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Distinguished Concerts International New York (DCINY) presents: The Music of Karl Jenkins 70th Birthday Celebration

Distinguished Concerts Orchestra, Distinguished Concerts Singers International

Jonathan Griffith, conductor; Rhys Meirion, tenor; Darik Knutsen, baritone; Charlotte Daw Paulsen mezzo-soprano; Samuel Smith, bass-baritone; Belinda Sykes, ethnic vocals and mey; Karl Jenkins, composer-in-residence/conductor

Stern Auditorium, Carnegie Hall, New York, NY

January 20, 2014

In what has become a tradition on the celebration of Martin Luther King, Jr. Day, Distinguished Concerts International New York (DCINY) presented a concert featuring the music of Karl Jenkins. This year’s event had the added dimension of being a 70th birthday celebration for the Welsh composer. Arguably one of the most popular living composers and indisputably one of the most frequently performed, Karl Jenkins and DCINY have a special relationship. DCINY has given countless premieres of his newest compositions and continues to give top-notch performances of his works to enormous public response. As one watched the singers fill the back of the stage, overflowing onto the right wing, one could not help sharing in the eager anticipation. The program included The Bards of Wales (United States Premiere), the Benedictus from The Armed Man: A Mass for Peace, and the Stabat Mater. With performers from California, Georgia, Minnesota, North Carolina, Argentina, Canada, France, Hungary, New Zealand, The Netherlands, and “individuals from around the globe” (the program listing 579 singers!), the stage was set for what was to be a spectacular evening.

The concert opened with the cantata, The Bards of Wales. What could be more natural for a Welsh composer than to use as a text than a poem entitled “The Bards of Wales”? Interestingly enough, this poem was not written by a Welshman, but by the Hungarian poet Janós Arany (1817-1882). Asked to write a poem of praise for the occasion of a visit to Budapest by Emperor Franz Joseph (only eight years after the Hapsburg empire crushed Hungary’s War of Independence), Arany chose to compose a ballad based on the ancient Welsh legend of how King Edward I of England had 500 Welsh bards executed for failing to sing his praises at a banquet in 1277. The message was unmistakable: the truth must be told, at whatever sacrifice. The Bards of Wales is a nine-movement work scored for orchestra, chorus, and tenor, baritone, bass-baritone, and mezzo-soprano soloists that can be sung in Hungarian, Welsh, or English. On this occasion, the English version, as translated by Peter Zollman (1931-2013), was used. Tenor Rhys Meirion was cast as King Edward I. Baritone Darik Knutsen had a double role as a minstrel and bard, while bass-baritone Samuel Smith and mezzo-soprano Charlotte Daw Paulsen also took roles as bards.

What strikes the experienced Jenkins listener as singular about The Bards of Wales is the complete absence of any of the multi-ethnic influences that Karl Jenkins is so well known for using in his works (answering any naysayers who carp about so-called multicultural “gimmicks” for effect). The sound is uniquely his own, and I would easily know this is a Jenkins work without being told. That is not to say that there is anything formulaic in it, as only fragments resembled earlier compositions (the movement “His Men went forth” resembling a hybrid of material from L’homme Armé or Charge! movements of The Armed Man).

Rhys Meirion sang and acted his role with gusto in a performance that bespoke the haughty arrogance of Edward, his vanity, cruelty, and in the end, his torment. He definitely has charisma in spades! Not to be overlooked, Darik Knutsen, Samuel Smith, and Charlotte Daw Paulsen projected the brave stand of the bards with great skill, the defiant tone coming to the fore with strength and dignity. Conductor Jonathan Griffith led the huge forces with his customary skill. The Bards of Wales is filled with dramatic effect, from the cannon shots of the first movement to the martyrdom of the fallen bards in the last. This is a work I very much wish to hear again, and I am hoping it will be recorded (in English, that is – there is already a recording in Hungarian on CMI Records). Are you listening, Deutsche Grammophon? I will be the first to buy it!

After the last notes were sounded, the audience leapt to their feet in appreciation. Mr. Jenkins came to the front of the stage to accept the standing ovation. After the applause died away, he took to the podium to conduct the Benedictus from his work The Armed Man: A Mass for Peace. The seven-and-a-half minute twelfth movement of The Armed Man, the Benedictus is often played as a stand-alone piece and has been arranged for numerous combinations of instruments (notably a version with the brilliant euphonium player David Childs). Here it was given in its original form with orchestra and chorus. The Benedictus is a beatific work, extremely moving in its simplicity. One holds one’s breath as an ethereal cello solo floats over hushed orchestral accompaniment before the chorus seamlessly enters, leading to an ecstatic explosion of percussion to the words Hosanna in excelsis – a supremely moving inspiration. I wish I knew the name of the solo cellist; her playing was quite beautiful and she deserves mention. Mr. Jenkins is an able conductor and his understated approach was perfect. It was a magical end to the first half.

