Rorianne Schrade | New York Concert Review, Inc.

Distinguished Concerts International New York (DCINY) Presents Mass in Blue: The Music of Will Todd in Review

Will Todd, DCINY Composer-in-Residence and Pianist

Alicia Walker and James M. Meaders, Guest Conductors; Distinguished Concerts Singers International

Kristin M. Claiborne, Soprano; Craig Butterfield, Double Bass;

Cliff Leaman Saxophone; Chris Lee, Percussion

David Geffen Hall, Lincoln Center, New York, NY

Apr 7, 2019

An entire program at David Geffen Hall was devoted this weekend to the music of Will Todd (b. 1970), Composer-in-Residence for Distinguished Concerts International New York (DCINY). Featured were two large-scale works, Mass in Blue (constituting the first half, conducted by Alicia Walker) and Songs of Peace on the second half (conducted by James M. Meaders), followed by a shorter piece, No More Sorrow. Choruses came from all over (Connecticut, Florida, Kansas, Maine, Mississippi, Missouri, Rhode Island, South Carolina, Texas, and Virginia, as well as Canada and the UK), and Geffen Hall was abuzz with the excitement that DCINY always manages to create.

In case our readers are unfamiliar with Mr. Todd (as this reviewer was), he is a British composer and jazz pianist, best known for combining jazz and blues with traditional choral music. His jazz trio performs regularly and plays a large role in his Mass in Blue (2003), originally entitled Jazz Mass. The mass, commissioned by the Hertfordshire Chorus in the United Kingdom and premiered there in 2003, has since been performed over 200 times at venues including the Barbican, London, and Lincoln Center, NYC, as well as live on BBC Radio. Mr. Todd’s arrangements and compositions overall have been performed before dignitaries worldwide and in prominent venues across the globe. For more information, visit https://willtodd.co.uk

Some may call it bold – or even cheeky – to take the Latin text of the Mass, so reverently treated to noble settings by Bach, Mozart, Beethoven, Schubert, Fauré, Verdi, and others, and to set it chorally against the often insistent rhythms of a jazz trio of piano, percussion and double bass, with saxophone as well; anyone objecting to it, though, is around sixteen years late, as it appears that Mass in Blue has done quite well in terms of repeat performances and overall popularity.

Of course, the use of jazz in religious works is not new, and many artists (Duke Ellington, Mary Lou Williams, and others) have used the soulfulness or earthiness of some jazz styles to express personal faith quite naturally; the Todd Mass, though, sent a different message, and a mixed one, largely due to the juxtaposition of old Latin with his particular style of jazz. There were moments when the sacredness of the venerated texts seemed simply lost in the high gloss of the piano lounge, with all its commercial associations, and one felt a twinge of sadness, as if seeing a dear elder friend abandoned on a noisy, crowded street corner. This feeling would have not arisen had the familiar Latin texts been replaced by original personal ones in the composer’s native tongue, building bridges to a new sacred music through new words. Then again, this reviewer is sixteen years too late in commenting.

In terms of the performance itself, the DCINY rendition of Mass in Blue was a triumph. Conductor Alicia Walker, who works regularly with multiple choruses in South Carolina as well as through international programs, is a dynamo. She led the combined choruses through a performance of tremendous polish and spirit. It had to be a challenge to juggle chorus and jazz trio in terms of both tempo and balance, but she was more than up to it. The soprano soloist Kristin M. Claiborne was also superb, singing improvisatory jazz lines that reached the stratosphere. One reads in Ms. Claiborne’s biography that she, like Dr. Walker, has also led choral groups here and abroad and in fact worked with groups of the singers performing on this occasion. This was quite a team from Columbia, South Carolina, and with the rest of the DCINY singers, they made a formidable group.

Mr. Todd’s Mass in Blue consists of the six usual movements of a mass, the traditional Latin Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus Dei – though, again, there was nothing usual about the settings. The work opens with jazz piano, and here it was Will Todd himself at the keyboard, his opening blues improvisation punctuated with soft swishes of the cymbal by percussionist, Chris Lee. Mr. Todd is a highly skilled jazz pianist, for whom piano seems to be the center of inspiration, though he is known for numerous choral works and arrangements.

Soprano, Kristin Claiborne wove her solos beautifully into the first movement Kyrie, but it was probably the third movement, Credo, which showed her in full glory. For anyone unaccustomed to the idea of a mass with 12-bar-blues sequences and “funky riffs” (as described in the excellent notes by Ralph Woodward), the spirit of the performers certainly helped sell it. Thankfully the settings of “crucifixus” and “et sepultus est” reflected more sobriety than much of the rest of the piece, although they still felt somewhat facile. They normally would provide the depths against which the “et resurrexit” line rises, though the latter was still fittingly jubilant. Dr. Walker was masterful, not only corralling these massive forces to keep up with the trio’s highly energized flights, but also reining them in to give leeway to the occasionally freer solo and trio passages.

Percussionist Chris Lee was rock-steady throughout a marathon afternoon of playing with little break, but he also enjoyed the occasional featured moment, such as his somewhat freer “last hurrah” in the third movement Credo. Saxophonist Cliff Leaman shone as well, particularly in the fourth movement, Sanctus.

An opening pizzicato solo from excellent double bassist Craig Butterfield introduced the next movement Benedictus with an unforgettably smooth style. One half expected something along the lines of Van Morrison’s Moondance to break out, but then again, much of the afternoon involved filtering out similar associations of popular music (and classical text) from one’s preconceptions. With that approach there was much to enjoy, including more stunning high notes from Ms. Claiborne in the Agnus Dei. The audience was unable to obey the printed instructions not to applaud until the end of the piece and burst into ovations at the end of the Credo and subsequent movements. There was certainly much appeal here for the audience, and it grew with each added voice, meter change, crescendo, and upward modulation.

The second half by comparison was more subdued. The program notes by Will Todd on his Songs of Peace tell of his mother, who passed away in 2012, and of her importance in instilling “a lifelong interest in choral music and worship.” James M. Meaders was the conductor for this half and was excellent as ever.

The Songs of Peace included six movements: Requiem, Precious Moment (text by Todd), Just as I am (from the traditional hymn of that name), Ave verum, A Song of Peace (text by Todd), and the lovely, lyrical finale, Into the Stars, in which the treble piano parts seemed to twinkle like celestial imaginings. Along with Into the Stars, one of the highlights was Just as I am. As Mr. Todd writes, his mother loved the hymn, which “she always said she would like at her funeral, and indeed this arrangement in a solo piano version was what I played on that occasion. The voices feel like a natural addition.” Though the hymn version was not specified in the program, it was the Saffron Walden melody that Mr. Todd used (this reviewer’s preference too, among a confusing array of versions). It was sensitively arranged by Mr. Todd, with an a cappella opening, a florid jazz center, and touching return to the melody in the end. There was something so direct and immediate at work here that, even though it was a pre-existing hymn, it seemed as if one might be hearing the composer’s truest voice.

The concert ended with a performance of No More Sorrow, another touchingly beautiful song, which offered a much-needed respite from the ubiquitous percussion. (Let there be no mistake – the afternoon’s percussionist was absolutely terrific – but just as with any pervasive flavor or stimulus, one could not after a while fully absorb anything else.) No More Sorrow provided a perfect end to another successful DCINY concert, and the words served as a final good wish for all.

by Rorianne Schrade for New York Concert Review; New York, NY

Hsin-I Huang, “Mighty Shadow” CD in Review

Hsin-I Huang, Piano

Recorded August 2016 at Legacy Hall, GA

Matthew McCabe, Engineer

A CD entitled Mighty Shadow (no connection to the recently deceased calypsonian Winston Bailey known by that name) arrived on my desk this week and turned out to be all Russian piano music, Rachmaninoff and Mussorgsky, played by Taiwanese pianist Hsin-I-Huang.

Mr. Huang is a pianist with whom I was not familiar, but one learns from his biography that his credentials are numerous, including prizes (first prize of the Bradshaw & Buono International Piano Competition in New York and the International Music Competition Paris Grand Prize Virtuoso 2015, among others) as well as concerts throughout Asia, Europe, and the United States, including in Taipei’s National Concert Hall, and Weill Recital Hall at Carnegie Hall. Mr. Huang is currently a doctoral candidate on scholarship and assistantship at Stony Brook University, while also serving as staff pianist at several colleges – clearly a busy and versatile musician. For more information one can visit his website, www.hsinihuang.com

The two works on Mr. Huang’s CD, Rachmaninoff’s Variations on a Theme by Corelli Op. 42 and Mussorgsky’s Pictures at an Exhibition, are far from neglected. The Mussorgsky falls almost in the category of “warhorse” – and though the Rachmaninoff Op. 42 is performed perhaps less often than some of the composer’s other piano works, it has hardly been ignored. One always wonders, as the seemingly saturated market for recordings of such masterpieces is saturated still further, how a new CD will distinguish itself. In this case the title “Mighty Shadow” suggests that the two works are being connected in something resembling a “concept album” (though the concept could be applied so widely as to seem a bit arbitrary). In the introduction to the liner, Mr. Huang explains that, “These two words for me conjure tensions between vigor and vulnerability, inspiration and intimidation, sacredness and secularism. And these emotions and ideas weave throughout this album’s masterworks in Mussorgsky’s Pictures at an Exhibition and Rachmaninoff’s Variations on a Theme by Corelli.”

