Distinguished Concerts International New York (DCINY) presents The Holiday Music of Joseph M. Martin and Heather Sorenson in Review
Heather Sorenson, Composer/Conductor
Joseph M. Martin, Composer/Conductor
Sarah Whittemore, Soloist; Sue Martin, Soloist; Layke Jones, Soloist
Distinguished Concerts Singers International
David Geffen Hall, Lincoln Center, New York, NY
November 20, 2022
I must admit I approached this concert with trepidation, because when it comes to holiday music, I’m a bit of a Scrooge. So it is with surprise and delight that I found this to be a thoroughly enjoyable way to spend a chilly Sunday afternoon in New York.
The program was divided evenly between two composer/conductors, featuring their original choral compositions and their arrangements of the most beloved Christmas carols. The chorus, comprised of a consortium of choral groups from around the U.S. and beyond, were a well-prepared, balanced, and committed ensemble. Heather Sorenson, whose pieces formed the first half of this program, conducted with utter clarity and precision throughout a cycle of nine contemporary liturgical works. The current trend in this branch of the musical world freely borrows from an array of sources – Renaissance music, traditional Celtic folk tunes, Disney-style ballads – all cleverly and attractively arranged. I was especially taken by Who’s the Little Baby? delivered with gospel-flavored gusto by the excellent Sarah Whittemore. Though I cringed at the thought of a carol inspired by the ubiquitous Canon in D, A Pachelbel Noel was in fact a creative melding of two beautiful melodies, a brilliant and moving hybrid.
I am familiar with the work of Joseph M. Martin, having reviewed him in a previous issue of New York Concert Review, and I am an unabashed fan. He has a firm grasp of a variety of compositional styles, yet he infuses them with his own personal touch and wit, Tidings of Joy, his suite in ten parts, incorporates the best of our traditional Christmas fare (I Saw Three Kings, Joy To the World, The First Noel) into a joyful tribute that transcends this holiday season. God Rest Ye Merry, Gentlemen is transformed into a sea shanty, complete with bouncing bongos, and Joy To the World, unbelievably, is pure vaudeville in his rendering. Mr. Martin’s podium demeanor is focused and motivating.
There was an unmistakable patina of professionalism over the whole endeavor, from chorus to soloists to instrumental ensemble. In addition to the previously mentioned Sarah Whittemore, kudos must go to Sue Martin and Layke Jones for their sensitive contributions in Mr. Martin’s half of the program, and to Brad Nix, a wonderful pianist who is a frequent collaborator with Distinguished Concerts International New York (DCINY). Since this concert took place at the newly renovated Geffen Hall, any review within six months of its opening cannot avoid an appraisal of its acoustics. I was seated in row F, fairly close to the stage, and the sound there was a mixed bag. The small chamber ensemble, of impeccable quality, came across with clarity and richness (I’m not sure they were all credited in the program). However, the chorus, while audible, could have benefited from more definition and projection, especially in the first half. This is to be expected, as the kinks in this new environment are eventually worked out. In the meantime, DCINY continues to be an important part of the musical life of New York City.
