Distinguished Concerts International New York (DCINY) presents “Simple Gifts” in Review
Langley High School Concert Band (VA)
Doug Martin, Director; Kai Smith, Director
Cancioneta Praga (The Czech Republic)
Lukáš Windřich, Director; Lenka Navratilova, Piano
The Music of Mack Wilberg
Distinguished Concerts Singers International
Mack Wilberg, Composer/Conductor; Gabriel Evans, Piano/Organ
Stern Auditorium at Carnegie Hall, New York, NY
February 20, 2023
Distinguished Concerts International New York (DCINY) offered another typically generous evening of a wide variety on President’s Day. The three groups featured could not have been more different, and each showed its personality successfully.
First up was the gigantic Langley High School Concert Band from Virginia. Under the sensitive, efficient direction of its conductor, Doug Martin, they played six short pieces (one of them was conducted by the young Kai Smith). John Philip Sousa’s Gridiron Club march made for a rousing opener, with beautiful contrast between the “A” theme and the Trio. Kai Smith then led Adam Gorb’s A Little Tango Music, which displayed little of the dangerous ritual of attraction/repulsion of the dance. Praetorius’ Dances from Terpsichore were rough going in such an inflated version, and they’re not even by Praetorius. Elgar’s beloved “Nimrod” variation (from the larger Enigma Variations) had melting legato. Johan Halvorsen’s Entry March of the Boyars was full of character. Finally, Brian Beck’s La Madre de los Gatos, the most recent work (2009), cleverly named for a middle school band director, Velma Shine, aka “Kitty Mama,” was spirited fun.
After considerable stage remodeling during intermission, the Cancioneta Praga, a group I had never heard, took the stage. A “mere” three dozen women, there is nothing “mere” about this precision choral group: their harmony, blend, dynamics, and precision were marvels. Their six Czech selections showed enormous range, from Dvořák, and Smetana, to Martinů, and they were exciting and controlled. Where I took issue was with the final two pieces: two traditional American spirituals: Michael, Row the Boat Ashore and When the Saints Go Marching In. (Is this what they mean by cultural appropriation?) Their English was heavily accented, and when Maestro Jindřich turned to the audience to solicit participation in the “Hallelujahs” at the end of each line of Michael, Row, I was left with this uncomfortable image: I (for some reason) am at a $700/person tasting menu dinner, and the chef invites me into the kitchen to put some finishing touches on the food.
Finally, Mack Wilberg, conductor of the iconic Tabernacle Choir at Temple Square (formerly the “Mormon T.C.,” Salt Lake City), was in charge of the assembled DCINY choirs who traveled from North Carolina, South Carolina, Texas, Utah, and Virginia. They were in charge of a group of inspiring sacred choruses (German, American), all arranged by Mr. Wilberg. I wonder if it was difficult working with these disparate forces, well-trained though they were, after the glories of his home choir, this group was somewhat short on male voice parts. He and his valiant organist Gabriel Evans also had to fight the disgraceful plug-in organ that serves Carnegie Hall. The American folk hymn My Song in the Night was particularly lovely. DCINY really made us wait for its umbrella title, the Shaker hymn Simple Gifts, which was performed nicely, if somewhat “complicated” by Wilberg’s arrangement. In conclusion, a blessing was offered, gorgeously sung, to the tune of English folksong O Waly, Waly, with words “Thou Gracious God, Whose Mercy Lends.”
The loud ovation showed that on many levels, people do understand (or feel) that “simple” gifts such as communal music-making, are not achieved without intricate work.