Whether or not one finds the title to be enlightening or a tenuous attempt at a theme, the playing is always what counts, and it is very good here. Does this new CD merit a spot on the record collecting music lover’s shelf? The short answer, especially for the Rachmaninoff, is yes. Not only does Mr. Huang’s Rachmaninoff hold up under scrutiny and withstand comparison with some of the best performances available, but at some moments it surpasses them. Huang plays with a sincere devotion to this music, and his interpretations are thoughtful. His technique is up to it all as well, without question.

Points to admire included the organic flow from variation to variation after the hallowed theme and the sense of flexibility without excessive license. Skillful voicing was also evident, especially apparent in Variation II. Variation VII, heard in some hands as a harrowing blur, was coherent here, though clearly Mr. Huang was observing the “laissez vibrer” pedal instructions – perhaps with a lighter foot than others use. The subsequent variation had just the right misterioso feeling, and Mr. Huang managed the ritardandi without chopping up the whole.

In each case where this listener felt a reservation, the musical logic was nonetheless apparent. One was struck by the stiffness in Variation IV and wanted more lightness and speed in Variation X, but these made sense in context of the surrounding variations. In Variation XII the loudness felt exaggerated, but one admired the way it helped set up the lightness of Variation XIII. Variation XVIII towards the end was in a markedly more deliberate tempo than one is used to, but then it helped suggest a heroic gait. One could hardly argue with the conception, and thankfully it also avoided the hectic feeling that besets other interpretations.

An effective rhapsodic feeling was created in the Intermezzo, which prepared the ears for the “creamy center” of the piece in Variations XIV and XV. Pianists approach Variation XIV with varied emphases, some favoring inflection of the almost bluesy individual harmonies and others prioritizing a taut melodic line – and though it should not be an either-or proposition, prioritizing is inevitable. Mr. Huang tended to favor the unbroken melodic line, and, though this reviewer likes a bit more lingering over the shifting colors, it is probably a wise choice not to dillydally too much before the subsequent Variation XV. The fifteenth, marked dolcissimo, is a special slice of musical heaven, and it needs to be framed with care. Mr. Huang did just that with a childlike purity and transparency of sound. It could possibly have been even gentler, but that consideration may relate to the engineering (and more on that aspect later).

The issue of parts versus the whole arises whenever one reviews such lengthy works in recording. Perhaps the division into tracks reminds one to check how Ashkenazy or Trifonov did this or that segment, and inevitably one has one’s favorite moments. When one listens for the whole, though, as one should, Mr. Huang’s conception is hard to fault.

In the Mussorgsky, the sound struck this listener quite differently from that of the Rachmaninoff. Naturally one expects a difference of sound between pieces and composers, but the issue was more than, say, the warmer harmonies of Rachmaninoff versus the starker chords, single lines, and octaves in the Mussorgsky. The Mussorgsky sounded (despite all printed information to the contrary) like a different instrument in a different hall. It had at times a twangy brightness resembling even that of a MIDI synthesizer. If such a sound had been present at all in the recording or engineering of the Rachmaninoff, it was somehow camouflaged.

The Mussorgsky movements which struck one as excessively bright were rather predictable – especially Gnomus, Bydlo, and the Limoges Marketplace – and some could argue that these are meant to be quite bright, and they are, though it is always a matter of quality. It is with some reluctance that one mentions such things, as they do not necessarily reflect on Mr. Huang as a pianist, but if one is reviewing the CD – and especially considering the abundance of recordings – one must comment on the recorded sound itself. It is assumed that Mr. Huang was the producer, though none was listed. Possibly a pianist performing such demanding works may be too preoccupied with pianistic issues to have clear oversight of audio production concerns.

That said, there was much to admire in the playing itself. Highlights were the nuance and lightness and control in the playful Tuileries and the Ballet of the Unhatched Chicks and the treble tranquillo part before it. There was good contrast in the argument of Samuel Goldberg and Schmuyle and the Catacombs ending was especially haunting. Baba Yaga seemed tempo-wise much more deliberate at first than what one is used to, but it built well to The Great Gate finale.

The finale was also on the slow side, but it could be regarded as stately at such a pace. As a drawback to the tempo, though, it resulted in extraordinarily long final tremolos, unnaturally prolonged for this listener. If one can sustain their energy, the approach may work; it is hard to pull it off, though, in a recording, as much of their excited energy comes through live concert acoustics – and the live experience itself.

On that note, one hopes for a chance to hear this young pianist play this very program in live recital one day. It would promise to be a rewarding musical experience for artist and audience alike.

by Rorianne Schrade for New York Concert Review; New York, NY

Distinguished Concerts International (DCINY) presents Total Vocal with Deke Sharon in Review

Deke Sharon, Conductor, Arranger, and Creative Director

DCappella, Special Guests

Vintage Mix, Special Guests

Distinguished Concerts Singers International

Stern Auditorium at Carnegie Hall, New York, NY

March 24, 2019

Distinguished Concerts International New York (DCINY) held yet another large-scale concert on Sunday at Carnegie Hall with its production of Total Vocal with Deke Sharon, 5th Anniversary. For those unfamiliar with the name Deke Sharon, he is a leading force (arguably the leading force) behind the enormous resurgence of a cappella singing here in the US and around the world for the past few decades. As arranger and conductor, Deke Sharon was a producer of The Sing-Off, an a cappella singing competition that was on television from 2009-2014, and it spawned numerous similar enterprises. Perhaps the best-known a cappella film, Pitch Perfect (2012) was followed with sequels Pitch Perfect II in 2015 and Pitch Perfect III in 2017. There seems no sign of the craze letting up, and this 5^th anniversary concert helped affirm that fact.

Featured on this concert were smashing a cappella arrangements nearly all made by Deke Sharon (and one original composition). Mr. Sharon has made over 2000 arrangements, and they are eminently appealing and singable. For full disclosure, much of the music popular with these largely teenaged performers is not generally my cup of tea – it generally leaves me craving a Bach Fugue or a Brahms Sextet; that said, very few people with a pulse could resist the sheer joy in music-making that these groups share. Guests joining the Distinguished Concert Singers International included the Disney ensemble DCappella, guests from The Sing-Off and Pitch Perfect films, and the singing quadruplet ensemble, Vintage Mix.

Once a few hundred mostly young singers had filed onto risers on the Stern Auditorium stage, their charismatic leader Deke Sharon launched the music with fun.Medley (no typo – that is the name) from the show The Sing-Off (credited to Jeff Bhasker, Andrew Dost, Jack Antonoff, and Nate Ruess). The three songs of the medley were Some Nights, Carry On, and We are Young. It was full of energy and fun, with eighteen soloists cranking up the excitement, but thanks to some overdone amplifying it was almost unbearably loud. Covering one’s ears tightly barely helped. One started worrying about how one would endure the next few hours, but the electrifying presence of Deke Sharon managed to sustain one’s hope.

Not to sound like a fangirl (happily married old gal here), but the tall, athletic Deke Sharon has one of the most magnetic stage personalities one has ever encountered. To say he exudes energy, rhythm, and joy is wholly inadequate – he is a phenomenon. He appears virtually airborne as he covers the entire stage in a few strides and conducts with a uniquely agile and exuberant dance, drawing ecstatic energy from his musicians. In his role as emcee he excels as well, and, as he greeted the audience after the first number, he took on the role of cruise director (complete with humorous references to old television shows Gilligan’s Island and The Love Boat). His travel-themed banter helped string together a program of some fairly disparate music.

Forget About the Boy (from the 2002 Thoroughly Modern Millie, music by Jeanine Tesori) took us back to flapper days with a jazz-age beat (and thankfully more listenable volume -perhaps because there were no guest artist microphone requirements?). The segue to a love song was a natural, and Beneath Your Beautiful (by Mike Posner from Pitch Slapped) fit the bill. With the chorus in the role of “string orchestra” the featured soloists Martel Jones, Aryanna Rent, John Yokoyama, and Chelsea Rifkin sang beautifully.

I’ll Make a Man Out of You (from Mulan – Matthew Wilder) featured guest artists Chamber Bravura (consisting of 35 vocalists) in a passionate and tightly knit performance. I Wanna Be Like You (by Robert Sherman and Richard Sherman) followed with special guest group DCappella (four men and three women) giving their all. Amps were all still overpoweringly loud, but one still enjoyed the spirit through cupped ears.

