor

Kelly Yu-Chieh Lin, piano

Sarah Jean Ford, soprano

Distinguished Concerts Singers International

Stern Auditorium at Carnegie Hall, New York, NY

April 8, 2018

How does one make a concert that is both entertaining and musically substantive? This is something that many concert organizers struggle with, but Distinguished Concerts International New York (DCINY) has discovered a simple formula that is a lock for sure-fire success: Invite Eric Whitacre to conduct a concert of his own works. This is Eric Whitacre’s fifteenth appearance with DCINY. Five hundred forty-three singers from Ohio, Massachusetts, California, Canada, United Arab Emirates, Pennsylvania, South Carolina, Utah, Wisconsin, Texas, Tennessee, New Jersey, and individual singers from around the globe gathered under the direction of Mr. Whitacre for an afternoon of some old favorites (Lux Aurumque, Seal Lullaby, The City and the Sea, Cloudburst, and Sleep) with newer works (e.g., Hurt and “Home” from the Sacred Veil), in addition to works by Moses Hogan and John Mackey.

Eric Whitacre is a true force of nature – Grammy-winning composer, conductor, public speaker, and evangelist for the cause of music. He is one of the most charismatic people in any field this reviewer has seen in action. His enthusiasm is simply infectious; one cannot help being drawn in by this dynamic personality.

The Star-Spangled Banner, as arranged by Whitacre, was a welcome pre-concert opener overall. It has some of his characteristic close harmonies, and some other additions for dramatic effect, including that hackneyed leap of a fourth on the held note “Free,” and a Hollywood-esque soundtrack finish. Thankfully, it was not the melisma-fest one so often hears at sporting events by various pop stars.

The program did not follow the printed order, but Mr. Whitacre announced each work with some of the history/back story behind each work. There was a moment of confusion when a string quartet appeared on stage at the appointed time after Mr. Whitacre had just announced the ensuing piece, but without missing a beat, he vamped à la Airplane! – “I picked the wrong week to stop taking amphetamines.” Roaring laughter followed.

Lux Aurumque, one of his earlier works, opened the concert proper. I’ve heard this work countless times, yet it still amazes me how the simplest means have such a profound effect. The chorus rendered the close intervals flawlessly, with excellent balance and intonation. This was an excellent start!

The next piece, Little Birds, to text by Octavio Paz, could be described as “Fauré for the 21st century.” Mr. Whitacre acknowledged Fauré’s influence in his remarks. Complete with bird whistles and paper waving at the end, it was enchanting.

Five Hebrew Love Songs, written in 1995 for his wife Hila Plitman to her texts, is filled with passion. Even a person with little musical training could sense that Mr. Whitacre poured his heart and soul into these songs. The addition of the string quartet added further depth to an already emotionally charged work. Each song was captivating in its own way, but Temuna (A picture), with its almost mournful sentimentality, and the atmospheric, shimmering Eyze sheleg! (What Snow!) were my favorites.

The next work, The Rumor of a Secret King, by John Mackey (b. 1973), set to text from Mr. Mackey’s wife Abby Jaques, was written at the request of Mr. Whitacre. Mr. Mackey and Mr. Whitacre were classmates at Juilliard and remain close friends. It is not a secret that I am an admirer of Mr. Mackey’s works, so I was especially looking forward to this piece. It is filled with driving rhythmic energy, combined with hints of John Tavener. My admiration is intact; this is a worthy addition to the repertoire that was given a winning performance. Mr. Whitacre told the audience that Mr. Mackey is very active on social media and to send him a tweet telling him how good his work was! I am sure many people did just that.

Seal Lullaby, with text from Rudyard Kipling, followed the Mackey. It originally was intended for a DreamWorks project that was abandoned in favor of Kung Fu Panda. Mr. Whitacre called this piece “trunk music,” a work written that is stored away to be used at some point in the future. The tune is simple, yet very moving, and the timbre of the singers was ideal in a touching performance.

