Distinguished Concerts International New York (DCINY) presents One World: The Music of Sir Karl Jenkins in Review
Jonathan Griffith, Artistic Director and Principal Conductor
Sir Karl Jenkins, CBE, DCINY Composer-in-Residence
Elliott Forrest, WQXR Radio Personality and Host
Penelope Shumate, Soprano; Claudia Chapa, Mezzo-Soprano; Daniel Rich, Baritone
Brenda Vongova, President of the UN Chamber Music Society
Distinguished Concerts Orchestra; Distinguished Concerts Singers International
Stern Auditorium at Carnegie Hall, New York, NY
January 20, 2025
In what has become a tradition marking the commemoration of Martin Luther King, Jr. Day, Distinguished Concerts International New York (DCINY) presented a concert featuring the music of Sir Karl Jenkins on January 20, 2025. This year’s version included two works, Gloria (2010), and the North American premiere of One World. This is Sir Karl’s 18th appearance with DCINY. The Distinguished Concerts singers came from California, Massachusetts, New York, West Virginia, Germany, Guatemala, The Netherlands, Northern Ireland, United Kingdom, and individual singers around the globe.
DCINY Artistic Director and Principal Conductor Jonathan Griffith took the podium to conduct Gloria, the sole work on the first half. This five-movement work for orchestra, chorus, and vocal soloist clocks in around thirty-five minutes. Gloria is an extended setting of the Gloria section of the Ordinary of the Mass. The first, second, and fifth movements use the Latin text, and the third and fourth movements use Psalm 150 in Hebrew plus a song derived from biblical verses in English. Spoken passages from sacred text of four religions (Hinduism, Buddhism, Taoism, Islam) also are part of the composition. The speakers of these texts were, in order of appearance, Surenda Adana, Christopher Hudson, Gang Yue, and Brenda Vongona. Mezzo-soprano Claudia Chapa, a DCINY favorite, was the vocal soloist.
The first movement The Proclamation: Gloria in excelsis Deo, opened with an arresting heraldic fanfare, setting the stage for the chorus to burst forth with jubilation. The second movement, The Prayer: Laudamus te, had a serene quality that was sentimental without becoming saccharine. The third movement, The Psalm: Tehillim – Psalm 150, was the highlight for this listener. The sounds of Adiemus, one of Jenkins’s most popular works, were much in evidence. The exuberant DCINY percussion section “rocked the house” with such energy that the huge chorus at times struggled to be heard clearly. Even with this, the net effect was electrifying, with a final Amen! delivered in a burst of joy. The fourth movement, The Song: I’ll Make Music, was another journey of beauty, brought to life by the radiant voice of Ms. Chapa. It was the high point of her solos. The work’s opening motif reappeared in the final movement, The Exaltation: Domine Deus, before the momentum slowly abated to a concluding Amen.
Maestro Griffith led with his customary sure hand – he is truly a master of dealing with these colossal forces. The Distinguished Concerts Orchestra can always be counted on to deliver a strong performance, and the chorus and individual directors who prepared them are to be congratulated as well. Sir Karl came to the stage to the cheers of the large audience.
After intermission, WQXR radio personality and host Elliott Forrest joined Sir Karl and Jonathan Griffith in a brief Q&A, which really took more the form of an informal chat. Sir Karl’s droll sense of humor was front and center (Q: Are you an optimist? A: with a look of horror- No!) which had the audience laughing loudly. We learned that today was Mr. Forrest’s birthday, and the large crowd, chorus, and orchestra sang Happy Birthday to him.
After all this merriment, Maestro Griffith had the honor of conducting the North American premiere of One World . It is an hour-long, fourteen-movement work for orchestra, chorus, and three vocal soloists. Those soloists were soprano Penelope Shumate (another DCINY favorite), mezzo-soprano Claudia Chapa, and baritone Daniel Rich.
As the composer himself writes, “One World heralds a vision of a peaceful and egalitarian planet that treats nature and ecological issues with respect and where human rights are universal. Where truth is truth and news is never ‘fake‘, where leaders do not lie, transparency is a given and all faiths live together in peace. There is neither famine nor war.“ This ideal is quintessential Jenkins, complete with his signature use of diverse texts reflecting all faiths and touching on social issues, paired with his use of ethnic instruments and rhythmic motifs in a melodic and harmonic language that is unmistakably his own.
A detailed discussion of all fourteen movements would be beyond the scope of this review, but interested readers can reference the excellent notes written by Jenkins: Program Notes. Let’s focus on some highlights: 1.In the Beginning had a primordial quality that fit well musically depicting the act of Creation. 2. Let’s Go (Tower of Babel) had the chorus in a quasi-rap chant before the whole thing descended into bedlam, with the chorus pantomiming the chaos and confusion of the aftermath of not being able to understand each other any longer. 4. Ad Lucem (Towards Light) for solo violin and orchestra was as luminous as the title suggests with DCINY concertmaster Jorge Ávila as soloist. 8. Savitur (The Divine Sun, the ultimate light of wisdom) had an inexorable building of energy, with each iteration of the text becoming more insistent in its declaration.
As for the soloists, Penelope Shumate was heavenly in 13. Sakura, Spring Has Come (Cherry Blossoms in bloom represent a time of renewal). Claudia Chapa shone in 7. Tikkun Olam (Repair the World). Daniel Rich was a force of strength and regal dignity in 12. Bury Me in a Free Land, which also was the most powerful movement of the entire work.
The final movement, 14. The Golden Age Begins Anew, was not what one might have expected. Instead of optimistic bombast, it is a quiet, and thoughtful meditation, as if to say, “let’s get it right this time.” When it was over, Sir Karl again came to the stage to a standing ovation.
Maestro Griffith again was outstanding in his leadership. It would seem he is “dialed in” to Jenkins’s music in a way that sets him apart from others, not exactly a surprise considering the long relationship and collaboration DCINY has had with Jenkins. It was a winning performance of a monumental work. The chorus members, regardless of whatever path they take in the future, can say with pride, “we were a part of the North American premiere of a work by one of the most popular and frequently performed composers in the 21st century, on one of the most famous concert stages in the world.”