Bellas Opening (a medley by various artists from Pitch Perfect 2) included the catchy tune Timber and a quote from America the Beautiful. Soloists were Madeline Glave and Lilly Gaven, with Madeleine Lasker as the excellent vocal percussionist (often called beatbox). One of the fun aspects of a cappella singing, of course, is the range of vocal techniques used to substitute for traditional instruments – and these effects throughout the concert were amazing.

It’s A Man’s World (James Brown) featured the group Unstremental (around fifteen singers), reveling in melisma like the inimitable Brown himself. Travelin’ Band (John Fogerty) followed without any miked soloists, but with full choral forces in a spirited delivery of its rock and roll beat, it had the perfect sound. The audience joined in the infectious fun with clapping. A more pensive song, I Lived (Ryan Tedder), followed as a welcome breather in a lovely arrangement.

The afternoon’s only arrangement not by Deke Sharon was Connecticut (Hugh Martin and Ralph Blane, arr. Adam Bock) with special guests Vintage Mix, a group of quadruplets (yes, quadruplets!) who sang with a not-surprising familial blend and synchronization. The song itself, new to this listener, occupies a rather obscure niche, but it was a good vehicle for these sensational siblings (three sisters and a brother) who took the audience back to the days of close harmony singing (reminiscent of the barbershop quartets of the 1890’s, revived in the 1940’s). Deke Sharon (ever the teacher and leader) used the performance as a springboard to get the audience to try some part singing (with surprisingly decent results), before the first portion of the program concluded with the chorus singing the Earth, Wind & Fire hit, September (Maurice White) with Reed Rosenberg, vocal percussionist. At the risk of sounding curmudgeonly, I don’t share Mr. Sharon’s enthusiasm for this song, but it certainly did make for a high-voltage close.

To continue for just another moment in curmudgeonly mode, Carnegie Hall is a beautifully resonant hall that does not require the heavy amplification that was used, and in fact one of the beauties of a cappella singing is its focus on the music one can make with just the human body, though admittedly a soloist may need some amplification to be heard over a large chorus (and certainly the vocal percussionists do); that said, the decibel levels here were so painful that an older woman in my row actually (demonstratively) removed her hearing aids, while others repeatedly jolted and cringed. I was prodded to relay to some assistants milling about the stage at intermission that some in the audience were actually in pain. For the second half the issue was much improved – though whether that was because of modified settings or one’s newly encroaching deafness remains uncertain.

Grievances receded, in any case, as one watched the force of nature that is Deke Sharon bounding back to the stage, seemingly made out of music. He led the chorus in the relatively unknown Elton John song Club at the End of the Street (Bernie Taupin) and followed with the ever-popular Blue Skies (Irving Berlin) with Bekal Peterson and Madeline Ross, jazz soloists, scatting to beat the band. A mellower feel was setting in, and Blue Skies made a nice segue to the popular Soak Up the Sun (Sheryl Crow and Jeff Trott) with eighteen soloists and Filip Rusin as vocal percussionist, all excellent.

One of the big standouts of the evening was the ensemble Revv52 (around fifty singers from Canada), featured next in Moondance (Van Morrison). With beautiful intonation, smooth blending, and seductive rhythm, they revived this sometimes forgotten hit from the seventies.

Just when one thought the concert had reached a peak, we heard Quiet Moon, composed and sung by Deke Sharon himself – he has (not surprisingly) a beautiful voice! He was joined by Antonio Fernandez from DCappella, and both did impressive vocal percussion as well. Many in the audience gasped in admiration as Mr. Sharon alternated his gently crooning vocals with some of the best “mouth trumpet” one has ever heard. For those unfamiliar with this skill, it is the simulation, using one’s own mouth, of the sounds of trumpets – and Mr. Sharon did two kinds, in rapid alternation with vocal phrases. Nothing could quite top the latter, but Defying Gravity (Stephen Schwartz) from Wicked was excellent – lovelier than I had remembered it, undoubtedly due in part to the arrangement.

The superb Croatian ensemble, A.K.A. Crescendo, was welcomed next (a dozen or so musicians) to sing a medley of Jailhouse Rock/Levisice (Mike Stoller, Daniel Popovic, and Alka Vuica). They ought perhaps to be renamed “A.K.A. Accelerando” for the beautifully synchronized way they handed some ramping up of the tempo, but let it suffice to say that they were great, another polished and tightly knit group. The full chorus followed with As (by Stevie Wonder, 1976) as arranged for the Sing-Off winners, Committed.

Approaching the end of the program, the group DCappella returned to give a fittingly sentimental rendition of Remember Me from the 2017 movie Coco (music by Robert Lopez and Kristen Anderson-Lopez). It was even more heartrending than the original in this Deke Sharon arrangement. Finally, riding the wave of the 2018 movie Bohemian Rhapsody, the combined forces of DCappella, Vintage Mix, and Distinguished Concert Singers International gave a passionate rendition of Don’t Stop Me Now (Freddie Mercury). Singers streamed down the aisles stirring up audience members to join in the singing and clapping. An encore of The Lion Sleeps Tonight, complete with rhythmic “Wimbawet” sections, capped the concert off well.

Several audience members who appeared cranky, uncomfortable, and impatient at the concert’s start could be seen bobbing, swaying, and tapping hands and feet by the end. Many looked high on music. If the spirit of this concert resembled an evangelical event, in a way it was. Deke Sharon believes in the power of music to transform the world, and he shows how it is done, drawing people together through the love of it (even sharing his email for anyone in the audience who may not be able to find a chorus to join). When he says that music can transform people, it may sound like a platitude, but I wouldn’t doubt his sincerity for an instant. This concert itself gave ample evidence.

by Rorianne Schrade for New York Concert Review; New York, NY

Vocal Artists Management Presents Jinho Hwang in Review

Jinho Hwang, tenor; Steven Crawford, pianist

Marc A. Scorca Hall, The National Opera Center, New York, NY

March 22, 2019

Sogno di Primavera, or Dream of Spring, was the title of tenor Jinho Hwang’s recent recital at the National Opera Center, and it was an evening that reflected Romantic dreams as well as optimistic beginnings. Though Mr. Hwang is not at the beginning of his career, with various prizes and noteworthy operatic appearances behind him, he seems to be enjoying a comeback of sorts after some unspecified medical challenge he alluded to from the stage at the end of the concert – and he appears to have fully recovered. The audience, many of whom undoubtedly have been with him through it all, were fervently supporting him.

Mr. Hwang’s program was full of impassioned and sensuous music about love and nature, predominantly Italian art songs (Bellini and Tosti) with a few Italian opera arias (Donizetti, Verdi, and Cilea), a French aria (Massenet), and two Korean songs (by Panghil Park and Geung Soo Lim). The texts were wide-ranging, suggesting longing, nostalgia, euphoria, and despondency, and brimming with Romantic imagery of roses, rivers, kisses and tears. The works lived up to the title, Dream of Spring – with Tosti’s Aprile feeling especially fitting as we speed toward the end of March.

As for Mr. Hwang himself, he seems to possess all of the vocal ingredients that one should need for a fine career; the main question, though, is how he will use those ingredients, in what balance, to what degree when, and in what repertoire. He has an extremely powerful voice, for example, and yet it did not always work to his advantage in a hall with such extremely live acoustics as the Marc A. Scorca Hall at the National Opera Center. One is faced generally with several choices in such cases: switch halls, switch repertoire, or scale down one’s dynamics. One would hesitate to suggest switching halls, as this one is a fine, intimate space and boasts a nice seven-foot Yamaha piano. The repertoire switch is probably not the answer either, as, even in the more delicate pieces such as Tosti’s A vucchella, the sound still came across as overly bright. The remaining option is to make big vocal adjustments, something any artist needs to learn to do throughout a career – and yet all remained overpowering. One was left guessing whether the hall acoustics were misleading from the performer’s standpoint or the dominance of such a consistently big sound was actually an artistic preference. There also seemed to be a preponderance of high drama from which some quieter miniatures would have offered relief, the sort of gentle miniature that is perhaps not typical on an audition demo recording but exists as art. Programming is an art in itself, and ideally it balances dramatic tension and urgency with release.

Music of the bel canto master Vincenzo Bellini opened the concert. Rather than opt for Bellini’s operatic arias, Mr. Hwang chose five songs from the more intimate Ariette da Camera (omitting only the fourth, Almen se non poss’io). The first two selections, Ma rendi pur contento and Malinconia ninfa gentile had glimmers of the beautiful timbres of which this singer is capable, but it seemed that Mr. Hwang was already working for large-scale operatic projection, as if directing his sound to the back row at La Scala. This approach did not reel in the listener as one hopes from an opener, but rather tended to draw the listener’s ears toward whatever imperfections of intonation there may have been as the singer was still finding his stride. Mr. Hwang does not appear to make things easy on himself.

