Distinguished Concerts International New York (DCINY) Presents Spirit Journey in Review
Distinguished Concerts Orchestra/Distinguished Concerts Singers International;
Pepper Choplin, Composer/Conductor; Mark Hayes, DCINY Composer-In-Residence;
Kevin McBeth and Andy Waggoner, Guest Conductors;
Leslie Mabe and Rachel Schutz, Sopranos; John Robert Green, Baritone; Steve Coldiron, Narrator
Distinguished Concerts International New York (DCINY) presented yet another large-scale concert last weekend at Carnegie Hall, and as has often been the case, it was more than a concert. Entitled “Spirit Journey,” the event centered on choral music of prayer and faith by Mark Hayes and Pepper Choplin, and there were moments when one needed to pinch oneself to remember that one was at Carnegie Hall and not in a church. Naturally, many of Western music’s most profound creations have sprung from faith or have been dedicated to it, and one thinks of (among others) the colossal contributions of J. S. Bach, with his initialing of SDG, Soli Deo Gloria (“To God Alone be the Glory”) at the end of many masterpieces; this concert, though, was much more overt in its religiosity and even included the interspersing of miniature sermon-like introductions between movements of one work, recited by narrator Steve Coldiron. The homilies were an interesting touch, but neither enhancing nor detracting from the musical experience for which this listener came.
Mark Hayes and Pepper Choplin are two composers who are quite well-known to DCINY. This concert marked Pepper Choplin’s fifth appearance with DCINY, and Mark Hayes is currently the composer-in-residence for DCINY. Their compositional styles made for a simpatico pairing, though with distinct differences here due to the contrasting selections, Mr. Choplin’s chosen work being overall a bit more sweetly hymn-like, while the contributions of Mr. Hayes emphasized a more rhythmic earthiness in Spirit Suites I and II and selected arrangements of spirituals.
Mr. Choplin’s sole work of the evening, Our Father: A Journey through the Lord’s Prayer made up the first half and was conducted energetically by its composer. The conception itself struck this listener as ingenious, with its nine movements each centering on a different phrase from the Lord’s Prayer. Considering such fertile material, though, this listener wanted a bit more harmonic or contrapuntal variety. The Lead Us Not into Temptation movement was appropriately troubled in its minor tonality and rhythmic urgency, and there were elements of despair and struggle in the Let Your Kingdom Come movement as well, but a certain sweet glossiness verging on commercialism tended to dominate some other movements. The influence of non-classical genres was apparent in a way that this listener, at the risk of sounding overly traditional, found a bit off-puttingly schmaltzy for such a hallowed text. Some parts even brought to mind a nightclub sort of flavor, including Holy Be Thy Name (which, on each successive repetition of the descending major sixth on the word “Holy” had this listener thinking more and more of Patsy Cline in Crazy).
High points among the Choplin movements included Forgive Us with its sigh-like motive bringing it a stirring and genuinely plaintive quality. Particularly successful as well was the introduction (later reprised) of We Are Not Alone, a movement set to those words in an excited rhythmic whisper, creating the backdrop for the prayer itself. The reprise of it was creatively handled, and all was given an excellent performance by the Distinguished Concerts Orchestra and Distinguished Concerts Singers International. Leslie Mabe, soprano and also director of one of the choirs (the St. Paul United Methodist Church, from Virginia) sang her solo part with a pure and beautiful tone.
Mr. Choplin is a composer with unquestionable experience, popularity, and a prolific output. He is the composer of over 275 anthems for church and school choir, with 19 church cantatas, a book of piano arrangements and over a hundred commissions. His works have sold several million copies since 1991. He obviously has a “secret recipe” that brings delight to many, and the large audience seemed to revel in the experience.
After intermission we heard two suites of spirituals and several individual spiritual arrangements by Mark Hayes. Mr. Hayes is an award-winning pianist, composer, arranger, and conductor with a personal catalog of over 1000 published works. He has conducted his own major works at Carnegie Hall, Lincoln Center, and in a festival of sacred music sponsored by none other than the Vatican.
Spirit Suite I was conducted charismatically by Kevin McBeth and opened with a rousing rhythmic rendition of the song, In That Great Gittin’ Up Mornin’. The soloist for all three songs in this suite was soprano Rachel Schutz, who gave exceptionally fine performances. This reviewer frequently opts not to read performers’ biographical notes before a concert, preferring to take the interpretations on their own merits, but some performers send one flipping quickly to the back of a program to find out “who is this giving such an amazing performance?” Ms. Schutz inspired this reaction. Especially in the song, Sometimes I Feel Like a Motherless Child, she shone, handling its unaccompanied iterations with heartbreaking feeling. Mr. Hayes had varied the main melody beautifully, sending the elaborations skyward, and Ms. Schutz rose to the challenge with effortless grace. Didn’t My Lord Deliver Daniel? closed the set with exuberance, and despite brass, percussion, and strings in full force, the soprano voice penetrated with impressive clarity.
It is rare to have two such remarkable singers in one night, but it was a lucky night. Spirit Suite II, conducted expertly by Andy Waggoner, enlisted the talents of baritone John Robert Green, who was perfectly suited to this repertoire, with a rich and deep sound, robust and regal. He gave Little David, Play on Your Harp an infectious energy, and imbued the perennial favorite, Swing Low, Sweet Chariot, with such pure emotion that a number of tissues were spotted being pulled from pockets and purses. Joshua Fit the Battle of Jericho, as Mr. Hayes has arranged it, is irresistibly dance-like, and Mr. Green, with the chorus and orchestra, captured the spirit to perfection.
Kevin McBeth returned to the stage to conduct a winning performance of I Want Jesus to Walk with Me, leaving Mr. Waggoner to conduct the New York Premiere of Deep River, given a full-blown treatment worthy of a Hollywood film score. A rollicking rendition of Ain’t that Good News (also a Mark Hayes New York Premiere) made for a high-spirited close to the program.
The audience stood and gave a loud ovation, many members apparently excited to be present for their loved ones in the choruses from Arkansas, California, Georgia, Illinois, Missouri, North Carolina, Ohio, Pennsylvania, Virginia, Washington, Brazil, and Canada. Kudos once again to DCINY!