The first half concluded with two well-loved and frequently performed spirituals arranged by Moses Hogan (1957-2003), Elijah Rock and The Battle of Jericho (and a third selection in the printed program was omitted). The audience loved the rollicking works and gave all a standing ovation that one usually sees only at the end of a concert.

The second half was all music of Mr. Whitacre. His Goodnight Moon opened. The lyrics come from the beloved children’s book of the same name, which Mr. Whitacre said he has read to his son “at least a thousand times.” It had all the child-like innocence in a sweet, wistful performance that would enchant children of all ages from one to ninety-nine.

The New York premiere of i carry your heart, with text from E.E. Cummings, was next. It was composed as a surprise gift to two friends of Mr. Whitacre. He said it was the favorite poem of the two, and that it was hoped that he could set it to be used at their wedding. Alas, it was not to be, as Mr. Whitacre was unable to get the setting to his satisfaction, instead giving “the worst best man speech in history.” Sometime later, Mr. Whitacre was sitting at the piano randomly striking chords, when a simple two-chord sequence was the catalyst for showing him the path he could not find previously. I’m sure his friends loved the post-wedding gift. The chorus was superb in the “unfolding” of the layers of sound, as it expanded into its full grandeur.

Cloudburst, with text by Octavio Paz, is one of Mr. Whitacre’s signature pieces. With added percussion for the “storm” and chorus member finger snaps for “rain,” it is an aurally and visually arresting tour-de-force. I was disappointed that so few in the audience took the cue from Mr. Whitacre to snap their fingers rapidly in creating the cloudburst effect. It would have been amazing if the entire hall had joined in! Nonetheless, it was still a mesmerizing eight minutes.

The World Premiere of “Home” from The Sacred Veil, courtesy of the DCINY Premiere Project, followed. It is a part of a larger work that Mr. Whitacre is writing in collaboration with his friend Charles Anthony Silvestri. Mr. Whitacre described the veil as the dividing point between the living and the dead, but not a barrier to communication between these worlds. The text is a remembrance of the second date Mr. Silvestri had with his wife, who passed away twelve years ago from ovarian cancer, of the feeling of falling deeply in love with her – “You, feel like home.” A cellist joined the piano and chorus. It was heartbreakingly beautiful, and the emotional impact is still lingering inside me. I very much want to hear the complete work.

The next work, the city and the sea, brought back a light mood. It uses the texts of five poems by E.E. Cummings. Three selections, the jaunty No.1, i walked the boulevard, the nostalgia-tinged No. 3, maggie and milly and molly and may, and the furiously hectic No.5, little man in a hurry were this listener’s favorites.

Hurt, by Trent Reznor (b. 1965), from the group Nine Inch Nails, is a song that Mr. Whitacre told the audience is one of his favorites. An unforgettable cover of this song by Johnny Cash is one of the very last things The Man in Black did before his death. The power of the lyrics is undeniable regardless of one’s feelings about the music itself. Mr. Whitacre’s conception harnesses the rawness of emotion with an otherworldly feeling. Sara Jean Ford’s soprano voice wandered in and out like a calling from beyond. It was haunting, and even a bit unsettling, which might account for the somewhat bewildered response from the audience. This listener found it to be most compelling.

Sleep was the final work. Originally written using Robert Frost’s Stopping by Woods on a Snowy Evening, Mr. Whitacre was denied permission by the Frost estate to use the text in any form, including performance, until 2038 (when the work would enter the public domain), and was threatened with legal action. Luckily for Mr. Whitacre, his friend Charles Anthony Silvestri was able to provide him with a metrically identical poem, for which Mr. Whitacre was able to use the already written music. It was a sublime ending to a memorable afternoon. The audience gave Mr. Whitacre a long standing ovation. The formula remains effective: Mission accomplished, DCINY!

Kudos to the unsung hero of this concert, pianist Kelly Yu-Chieh Lin, who was a superstar in her own right. If one missed this concert, it will be encored on April 15, 2018 at David Geffen Hall at Lincoln Center.

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