In Vanne, o rosa fortunata, the superb collaborative pianist Steven Crawford provided a gently playful introduction, and it set the tone for a more relaxed, less stentorian approach. Mr Hwang here reflected more of the character of the text and also sang with delight in the diction (one dazzlingly rolled “R” comes to mind).

The following Bellini selections, Bella Nice, che d’amore and Per pietà, bell’idol mio again showed tremendous power. The latter enjoyed some glorious high notes, and Mr. Hwang was especially compelling in the unaccompanied sections, as if his gifts had been waiting for the cue to soar with increased freedom. More of that freedom elsewhere, paired with a search for more dynamic low points, will help deepen these pieces even further.

Two twentieth-century Korean pieces followed the Bellini group, Twilight over the mountain by Pan Ghil Park and As if spring comes across the river by Geung Soo Lim. Both were evocative in the manner of film scores, and both showed the singer at his most expressive so far. He then turned to opera arias to close the program’s first half, maximizing the drama in Donizetti’s Una furtive lagrima (from L’elisir d’amore) and lending a swagger to Verdi’s La mia Letizia infondere (from I Lombardi). He was quite visibly expressive in both of these, and – it should be mentioned as well – had a regal bearing throughout, which should serve him well in his operatic roles.

A beautiful array of six art songs by Francesco Tosti opened the second half. La serenata brought a gently rolling feeling to the program, and Mr. Hwang sang it with a natural ease, as it demands. It was followed by L’ultima canzone, A vucchella, Ideale, Aprile, and finally L’alba separa dalla luce l’ombra, all with moments that reminded one in purely vocal qualities of some of the great tenors of the past. What will ripen these pieces further will be more of a focus on the musical uniqueness of each one, irrespective of any issues of technique, passaggio or vocal fixations of any kind. It is always interesting to note how even many of the so-called technical challenges fall more easily into place as one gets away from audition-style demonstrations of skill and goes more deeply into the music. Of course, the opera world is filled with buzz about this or that singer’s “high C” and other strenuous achievements, but many listeners simply want music, with all its nuance, color, and variety.

The last two works were dramatic tours de force which elicited Mr. Hwang’s all, Massenet’s Pourquoi me réveiller (from Werther), with some magnificent vocal peaks, and Cilea’s E la solita storia del pastore (from L’Arlesiana). They closed the program with brilliance from both performers, drawing hearty ovations from the audience. There is no question that this singer has remarkable gifts, and – as one noticed a video camera filming it all from the back – one imagines some of the concert will result in some excellent demos and roles to come. There is much promise for Jinho Hwang – now may he enjoy the ride!

After some humble thanks to his friends, family, and God, Mr. Hwang announced that he would sing one more song, Grace of God. He sang it in Korean, with considerable emotion, and it was quite moving.

by Rorianne Schrade for New York Concert Review; New York, NY

Distinguished Concerts International New York (DCINY) Presents Magnificat in Review

Distinguished Concerts Orchestra and Distinguished Concerts Singers International;

Jonathan Griffith, Artistic Director and Principal Conductor; Nancy Menk, Guest Conductor;

Claire Leyden, Soprano; Lindsey Anderson, Mezzo-Soprano; Jennifer Zetlan, Soprano

Stern Auditorium/Perelman Stage at Carnegie Hall, New York, NY

March 17, 2019

Distinguished Concerts International New York (DCINY) presented another large-scale concert this weekend, entitled Magnificat: Music in Celebration of International Women’s Day. The first half included works by Johannes Michael Haydn, Ralph Vaughan Williams, Johannes Brahms, Libby Larsen, Ola Gjeilo, and Zachary Moore, all for women’s choir and orchestra under the direction of Dr. Nancy Menk. The second half was entirely devoted to John Rutter’s Magnificat for mixed choir and orchestra, under the direction of DCINY Artistic Director Jonathan Griffith. As ever, it was an extravaganza, with several hundred voices from all over the world and audience members barely able to contain their excitement, applause, and cheers.

The Magnificat text was present not only in Rutter’s great piece by that name on the second half, but also in several works on the first half. For those unfamiliar with the term Magnificat, it traditionally refers to the musical setting of the Canticle [or Biblical hymn] of Mary, which contains the words that the Virgin Mary spoke (according to the Gospel of Saint Luke) right after the Annunciation (the announcement by the Angel Gabriel that she would soon be giving birth to Jesus Christ). Magnificat settings can also include words spoken to Mary at the Annunciation, and also those about her, along with related texts of the Gloria, Ave Maria (Hail Mary) and more, but in any case, a concert dedicated to the Magnificat centers upon Mary.

Magnificat was thus an appropriate name for a Women’s Day celebration and for a concert billed as a celebration of the 175^th Anniversary of Saint Mary’s College in South Bend, Indiana (Saint Mary here also referring to the Virgin Mary). Two choirs from Saint Mary’s College, their college choir and alumnae choir, represented the school well under Dr. Menk, their Chair of Music, who led them through works in varied styles, including a work which the college commissioned from Libby Larsen 25 years ago, Canticle of Mary. Their combined forces, along with the rest of the Distinguished Concert Singers International, totaled around 260 choristers to share the stage with the Distinguished Concerts Orchestra.

The programming was brilliant, not monochromatic as one might expect with such unity of theme, and even the staunchest atheist would probably acknowledge the power of the music itself, along with its fascinating history. The concert opened with Johann Michael Haydn, the underappreciated younger brother of Franz Joseph Haydn, and his brief beautiful Magnificat served as a somewhat restrained classical greeting before the more involved works to come. It also provided an introduction to this half’s two soloists, soprano Claire Leyden and mezzo-soprano Lindsey Anderson, both excellent.

In complete contrast with the Haydn, the Vaughan Williams Magnificat followed, its mystical atmosphere intensified by shadowy chromaticism and sinuous flute lines. This setting is no heavenly harmony suggesting a serene Mary, but rather an eerie evocation of supernatural forces, its imaginative orchestration eliciting awe from the start. Mezzo Lindsey Anderson was the powerful soloist, singing with outstanding tonal control and a projection of the music’s mystery and grandeur. In what was skillful programming, the Ave Maria, Op. 12 of Brahms followed, relatively delicate in its orchestration, moving to simpler F major harmonies and a lighter pastoral spirit. The chorus sang it with reverent purity.

Dr. Menk conducted expertly throughout her portion of the program, but her skill was especially in evidence in the remaining works, including Libby Larsen’s Canticle of Mary, a canticle of unusual jubilation. Opening with an oboe solo, which in the composer’s words “represents the exuberance and free spirit” of Mary, the piece pulses with anticipation and joy. The choral singers gave their all, and soprano Claire Leyden sent her piercingly beautiful solo soaring from a balcony near the stage.

Ola Gjeilo’s Gloria followed with similar joy, here in a more folk-like vein and sung with gusto. If the theme of Mary was not overt in the final work, Always Keep This Close, by Zachary J. Moore (b.1992), the overall theme of women was certainly present, with text by Colleen Carhuff expressing the love of singing in a women’s choir. Starting out with nostalgic warmth, it built to a tremendous peak, closing with the repeated words “We are one.” The combined choruses were indeed one.

To cap off a brilliantly conceived concert, the second half featured the Magnificat of leading British choral composer, John Rutter (b. 1945). Larger in scope than the Magnificats heard earlier on the program (the longest of those being the twelve-minute Vaughan Williams piece), Rutter’s work spans forty minutes over the course of seven movements. It was interesting to compare how differently Rutter set some of the same text as other composers, for example, the line “the rich he hath sent empty away” which Vaughan Williams punctuated with dramatic rests, while Rutter chose to set it to gentle soothing harmonies. Clearly such a text has inexhaustible possibilities.

John Rutter is a master of his art, and the listener was held in his thrall from his Magnificat’s very first notes. Though Rutter has strangely been criticized for incorporating elements of lighter twentieth-century music (as if he is to remain in an aesthetic vacuum), his music is indisputably rooted in a British tradition that includes Benjamin Britten, David Willcocks, and others. His Magnificat reflects eclectic influences of the late twentieth century as well, but all in what seems to this listener to be a perfectly organic way.

In the first movement, Magnificat anima mea, there are shifts from the feeling of 3/4 to 6/8 via sharp accents, establishing an immediate energy, and these were projected with vigor by the performers. The mood was suitably contemplative in the movement Of a Rose, a lovely Rose, a movement hearkening back to works by Bach and other earlier composers, but the music regained the brassy power of the twentieth century in the third movement, Quia fecit mihi magna. Full mixed choruses produced a big sound, including fifteen choirs from California, Colorado, Indiana, Pennsylvania, South Carolina, Tennessee, and Virginia, as well as Australia, Canada, and the UK, and, as DCINY always lists “individual singers from around the globe.” Jonathan Griffith held the masses together beautifully, as always.