After intermission, Mr. Jenkins was brought to the stage before the performance of the Stabat Mater. A letter of congratulations and birthday greetings from New York City mayor Bill de Blasio was read. Jonathan Griffith led the audience in singing “Happy Birthday” (for the purists, Jenkins’ actual birthday is February 17). A jumbo-sized card that was signed by hundreds of people was presented to Mr. Jenkins. A bashful-looking Jenkins nodded his thanks to all before leaving the stage.

Maestro Griffith then took to the podium to conduct the Stabat Mater. I have something of a special relationship with this work. I was in attendance when DCINY gave the US Premiere on January 19, 2009 at Avery Fisher Hall. I confess that I was initially reluctant to attend, as my impression of Karl Jenkins and his music was based solely on a DeBeers diamond advertising campaign that I absolutely despised! After hearing the Stabat Mater, I realized how shortsighted and wrong that preconception was. I was moved in a way that I have rarely experienced on the first hearing of a musical work. I went from skeptic to believer in the space of the twelve movements of this piece and rushed out the next day to purchase the recording. My musical life was changed, as I became a great admirer of Karl Jenkins and his works. It has been a mounting source of irritation to me that snobbish musical circles often look askance at a composer because he is “popular” and his work is “tonal”. It is not a zero-sum proposition: one can love the music of Karl Jenkins and still love the most ultra-modern works without having to apologize for either.

Now, back to the Stabat Mater. This twelve-movement work uses the text of the 13^th century poem Stabat Mater Dolorosa for six of the movements. The other movements uses material from the Epic of Gilgamesh, lines from the 13^th century Persian poet, Rumi, and original materials in a variety of languages, including English, Arabic, Hebrew, Greek, Aramaic, and of course Latin. Scored for orchestra, including Middle Eastern percussion, chorus, mezzo-soprano and “ethnic vocals” soloists, this hour-long work is a powerful and profound piece that still continues to move me, even after countless hearings.

Mezzo-soprano Charlotte Daw Paulsen was radiant in the achingly beautiful Lament and the despairing Are you lost out in darkness? Special mention must be made of the incredible Belinda Sykes. Her playing of the double-reed mey and her amazing passion-filled vocals floored me in 2009 (especially in the Incantations and Are you lost out in darkness? movements), and they did so again in 2014. I simply cannot imagine any other performer in her role in this work! Highlights are too numerous to list individually, but I will mention the Cantus lacrimosus, Sancta Mater, and And the Mother did weep as personal favorites for the night.

The final movement, the Paradisi Gloria, starts as a smoldering flame that bursts into a full-blown inferno, bringing this work to a close. I was slightly disappointed that there were no chorus members in the balcony as there were in 2009, but nonetheless it was a powerful conclusion to a first-rate performance. Maestro Griffith is simply masterful at how he handles such gargantuan forces with such apparent ease. The Distinguished Concerts Orchestra and the Distinguished Concerts Singers International must be congratulated for their excellent work as well. The thunderous ovation was every bit deserved.

Pen-blwydd Hapus, Karl Jenkins! May your next seventy years be filled with good health so you can continue to write more wonderful music for the world to enjoy!

by Jeffrey Williams for New York Concert Review; New York, NY

Caleb Chapman’s Crescent Super Band in Review (DCINY)

Distinguished Concerts International New York (DCINY) presents

Caleb Chapman’s Crescent Super Band

Featuring The Voodoo Orchestra and La Onda Caribena

Guest Artists David Sanborn, saxophone; Wayne Bergeron, trumpet; Russell Schmidt, piano

Stern Auditorium, Carnegie Hall, New York, NY

May 21, 2013

Caleb Chapman’s Crescent Super Band at Carnegie Hall

Caleb Chapman is a young man in a hurry. Not yet forty years old, he is the Director of eleven ensembles, published author, and award- winning musician. He was invited by Distinguished Concerts International New York (DCINY) to bring to Carnegie Hall his elite Crescent Super Band, The Voodoo Orchestra, and La Onda Caribeña. All three groups consist of players from the ages of fifteen to eighteen in the state of Utah. Special guests David Sanborn, Wayne Bergeron, and Russell Schmidt were also to have featured roles.

