Distinguished Concerts International New York (DCINY) presents The Music of Eric Whitacre in Review
Eric Whitacre, composer/conductor
Kelly Yu-Chieh Lin, piano
Sarah Jean Ford, soprano
Distinguished Concerts Singers International
Stern Auditorium at Carnegie Hall, New York, NY
April 8, 2018
How does one make a concert that is both entertaining and musically substantive? This is something that many concert organizers struggle with, but Distinguished Concerts International New York (DCINY) has discovered a simple formula that is a lock for sure-fire success: Invite Eric Whitacre to conduct a concert of his own works. This is Eric Whitacre’s fifteenth appearance with DCINY. Five hundred forty-three singers from Ohio, Massachusetts, California, Canada, United Arab Emirates, Pennsylvania, South Carolina, Utah, Wisconsin, Texas, Tennessee, New Jersey, and individual singers from around the globe gathered under the direction of Mr. Whitacre for an afternoon of some old favorites (Lux Aurumque, Seal Lullaby, The City and the Sea, Cloudburst, and Sleep) with newer works (e.g., Hurt and “Home” from the Sacred Veil), in addition to works by Moses Hogan and John Mackey.
Eric Whitacre is a true force of nature – Grammy-winning composer, conductor, public speaker, and evangelist for the cause of music. He is one of the most charismatic people in any field this reviewer has seen in action. His enthusiasm is simply infectious; one cannot help being drawn in by this dynamic personality.
The Star-Spangled Banner, as arranged by Whitacre, was a welcome pre-concert opener overall. It has some of his characteristic close harmonies, and some other additions for dramatic effect, including that hackneyed leap of a fourth on the held note “Free,” and a Hollywood-esque soundtrack finish. Thankfully, it was not the melisma-fest one so often hears at sporting events by various pop stars.
The program did not follow the printed order, but Mr. Whitacre announced each work with some of the history/back story behind each work. There was a moment of confusion when a string quartet appeared on stage at the appointed time after Mr. Whitacre had just announced the ensuing piece, but without missing a beat, he vamped à la Airplane! – “I picked the wrong week to stop taking amphetamines.” Roaring laughter followed.
Lux Aurumque, one of his earlier works, opened the concert proper. I’ve heard this work countless times, yet it still amazes me how the simplest means have such a profound effect. The chorus rendered the close intervals flawlessly, with excellent balance and intonation. This was an excellent start!
The next piece, Little Birds, to text by Octavio Paz, could be described as “Fauré for the 21st century.” Mr. Whitacre acknowledged Fauré’s influence in his remarks. Complete with bird whistles and paper waving at the end, it was enchanting.
Five Hebrew Love Songs, written in 1995 for his wife Hila Plitman to her texts, is filled with passion. Even a person with little musical training could sense that Mr. Whitacre poured his heart and soul into these songs. The addition of the string quartet added further depth to an already emotionally charged work. Each song was captivating in its own way, but Temuna (A picture), with its almost mournful sentimentality, and the atmospheric, shimmering Eyze sheleg! (What Snow!) were my favorites.
The next work, The Rumor of a Secret King, by John Mackey (b. 1973), set to text from Mr. Mackey’s wife Abby Jaques, was written at the request of Mr. Whitacre. Mr. Mackey and Mr. Whitacre were classmates at Juilliard and remain close friends. It is not a secret that I am an admirer of Mr. Mackey’s works, so I was especially looking forward to this piece. It is filled with driving rhythmic energy, combined with hints of John Tavener. My admiration is intact; this is a worthy addition to the repertoire that was given a winning performance. Mr. Whitacre told the audience that Mr. Mackey is very active on social media and to send him a tweet telling him how good his work was! I am sure many people did just that.
Seal Lullaby, with text from Rudyard Kipling, followed the Mackey. It originally was intended for a DreamWorks project that was abandoned in favor of Kung Fu Panda. Mr. Whitacre called this piece “trunk music,” a work written that is stored away to be used at some point in the future. The tune is simple, yet very moving, and the timbre of the singers was ideal in a touching performance.