Superb soprano Jennifer Zetlan was the soloist throughout this work, and her fluid golden tones were particularly beautiful in the fourth movement, Et Misericordia, conveying a sense of solace after the prior fanfares – and before the muscle-flexing fifth movement, Fecit potentiam. The latter was given such assertive projection by the lower voices that it seemed at any moment ready to burst into,“the Jets are gonna have their way tonight” (from Bernstein’s West Side Story) – in other words, it was not lacking in testosterone! One could only admire the way Rutter developed his material here in brilliant imitation before subsiding with the final line about the meek (humiles). The milder Esurientes followed, opening gently with harp and affirming heavenly promises, with the help again of lovely solo lines from Ms. Zetlan, and the subsequent Gloria Patri with cymbal crashes (and the return of the opening rhythms) made for a triumphant end to this wonderful work. It was a triumphant end to a great concert as well. Congratulations to all involved, and encore!

by Rorianne Schrade for New York Concert Review; New York, NY

A Splendid Torch – Two Evenings in New York

George Bernard Shaw wrote that “We don’t stop playing because we grow old; we grow old because we stop playing.” Saint Patrick’s Day seems a good time to remember these words of the wise Dubliner, and two age-defying performances in New York this past weekend seemed to support that saying. One was a play at the Cort Theatre with the inimitable Glenda Jackson, age 83, in the title role of Shakespeare’s King Lear, and the other was a cello concert at Symphony Space (the Thalia) by Harry Wimmer, now in his nineties. Both evenings were a mix of the theatrical and the musical, King Lear drawing many musicians to hear the incidental music composed especially for it by Philip Glass (b. 1937), and Harry Wimmer’s program “Laugh a Little” blending his highly celebrated cello playing with related puns, witticisms, and sayings of Shakespeare and others. Both were evenings not to be forgotten.

The King Lear production, currently in previews, is directed by Sam Gold and offers a chance to see the legendary Glenda Jackson in the classically male title role that she brought to the Old Vic in London three years ago, causing quite a stir. That gender-bending issue proved here not to be so focal as much as her age – Glenda Jackson is simply too young (“kidding, not kidding,” as the children say). Seriously, one couldn’t help noticing that Ms. Jackson had clearer delivery and projection than nearly every other actor as she held the audience spellbound. As Lear’s world crumbled, she even seemed physically to shrink, such is her acting power, only to expand enough to hold her dying Cordelia. She inhabits this role three hours a night, seven days a week, and is, as my usually understated guest called her on Friday, “off-the-charts amazing.”

And the music? I had my doubts about adding music of Philip Glass to King Lear, but all doubts were allayed. It was delicately wrought, performed onstage but far in the back by a string quartet and later switching with the scene changes to other corners of the stage. The musicians were violinists Cenovia Cummins and Martin Agee, violist Chris Cardone, and cellist Stephanie Cummins, and they were appropriately unobtrusive with some special lyrical moments. Alternating a distant texture of minor thirds and wavering tritones with episodes of greater intensity (and silence), the music reflected occasionally a hint of Elizabethan spirit, though most of it was in keeping with the hypnotic Glass style most of us know and appreciate; Glass fans coming to focus on this music will have trouble, however, as it had a transparency (no pun intended) that allowed the focus to be elsewhere, as one would hope. The production itself seemed to this reviewer to throw in too many distractions from Shakespeare’s own powerful language, but then it is still in its previews and may likely take on more of the power of its lead.

“All the world’s a stage, and most of us are desperately unrehearsed” said Sean O’Casey, and we have Harry Wimmer to thank for reminding us of the bon mot, one of many choice quips throughout his Saturday evening concert, “Laugh a Little” (including words of Shakespeare, Shaw, Melville, Wilde, Prokofiev, Ogden Nash, Alfred Hitchcock, and Groucho Marx). Of course, his concert could not have been not unrehearsed, as it offered a perfectly seamless flow from a huge range of musical selections to enlightening stories and banter. From the opening Toccata of Frescobaldi (arr. Cassadó) and Albeniz’s Tango with pianist collaborator extraordinaire Eduard Laurel, there was no note without meaning. He closed his first half with Beethoven’s highly challenging Variations on Mozart’s Magic Flute and opened the second half with Falla’s Ritual Fire Dance in a Piatigorsky transcription.

This concert was held in memory of Mr. Wimmer’s wife Shirley Givens, world-renowned violinist and beloved teacher, who passed away last year (and proceeds went to a fellowship in her name for the International Chamber Orchestra of Puerto Rico). Shirley Givens’ many stellar students have included Pamela Frank, Joseph Lin, and David Kim, among others, and one of her special ones, Alexis Walls, was present to join the duo of Laurel and Wimmer in a tender rendition of Grainger’s Colonial Song. Ms. Walls later lit into Kreisler’s Sicilienne and Rigaudon with exceptional virtuosity.

Other offerings included vibrant performances from son Kevin Wimmer, one of the premier Cajun fiddlers in Louisiana, with excellent swing/jazz guitarist Tom Mitchell. Interspersed among musical selections, there were appearances from actor, Robert Raines Martin, who added his jokes and antics to the evening, lest things get too tearful, but tears were inevitable from audience members. The Django Reinhardt piece Tears, with father and son playing, was a heartbreaker. Also deeply moving were cello-piano performances The Swan from the Saint-Saëns Carnival of the Animals and Ernest Bloch’s Prayer, from the Jewish Cycle.

For full disclosure, Harry Wimmer and his late wife happen to have been close friends of my parents, but this reviewer’s musical respect exists apart from that, and though Harry has a very modest demeanor, he has received praise from Pablo Casals and Bruno Walter, among others. A little-known fact is that he performed the premiere of Bartók’s Cello Concerto as part of a New York Concert in 1960 (long before what is usually listed as the premiere by Janos Starker decades later). He has played and taught in illustrious venues all over the world, but for more details one can visit About Harry Wimmer. Whatever the accolades and laurels, there is little that compares to continuing it all as a nonagenarian.

This weekend was a good cure for having been sent quite a few viral videos of toddlers playing Bach – not that those are not perfectly delightful, but these two evenings were a reminder that the more one lives the more one can express. They were testaments to the human spirit and inspirations to behold. As George Bernard Shaw said, “Life is no brief candle to me. It is a sort of splendid torch, which I have got a hold of for the moment, and I want to make it burn as brightly as possible before handing it on to future generations.”

by Rorianne Schrade for New York Concert Review; New York, NY

Hwaseong City Music Competition Presents New Artists Concert in Review

Hwaseong City Chamber Orchestra with featured winning soloists

Weill Recital Hall at Carnegie Hall, New York, NY

February 21, 2019

Though many decry what seems to be a cultural decline and lack of discipline in today’s younger generation, there are always rays of hope, and this listener encountered a dozen of them this Thursday at Weill Hall. Twelve young soloists, as winners of the Hwaseong City Music Competition, flew over from South Korea to perform concerto movements with the Hwaseong City Chamber orchestra – and they represented their nation well.

Though the orchestra was small (two winds and around thirteen strings), and understandably given the small stage of Weill Hall with a Steinway grand, the ensemble was valiant, and the soloists were as well. What could have been a marathon evening simply flew by as the parade of extremely accomplished youngsters gave their all, each for about ten minutes. Sadly, their ages and other information were not listed. The conductor led the ensemble admirably, though astonishingly his name was omitted from the program as well (more on that last issue later).

The first performer, violinist Chae-Lin Suh, played L’inverno (Winter) from Vivaldi’s Four Seasons. With a full sound and assertive musicality, she boldly set a high bar for the concert. Occasionally (and possibly with help from adrenaline) she seemed to have a slightly edgier tempo conception than the accompanying ensemble, but as the piece continued, she seemed to energize the group towards her way of thinking. One couldn’t help wishing that there had been an easier way for her to connect visually with the conductor who led from behind her with little chance of eye contact unless she did a one-eighty, but fortunately some expert ears were at work. One doesn’t want to guess Ms. Suh’s age, which could have been anything from fifteen to twenty-four – but suffice it to say that she is already quite an elegant young lady with much potential.

Cellist Man-Jung Kim strode onto stage next to play Popper’s Polonaise de Concert, Op. 14 (first year university, as one gathered from nearby audience members who said they knew him). It was an impressive performance full of élan. He ably negotiated the treacherous high notes in the early cadenza and was unafraid of using expressive slides to convey the grand Romantic spirit. At times the orchestra had some scruffy moments (as one had thought also in the Vivaldi – inevitable perhaps when each instrument is exposed without the cushion of larger forces), but Mr. Kim fared well. He was also somehow able to impart the occasional oblique nod and glance as a cue – well done!

Violinist Jung-Ho Byun dazzled next with the Introduction & Rondo Capriccioso of Saint-Saëns. Looking somewhere in the upper teens in age, he played with a brilliant sound and an impressive degree of accuracy in its most challenging passages. If the sixteenth rests at the opening struck one as surprisingly literal compared to freer versions, he found his comfort zone quickly. It will be wonderful to hear this young player in a year or so to see whether this very famous showpiece will acquire that “tossed off” quality alongside his already considerable technique.

