Distinguished Concerts International New York (DCINY) presents Sunrise Mass: Mercer University Singers and Robert McDuffie Center for Strings in Review
Stanley L. Roberts, conductor Mercer University Singers
Amy Schwartz Moretti, director, Robert McDuffie Center for Strings
Paul Watkins, guest conductor, Robert McDuffie Center for Strings
Stern Auditorium at Carnegie Hall, New York, NY
February 17, 2025
Distinguished Concerts International New York (DCINY) presented a Presidents’ Day concert titled Sunrise Mass (also the title of an Ola Gjeilo work that was part of the second half) with the Mercer University Singers and Robert McDuffie Center for Strings as the featured ensembles. The program also included the world premiere of From the Frontier – Three American Foks Tunes, as arranged by Mack Wilberg, Béla Bartók’s Divertimento for Strings, Sz. 113, and eight choral works. Mercer University is located in Macon, Georgia, and their many fans and supporters turned out in force. They were one of the more enthusiastic audiences that I have seen in some time, which no doubt lent wings to these talented musicians.
After a greeting from university president William Underwood, Stanley L. Roberts, the conductor of the Mercer University Singers, took the podium to open the evening. They offered eight selections, of which I will mention some highlights. Two works were flipped in order from the printed program, and there was no announcement to advise the audience of this, which might have caused some confusion for the listener.
Opening with what one might call “cathedral music,” James McMillan’s O Radiant Dawn and Monteverdi’s Cantate Domino, the Mercer singers immediately established their credentials. The ensemble was excellent, without one voice range dominating the others, intonation and crisp diction were all there, and the masterly direction of Mr. Roberts brought all these qualities to the forefront. This was followed by five poignant pieces, of which the luminosity of Hans Bridger Heruth’s Joy (text by Sara Teasdale) and the “looking forward to the next world” of Shawn Kircher’s Sweet Rivers (text by John Adam Granade, adapted by the composer) were notable.
This leads to my one quibble. Many of these selections were so stylistically similar that one might have been excused for wanting a little more variety. To be sure, these works were brilliantly performed, almost as a showcase of this ensemble’s prowess of extracting every last drop of beauty and emotion. Many an ensemble would love to have this “issue.” When they let loose, as they did in the final selection, Craig Courtney’s Let There Be Light, the effect was electrifying. The jazzy harmonies, the bending tones, and the rhythmic energy brought the audience to their feet in a standing ovation. It was far and away this listener’s favorite of their selections.
After intermission and a stage reset, the Robert McDuffie Center for Strings took the stage. Founded by the noted violinist Robert McDuffie, this program is a special institute within Mercer University’s School of Music. Tonight, some distinguished alumni joined the current members, including the current director Amy Schwartz Moretti, David Kim, concertmaster of the Philadelphia Orchestra, and Mr. McDuffie himself amongst others. Guest Conductor Paul Watkins spoke at length, sharing some memories and his delight at working with these young musicians, before launching into Béla Bartók’s Divertimento for Strings. Composed in 1939 on a commission from Paul Sacher, conductor of the Basel Chamber Orchestra, it is one of Bartok’s most loved and accessible works. Much has been written about this work, so I will leave the arcane musical analysis to the theoreticians. Let’s just imagine Bartók took a time machine to the 18th century but brought his own “modern” harmonies, Hungarian folk tunes, and metric complexity with him, and joined the past and the present to great effect.
The opening Allegro non troppo was taut and assured, the dance-like motifs sprinkled about with panache. The second movement Molto adagio was desolate and eerie, with cries of terror punctuating the uneasiness of the ever-building tension. The finale Allegro Assai was a return to the happy mood, with mercurial “bounce” adding energetic joy. This was a superb performance that any ensemble would have been proud of, and Mr. Watkins deserves kudos for his leadership. The enthusiasm was felt in the audience, who reacted with a standing ovation, which was well deserved.
Mr. Roberts returned to the podium as the Mercer Singers joined for the next three works. The first was Ola Gjeilo’s Sunrise Mass. As I wrote in an earlier review Mr. Gjeilo’s music is not what anyone would describe as revolutionary, as his language is tonal to the core, and there is very little overt complexity, but in this ostensibly simplistic approach he makes magic happen. Sunrise Mass is no exception – it is vintage Gjeilo in its effect. Mr. Gjeilo gives a very heartfelt explanation of his goals in this mass – a bit too long to quote here, but I suggest the reader follow this link to learn more: Ola Gjeilo on Sunrise Mass.
The four-movement Sunrise Mass uses English titles for the individual movements, but the Latin text of the Mass: The Spheres (Kyrie), Sunrise (Gloria), The City (Credo), and Identity and the Ground (Sanctus/Agnus Dei). It is for the listener to decide the ultimate message, but I prefer the idea of a spiritual journey. It proved to be a journey well-worth taking, and the performance was breathtakingly moving in its sheer beauty. Even Mr. Roberts was moved to address the audience after a standing ovation about how wonderful this work is. I’m sure everyone was in complete agreement.
Next was the world premiere of From the Frontier – Three American Folk Tunes, written as a commission for Mercer by Mack Wilberg, the director of the Tabernacle Choir and a skilled composer in his own right. Mr. Wilberg chose Skip to My Lou, Red River Valley, and Kingwood, but using the text of Lo, On a Narrow Neck of Land. The messages of these songs (hold on to your partner, one might wander, but love waits at home, and honoring all that is sacred, including love) are as timely today as they were in earlier times.
This is a wonderful work that should immediately enter the repertoire. The jaunty bustle of Skip to My Lo, the plaintive simplicity of Red River Valley, and the building intensity of Lo, On a Narrow Neck of Land, demonstrated Mr. Wilberg’s talent to the maximum effect with the simplest of means. It was given a winning performance, and the audience gave a standing ovation in approval.
The ”programmed encore,” of the folk tune Come, Thou Fount of Every Blessing (as arranged by Mack Wilberg), ended the concert. The audience offered a final standing ovation. Congratulations to all!