The first half concluded with two well-loved and frequently performed spirituals arranged by Moses Hogan (1957-2003), Elijah Rock and The Battle of Jericho (and a third selection in the printed program was omitted). The audience loved the rollicking works and gave all a standing ovation that one usually sees only at the end of a concert.
The second half was all music of Mr. Whitacre. His Goodnight Moon opened. The lyrics come from the beloved children’s book of the same name, which Mr. Whitacre said he has read to his son “at least a thousand times.” It had all the child-like innocence in a sweet, wistful performance that would enchant children of all ages from one to ninety-nine.
The New York premiere of i carry your heart, with text from E.E. Cummings, was next. It was composed as a surprise gift to two friends of Mr. Whitacre. He said it was the favorite poem of the two, and that it was hoped that he could set it to be used at their wedding. Alas, it was not to be, as Mr. Whitacre was unable to get the setting to his satisfaction, instead giving “the worst best man speech in history.” Sometime later, Mr. Whitacre was sitting at the piano randomly striking chords, when a simple two-chord sequence was the catalyst for showing him the path he could not find previously. I’m sure his friends loved the post-wedding gift. The chorus was superb in the “unfolding” of the layers of sound, as it expanded into its full grandeur.
Cloudburst, with text by Octavio Paz, is one of Mr. Whitacre’s signature pieces. With added percussion for the “storm” and chorus member finger snaps for “rain,” it is an aurally and visually arresting tour-de-force. I was disappointed that so few in the audience took the cue from Mr. Whitacre to snap their fingers rapidly in creating the cloudburst effect. It would have been amazing if the entire hall had joined in! Nonetheless, it was still a mesmerizing eight minutes.
The World Premiere of “Home” from The Sacred Veil, courtesy of the DCINY Premiere Project, followed. It is a part of a larger work that Mr. Whitacre is writing in collaboration with his friend Charles Anthony Silvestri. Mr. Whitacre described the veil as the dividing point between the living and the dead, but not a barrier to communication between these worlds. The text is a remembrance of the second date Mr. Silvestri had with his wife, who passed away twelve years ago from ovarian cancer, of the feeling of falling deeply in love with her – “You, feel like home.” A cellist joined the piano and chorus. It was heartbreakingly beautiful, and the emotional impact is still lingering inside me. I very much want to hear the complete work.
The next work, the city and the sea, brought back a light mood. It uses the texts of five poems by E.E. Cummings. Three selections, the jaunty No.1, i walked the boulevard, the nostalgia-tinged No. 3, maggie and milly and molly and may, and the furiously hectic No.5, little man in a hurry were this listener’s favorites.
Hurt, by Trent Reznor (b. 1965), from the group Nine Inch Nails, is a song that Mr. Whitacre told the audience is one of his favorites. An unforgettable cover of this song by Johnny Cash is one of the very last things The Man in Black did before his death. The power of the lyrics is undeniable regardless of one’s feelings about the music itself. Mr. Whitacre’s conception harnesses the rawness of emotion with an otherworldly feeling. Sara Jean Ford’s soprano voice wandered in and out like a calling from beyond. It was haunting, and even a bit unsettling, which might account for the somewhat bewildered response from the audience. This listener found it to be most compelling.
Sleep was the final work. Originally written using Robert Frost’s Stopping by Woods on a Snowy Evening, Mr. Whitacre was denied permission by the Frost estate to use the text in any form, including performance, until 2038 (when the work would enter the public domain), and was threatened with legal action. Luckily for Mr. Whitacre, his friend Charles Anthony Silvestri was able to provide him with a metrically identical poem, for which Mr. Whitacre was able to use the already written music. It was a sublime ending to a memorable afternoon. The audience gave Mr. Whitacre a long standing ovation. The formula remains effective: Mission accomplished, DCINY!
Kudos to the unsung hero of this concert, pianist Kelly Yu-Chieh Lin, who was a superstar in her own right. If one missed this concert, it will be encored on April 15, 2018 at David Geffen Hall at Lincoln Center.