When the little violinist Eun-Seo Cho walked onstage next, there was a slight gasp from some the audience, as she looked no older than perhaps ten years old and played nothing less than Sarasate’s Zigeunerweisen. She handled it with a mature grasp in the passionate Roma melodies and effortless spiccato bowing in its pyrotechnics. This reviewer was ready to jot down how this or that was not quite up to Heifetz’s rendition, only to stop with the realization that my own socks are older than this child, so let it suffice to say that she was amazing. (Now, won’t it be difficult to take that all back if one finds she is actually fifteen and has availed herself of some youth-enhancing technology? Well, then we’ll talk – but she would still be exceptional.)

Just when one thought that prodigies can’t come much smaller, in marched pianist Ye-Seo Nam, looking all of about six or seven. Surely there was some sort of Matryoshka nesting doll backstage – in which case, what could possibly be next? Not to lag behind, though, young Ms. Nam made easy work of Haydn’s Piano Concerto No. 3 in F major – not the third movement as listed in the program but the longer and more involved first movement, which had her fully engaged and moving to the music from the opening orchestral tutti. Her fleet fingers (even with the tricky thirds) may have occasionally needed a bit more “traction” to rein in the speed and keep in perfect alignment with the orchestra, but all in all she was outstanding.

After a bit of onstage shifting to move out the concert grand, the next player entered, pianist Yu-Na Kim, seemingly in her mid to late teens. In some ways, despite the advantage of a few more years, she deserves extra respect for her poise in following such pint-size players (scene-stealers who inspired the famous W. C. Fields advice, “Never work with children or animals”). Ms. Kim sailed through the third movement of Chopin’s Piano Concerto in E minor with grace and authority. The only minor suggestions would be to make some rapid phrase ends less clipped and perhaps to change color and character more in the E-flat major section. Then again, she was impressive simply for pulling off this challenging movement so beautifully with what must have been very little rehearsal (given so may soloists). She also is to be admired for treating the piece as chamber music; at one point, for example, she managed in a long upward run to wait on the penultimate note for the slightly lagging orchestra, so that her top note would be right with them – she is on the ball!

After intermission, the concert resumed with slightly older players in general. Baritone Ji-Seok Lee opened singing Hai gia vinta la causa! from Mozart’s Le Nozze di Figaro. He possesses a magnificent voice, excellent diction, and a commanding stage presence worthy of the Count who delivers this aria. Though there was little in his demeanor (and no gestures) to convey the dramatic aspects of the role, his second selection, Sanchon (or Mountain Village) by Du Nam Cho, elicited his heightened emotions and dramatic involvement – it was a pity that no lyrics were provided. One will certainly look forward to hearing this singer again.

More Sarasate followed, with the Introduction and Tarantella in the capable hands of violinist Sang-Yong Sin. One was becoming rather spoiled by violin virtuosity by this point, but Mr. Sin delivered his solo with tremendous brilliance. The same applied to the next violinist, Hae-Won Choi, who gave a commanding and extremely assertive account of the Praeludium and Allegro of Kreisler (curiously listed on the poster/program with first name “G. P.” rather than Fritz).

Following other players in a group concert is a challenge not to be underestimated, and as the time approached 10PM one felt for these young players. As my colleague Alexandra Eames described so well in a 2011 review (Rutgers Pianists in Review): “To relax and find one’s stride in just one or two pieces is extremely difficult and the performer must go through the same physical preparations (dressing for performance, arriving on time, trying the instrument, etc.) as he would for a full-length recital. Often the most sensitive artists can be sabotaged by the endeavor, whereas the more arrogant temperaments barrel through their nerves.”

Miraculously there was not a single meltdown the entire evening. Cellist Ye-Won Cho followed with a rhythmic and nimble-fingered account of the third movement of Haydn’s Cello Concerto in C major, and aside from the almost dizzyingly fast tempo that perhaps stemmed from heightened excitement, her account was excellent.

Two pianists were the last performers, starting with Yu-Min Cho, who took on the thorny third movement of Chopin’s Piano Concerto in F Minor. He honored the score with respect and mature musicality, and it was beautiful to behold. It was only through some overpedaling and smudges towards the end that one sensed some fatigue, undoubtedly from waiting through such a long evening. Mr. Cho has the potential for very distinguished playing.

The role of final performer fell to pianist Min-Sun Kim, and that is not an enviable assignment, but she gave an impassioned performance of the first movement of Rachmaninoff’s Piano Concerto No. 2. She was decisive and clear in her interpretation, delivering the work’s well-known lyricism with mature musicianship and a singing cantabile right hand, while also unleashing ample firepower for its peaks, particularly its high-voltage finale. It was a grand finale indeed, and one could only marvel at how the skeletal orchestra behind her rallied to meet her, playing their hearts out. Brava!

All the players returned to the stage for a final colorful bow, and a representative from the competition (whose name was hard to make out if it was indeed announced) remarked that the competition would be arranging another concert here within a year. He also introduced an honored guest (again with a name hard to discern) to present five special certificates, which went to cellist Ye-Won Cho, violinist Eun-Seo Cho, baritone Ji-Seok Lee, and pianists Ye-Seo Nam and Min-Sun Kim.

The Hwaseong City Music Competition’s organizers certainly know how to find talent, and now it is clear that they know their way here – all a good thing! They also appear to have some corporate backers to help make it happen (notably Kia via their poster); it should not take much more, therefore, to fine-tune the presentation itself (as the musicians had done). The program, really more of a concert flyer, seemed rather hastily assembled with too many typographical errors, and there should not have been any question as to the name of the conductor, the correct movement to be played, or the details of the competition itself (still a mystery after some web searching). There is probably also a way to arrange for a French horn or trumpet, even given limited space – but again, the musicians were remarkable.

Bravi tutti!

by Rorianne Schrade for New York Concert Review; New York, NY

Distinguished Concerts International New York (DCINY) Presents Lux et Amor: Music of Dan Forrest and Ola Gjeilo in Review

Dan Forrest, DCINY Composer-in-Residence, Ola Gjeilo, DCINY Composer-in-Residence and Pianist;

Featuring Distinguished Concerts Orchestra and Distinguished Concerts Singers International;

James M. Meaders and Gary A. Weidenaar, Guest Conductors;

Estelí Gomez, Soprano;

Langley High School Concert Band (VA); Doug Martin, Director; Kyle Harrington, Assistant Director;

Stern Auditorium/Perelman Stage at Carnegie Hall, New York, NY

February 18, 2019

Distinguished Concerts International New York (DCINY) served up another one of their signature musical banquets this week, and, though there may have been a preponderance of celestial fare, there was, in and out of it all, something for just about everyone. Entitled Lux et Amor (Light and Love), the program featured uplifting works for chorus and orchestra by composers Dan Forrest and Ola Gjeilo, along with an introductory mini-concert played by the Langley High School Wind Band (VA), about which more will be written later. The pairing of these two composers is not a first for DCINY, so the following summary from this reviewer’s write-up from April 15, 2018 (DCINY Dreamweaver in Review) may serve as an introduction for those unfamiliar with them: “Both [Forrest and Gjeilo] happen to have been born in 1978, and both write music that employs rather conservative tonality in exploring spiritual themes. Both are part of a growing wave of choral music that often hearkens back to days of chant, while freely tapping into multicultural or folk material, the simple harmonies and spare textures of New Age music, and some cinematic orchestral elements. Both composers are, perhaps needless to say, immensely popular.”

Lest these commonalities lead the listener to think of the two composers as two peas in a pod, they are not. Mr. Forrest emerges as an outgrowth of a church tradition that links him with choral composers such as John Rutter, Benjamin Britten, and others. Mr. Gjeilo, also known for some liturgically-themed work, stands apart for the folk inspiration that is part of his Norwegian heritage, for more prevalent jazz and New Age elements, and for the use of piano improvisation in his works.

As for the program title, Lux et Amor, the “Lux” part of the title is easy enough to explain, as the featured Dan Forrest work is itself entitled Lux: The Dawn From On High (2018), given its New York Premiere at this concert. Without making too literal a distinction, the Amor part seems to refer to Ola Gjeilo’s short piece Ubi Caritas, the text of which refers to an ancient hymn line, “Where charity and love are, God is there.” Again, though, the works of both composers on this program were awash with themes of light, love, peace, and all things heavenly.

LUX: The Dawn From On High is Dan Forrest’s third major work for chorus and orchestra, (after Requiem For the Living and Jubilate Deo). It is a forty-minute composition, consisting of five movements which evoke an arch-like journey of light – especially divine Light – through time. The texts range from ancient liturgical chant and Scripture to modern secular love poetry (in particular “The Sun Never Says” by poet Daniel Ladinsky, b. 1948).

The first movement, Illuminare, unfolds from a hallowed vocal unison into the luminous transparency of sound for which Dan Forrest has come to be known. The ensuing Lux in Tenebris employs, as the composer states, “contrasting musical meters and keys to portray its text about light courageously shining in darkness.” Highlights here were the interplay of harp with flute and soulful solo playing from DCINY’s principal cellist, Elizabeth Mikhael, who brought still more of her burnished tone to the third movement, The Sun Never Says. This latter movement has also been performed by Voces8 for a stunning newly released recording, and it is highly recommended. Dan Forrest has an unquestionable gift for understanding and eliciting the sheer beauty of the human voice.

Gloria in Excelsis followed as the fourth movement in a joyful syncopated setting about the Nativity, leading to the final movement, which is in the composer’s words, “an ancient evening hymn, presented as a solo, then unison, then in increasingly complex canons, before a closing section provides closure and unity between these multiple facets of light.” The chorus and orchestra appeared to revel in the music, under the expert guidance of James Meaders (as well as the many choral conductors involved in behind-the-scenes preparation). A hearty ovation brought Mr. Forrest to the stage to take a well-deserved bow.

The second half of the program was dedicated to three works by Ola Gjeilo (pronounced “Yay-lo” for those wondering). The three started with Ubi Caritas, a gentle hymn to love with Mr. Gjeilo at the piano in sparsely textured improvisations (think John Tavener meets a meditative Keith Jarrett).

Dreamweaver followed, a seven-movement work based on a Norwegian medieval folk poem Draumkvedet, which is, as the composer’s notes describe, “an epic ballad sharing some elements with Dante’s The Divine Comedy. The protagonist Olav Åsteson falls asleep on Christmas eve and sleeps for thirteen days, during which his dreams take him on a beautiful but at times frightening journey through the afterlife.” The text of Draumkvedet was adapted skillfully by Charles Anthony Silvestri, who has worked a regular collaborator with Mr. Gjeilo as well as other DCINY artists and composers worldwide. The work itself is accessible and appealing, with artful balancing of its inherent contrasts of darkness, light, sin and redemption. It was given a fine performance by the DCINY chorus and orchestra, under the sure leadership of conductor Gary Weidenaar.

Right from the Prologue of Dreamweaver, Gjeilo establishes a mood of reverence and purity with a seemingly simple hymn (with some bewitching harmonic turns several phrases in), setting the stage for the journey ahead. Highlights of that journey included the solo singing of soprano soloist, Estelí Gomez, who brought her bell-like clarity to the second movement, Dreamsong, and breathtaking high notes in the third movement, The Bridge, as well as in the fifth movement, Paradise. The latter movement truly lived up to its name.

The fourth movement, Intermezzo, centered on an improvisatory piano solo, played by Mr. Gjeilo himself, and it was an interesting change of texture. The work closed with an Epilogue that essentially reprised the opening Prologue – a full circle worthy of Olav’s journey.

The Gjeilo portion of the program – and the entire concert – ended with his chorale, The Ground, a beautifully wrought hymn for peace. The audience, who seemed not to have read the printed instructions to refrain from applause mid-piece, had clapped throughout the evening between movements, but gave renewed and well-earned applause for the composer and combined forces.

If one could state a general reservation about the concert overall, it just may have been “too much of a good thing.” There was so much to admire in the works of both composers, but the programming of their works together, particularly works of substantial lengths, may not have framed them ideally. Several in the audience commented about the length being too much, and though this listener takes no cues from bystanders, the comments echoed what had already been in mind.

The comparison of a concert to a banquet can go only so far, in that music exists in time, from which a concertgoer cannot slip out or decline second helpings. The result is sweetness upon sweetness harmonically, and the need for some insulin – or at least a pinch of musical “salt.” The only real pinch of salt of the evening was provided at the very beginning by the Langley High School Wind Band, ironic in that the seventy-plus cherub-faced youngsters seemed visually worthy of their own Norman Rockwell portrait. They dove with gusto into to John Philip Sousa’s Bullets and Bayonets, Rimsky-Korsakov’s Dance of the Tumblers (in a Terry Vosbein arrangement), and Grieg’s March of the Trolls (in an arrangement by Brian Beck). Though they did reach deeply into two slow and heartfelt works by Forrest (Good Night, Dear Heart) and Gjeilo (Sanctus), their leaders wisely interspersed these with the zestier fare. They finished their contribution to the program with a celebratory piece entitled Exultate, by Samuel Hazo (b. 1966) – a composer new to this reviewer, but one who clearly feels the pulse of young band musicians today. Doug Martin, Director, and Kyle Harrington, Assistant Director, led them masterfully through their selections, and they should feel quite proud. Congratulations to all involved!

by Rorianne Schrade for New York Concert Review; New York, NY

Daria Barabanova in Recital

Daria Barabanova, pianist

The Gordon K. and Harriet Greenfield Hall, Manhattan School of Music

Sunday, February 3, 2019

It is a brave soul who schedules a recital on Super Bowl Sunday close to start time, but it was heartening to see this weekend that a warm gathering of music-lovers was more interested in piano music – or at least one particular pianist – than in making the opening of the Patriots vs. the Rams! Daria Barabanova was the excellent young performer, playing a program of Bach, Debussy, Schubert, Chopin, and Robert Helps (1928-2001).

Ms. Barabanova opened with Bach’s Partita No. 5 in G Major (BWV 829) and established herself immediately as a polished pianist. She has effortless finger technique and clearly a strong musical intellect. While not in the least demonstrative or visibly emotional, she possesses a lovely stage presence as well. Her Preambulum was precise and authoritative, demonstrating excellent control of articulation and tonal balance. Her Allemande was serene and well-paced, with a thoughtfully organized approach to musical shape that would bring cohesion later to her Sarabande as well.

There was the tiniest glitch in the first part of the Allemande, which one assumed might have been a reason for omitting the first repeat, but as it turned out Ms. Barabanova was to omit all the repeats in the Bach (as well as in the entire recital). This reviewer is not a die-hard devotee of doing all repeats always, but there are movements in the Bach Suites that are so short that they definitely benefit from the additional hearing in order to fully register in a listener’s mind. The Corrente, for example, was over in such a flash that, before one could fully surrender to its dance spirit, the Sarabande, had already established its stately presence. Similar observations could be made in regard to the Passepied, an even shorter movement, which was over in a blink. One thought that the advice about “stopping to smell the roses” might be apt – but then again, depending on the artist and the occasion, momentum can be of higher priority.

It should be added that there are plenty of pianists one hears and wishes they would omit repeats, so noting their absence in this case may be construed as a compliment. Ms. Barabanova’s finger technique is one of such sparkling ease and dexterity that it is a joy to hear. High points were her Tempo di Minuetto, given colorful staccato articulations, and the very demanding final Gigue. The latter can so easily turn into a tangled contrapuntal mess if one’s left hand is not fully equal to the right, but it was exemplary here, with each voice projecting superbly.

Three Hommages followed, by the American composer Robert Helps. Ms. Barabanova is to be commended for including these underappreciated pieces. Of special nostalgic expressiveness is the first one, Hommage à Fauré, a twentieth-century (1972) evocation of Fauré’s almost unbearably beautiful harmonic language. Ms. Barabanova played it with sensitivity and a golden sound. Hommage á Rachmaninoff was interesting as well, though as a composition it is not quite as evocative of its title composer as the first piece is. The final Hommage á Ravel is reminiscent at times more of Messiaen than of Ravel, though the latter’s Le Gibet did come to mind, with its haunting darkness. At any rate, Ms. Barabanova sustained interest through its extended hypnotic course. All three were played with the score. As the composer himself stated, these works can be played individually, and this reviewer would cast an unsolicited vote for the first one to be kept in the repertoire as an individual gem, perhaps memorized for the even greater deepening that memorization usually brings.

Debussy’s three-piece set, Pour le piano, rounded out the first half with energy and sparkle. Again Ms. Barabanova’s approach was rather matter-of-fact, but it seemed to suit the Prélude. She showed a good range of tonal color. This reviewer usually prefers the Sarabande a bit slower, but then it was in keeping with the general sense of forward propulsion about the afternoon. The brilliant Toccata finished the set (and the first half) bubbling with youthful spirit.

One had an inkling from the first half’s performances that Franz Schubert’s Sonata in A major, D. 664 would be a good choice for such an unfussy interpreter, and it proved to be so. This work (also known as “the little A major” to distinguish it from the larger one in the same key – and seeming extra “little” with the omission of repeats) is known for its melodic directness and simplicity, and these qualities emerged with admirable clarity. This is not to suggest even remotely that the piece is simple to play; in fact, quite to the contrary, a pianist must be able to transcend its challenges and let it sing without overcomplicating it, and that is what Ms. Barabanova achieved. With seamless technique and a respect for each line, she let the composer’s voice shine through. She also showed her awareness of significant harmonic changes through sensitive shading – and though her fortissimo sections were big, they were never harsh. Where there was a tiny mishap in the third movement, she handled things with consummate professionalism.

Chopin’s Scherzo No. 4 in E major ,Op. 54 closed the program. This was perhaps the least persuasive of all the works on the program, and it seemed that the pianist’s involvement was slightly on the wane, but through it all one heard some skillful coloring, some ingenious pedaling, and some perfectly pealing runs. (The final upward run needed more force and sweep, in this listener’s opinion, but then again, the piano’s balance of registers may not have been helping matters.) The Op. 54 is in some ways the hardest of the four Scherzi to sustain, with its frequent and capricious shifts of harmony and color. Some pianists plunge into each moment and experience each nuance, which can leave the listener dizzy and fatigued; others emphasize the big picture but lose “local color.” This listener would put Sunday’s performance in the second category, with the loss of detail probably contributing to things going a bit awry towards the end – in the grand scheme of things, though, hardly a blip.

All in all, it was a highly auspicious recital by a young pianist who should have quite a bright future.

by Rorianne Schrade for New York Concert Review; New York, NY

Distinguished Concerts International New York (DCINY) Presents The Music of Sir Karl Jenkins: A 75th Birthday Celebration

Distinguished Concerts Orchestra, Distinguished Concerts Singers International,

Jonathan Griffith, Artistic Director and Principal Conductor,

Sir Karl Jenkins, CBE, DCINY Composer-in-Residence

Baidar Al Basri, Ethnic Music Vocalist; Sara Couden, Contralto

Elliott Forrest, WQXR Radio Personality

Stern Auditorium at Carnegie Hall, New York, NY

January 21, 2019

Distinguished Concerts International New York (DCINY) presented another spectacular musical celebration this past Monday on Martin Luther King Jr. Day, and the program featured two major choral works by Welsh composer, Sir Karl Jenkins, whose 75^th birthday is marked this year. The first half consisted of the United States Premiere of his hour-long Symphonic Adiemus (including his 1995 Adiemus, reworked and augmented from its version for women’s voices to employ SATB, chorus, and an expanded orchestra). In the second half we heard his well-known Stabat Mater, for which this reviewer covered the United States premiere in 2009, six years before the composer was knighted (when New York Concert Review was still a print-only publication). I wrote then that his music was “direct, appealing, and at times profoundly moving” – and that opinion certainly holds today.

In an age when labels are applied with regularity to works of art as well as to people, the Symphonic Adiemus of Sir Karl Jenkins eludes classification. Though it is built on traditional classical forms, employs classically-influenced harmonies, and requires classically trained orchestral forces, the work is built over a nearly constant rhythmic undercurrent, often syncopated, which seems to invite the sloppy term “crossover.” Thanks to liberal use of African percussion (such as the djembe), Mideastern instruments (such as the riq), a chest-voice style of singing (marked with the word “tribal” in parts of the score), the terms “ethnic” and “world music” get slapped on as well, also not too helpful in an era of constantly intertwining cultures. As Sir Karl Jenkins himself acknowledged during an intermission interview from the stage, “I’ve always resisted categorizing music.” In fact, so averse is he to categories that he created his own language for his Adiemus, in lieu of established texts from any single nation or era.

As Sir Karl writes, “The text was written phonetically, with the words viewed as instrumental sound, the idea being to maximize the melisma … by removing the distraction, if one can call it that, of words. The sound is universal, as is the language of music.” On that premise, Symphonic Adiemus employs syllables text such as, “Za Ma Ba” and “Kayama” and in doing so largely avoids cultural associations and preconceptions. One could argue that “Adiemus” is a Latin word – and it is, of course – but, as Sir Karl recounts, the syllables “Ah-dee-ay-moos” simply emerged from the multitude of syllables, fortuitously corresponding to the Latin word for “we shall approach” (and close to “audiemus” or “we will hear”). As Sir Karl quips, “it could have been a lot worse!”

Musically, the twelve-movement Adiemus is beautifully paced to hold the attention of even the most restless audience – and just when one might be ready to pigeonhole a style or think a pattern formulaic, it all changes.

From the opening percussive blows of its first movement, In Caelum Fero (another case of phonetics emerging as Latin), one senses a heroic adventure ahead, and the brass and ostinati that follow are worthy of an epic soundtrack. One’s imagination supplies the story, especially with such a non-verbal choral part, but several hundred people making music onstage build a case for the hero being humanity itself.

The initial driving energy yields to the gentle Chorale: Za Ma Ba, with long-breathed melodic lines in the chorus and strings, and it is followed by the title movement, Adiemus, known to almost anyone who has been on the planet in the past decade. Associations have long been an issue for composers to reckon with (certainly exacerbated by technology, ringtones, commercial settings, etc.), but if “familiarity breeds contempt” the chant-like Adiemus is holding up quite well!

Nine movements follow, including the delightful Song of the Spirit with its almost raunchy horn licks, followed by Chorale: Elegia, which does not wax elegiac for too long before the ubiquitous rhythms return, now with gentle hand percussion. As if shunning too much of a lull, the next movement, Kayama, opens with a declamatory brass section before the chorus gently re-enters. Two movements entitled Tintinnabulum (parts I and II) follow, bringing the focus to tubular bells, and they provide a refreshing change of color. The highlight for this listener, though, is the ninth movement, Chorale: Cantilena, with its stately simplicity of line, and juicy suspensions and inner lines that tug at the heartstrings. A florid flute solo decorates its central section, and it was well performed. The orchestra throughout was excellent.

After the Cantilena comes Zarabanda, based loosely on the French Sarabande known for its emphatic second beat, but with its more distinctive rhythmic feature here being the constant percussive undercurrent. When the gently beatific Hymn begins after it, without percussion, it is a welcome respite. It is not easy to sustain excitement when there are so many climaxes of all sorts in a work, but thanks to the relative quiet of the Hymn, a resurgence is made possible, and the entire work comes to a rousing close with the Song of the Plains.

One couldn’t help thinking throughout the first half that the neutralizing of the text to mere syllables and the dissolution of certain musical categories are in perfect harmony with the mission of inclusiveness associated with the DCINY organization. DCINY gathers choruses from all over the world, and for this event they had singers from New York, Oregon, Australia, Canada, France, Germany, the Netherlands, Sweden, Switzerland, and the UK, and (as listed in the program) “individual Singers from around the globe.” DCINY regularly reminds potential choristers to come join them, and their extravaganzas frequently fill Carnegie Hall to capacity. It was inspiring to behold their hundreds of singers, old and young, of all stripes, visibly exhilarated by the music and energized by the guidance of Maestro Jonathan Griffith. They also represent the work of numerous choral conductors behind the scenes, and in tribute to one such outstanding choral conductor, Dr. Doreen Rao, DCINY brought her to the podium after intermission to present her with its Educator Laureate Award.

As impressive a feat as it is to create one’s own syllabic language, it is arguably much harder to set music to the Latin text of the Stabat Mater, which has a venerated tradition from Vivaldi and Pergolesi through Verdi, Poulenc, and the present century. Each composer will somehow reflect the musical language of his own era, and yet, irrespective of associations, he must compose in a way that can convey the timeless subject matter of the life of Jesus Christ and the Virgin Mary.

If one found oneself thinking that some of the Jenkins Sancta Mater seems a bit too redolent of our own day’s epic film scores – one could carp similarly about the Sancta Mater of Rossini, who lets the word “crucifixi” roll just a bit too merrily off the tongue, as if imitating the finesse of his great influence, Mozart. Looking at the bigger picture, the fact is that Sir Karl Jenkins followed his inspiration, and his Stabat Mater goes beyond the European tradition to resembling, as a whole, no other piece.

The central Latin texts are surrounded with those in English, Hebrew, Arabic, Greek, and Aramaic, and include words from the Epic of Gilgamesh and the poet Rumi. The texts are highlighted with the exotic timbres of Arab percussion instruments, which create evocations of the Holy Land. These were used especially effectively in conjunction with pizzicato strings in the eighth movement, Virgo Virginem.

Both chorus and orchestra deserve high praise for stamina as well as overall musicianship. The concertmaster, Jorge Ávila, was as ever an MVP, and Maestro Jonathan Griffith held the masses together in a way that could be described as miraculous. At times, he appeared to be the musical diplomat mediating between the unforgiving precision of the percussion and the giant amoeba of combined choruses – and there were precarious moments – but he was unfailing.

The soloists of the evening were also exceptional. The impassioned “ethnic vocals” of Baidar Al Basri made the second movement, Incantation, memorably stirring – and this listener had originally heard Belinda Sykes, who set a very high bar. Sara Couden’s beautifully penetrating contralto voice was also a discovery, and her superb diction brought clarity to the despairing fourth movement Lament, with text by Carol Barratt (Sir Karl’s wife).

All in all, one was struck once again by what a formidable achievement it all represented. Bravo to DCINY, to all the performers, and to Sir Karl Jenkins – happy birthday, and many happy returns!

by Rorianne Schrade for New York Concert Review; New York, NY