Founded in 2001 and with a list of honors a mile long, including countless accolades from Downbeat magazine, ten Best of State awards, product endorsements and sponsors, the Crescent Super Band is, on paper, a very impressive group. I must admit that I was somewhat wary of this build-up. While I am a huge fan of youth concerts and particularly enjoy the big band and jazz styles, I also have high expectations for the same based upon my own performing experiences (from the years 19…uh…well, never mind when!). I would have to wait until the second half to see.

Meanwhile, The Voodoo Orchestra took to the stage to open the night. Any ideas I might have had about this ensemble being a time-filler opening group were immediately obliterated by a super-stylish and slick performance of Spider-Man. I could not believe I was hearing players that were fifteen to eighteen years old! This was playing at a level to rival any professional group. The Voodoo Orchestra takes the best of the 30’s and 40’s big bands swing era and combines it with the cool sophistication and swagger of the Rat Pack. They have the entire package; the “hot” playing, the smooth vocalists, and the choreographed movements of the players with their instruments. Ending their set with a smoking hot world premiere of Brian Setzer’s Hoodoo Voodoo Doll, it was a fantastic start to the evening.

La Onda Caribeña followed with the flavors of Salsa and Latin-tinged jazz. Opening with Hector Lavoe’s and Willie Colon’s Llego La Banda, this ensemble showed that they were the “real deal” as well. Passion, brilliance, supercharged rhythmic vitality, and beguiling vocalists make La Onda Caribeña un grupo ganador. Victor Lopez’s Salsa Caribeña, written especially for La Onda Caribeña is sure to be a signature piece for them. They closed their set and the first half with a scintillating performance of Tito Puente’s Para Los Rumberos.

After intermission, the Crescent Super Band was ready to be unleashed. Just when I thought there was no possible way the bar could get set any higher, it did! I can still scarcely believe that this group is not filled with old established “ringers”, but such incredibly talented youth. If The Voodoo Orchestra and La Onda Caribeña lit the flames, then the Crescent Super Band stoked the flames into an inferno. From the infectious drive of Tightrope, to an ultra-hip arrangement of Paul McCartney’s Can’t Buy Me Love, to Bill Readies “take-no-prisoners” arrangement of Leonard Bernstein in West Side Story Medley, to the deceptively simple charms of Harold Arlen’s Down With Love, the Crescent Super Band could do no wrong. They “burned the place down” with a jaw-dropping performance Louis Prima’s Sing Sing Sing to end the concert. The audience, already worked into a frenzy, sprang to their feet with a well-deserved and prolonged ovation.

Caleb Chapman roamed the stage like a big cat stalking his prey. This hyper-energetic leader would wander into sections of the groups to encourage his players, cajoling them into greatness, then turn to the audience with a “can you believe how amazing these kids are?” expression on his face. He’d adjust microphones for soloists, and then race back to the front to conduct. His energy was like rocket fuel for all; the personnel changes between numbers were always at high-speed, with players running on and off stage. Not satisfied just leading these three groups, he lent his own considerable skills on saxophone as a featured soloist in Victor Young’s When I Fall in Love, which he dedicated to his parents. Now would be a good time to thank Mr. Chapman’s mother for sending him to music camp, instead of soccer camp, as Mr. Chapman related from the stage as he spoke of his parents. Whatever soccer might have lost, music more than gained.

One would be remiss in not mentioning the guest artists. Russell Schmidt joined The Crescent Super Band on the piano in the premiere of his work Percolating, which it certainly was! Wayne Bergeron, well known to the trumpet world from his days with Maynard Ferguson, was a presence with all three ensembles, and as a featured soloist in Horn of Puente, written for him by Gordon Goodwin, with La Onda Caribeña. His playing in the extreme upper register, which trumpet players call “screaming”, continues to amaze. I would imagine it would be inspiring to the young players to play alongside someone who can bust off double high C’s at will! Finally, David Sanborn joined the Crescent Super Band for an unforgettable performance of I Put a Spell on You by Edward Harcourt in an arrangement by John Clayton. In Bang Bang, which followed, a Crescent Super Band saxophonist joined Mr. Sanborn at the stage front. What a thrill it must have been for a young sax player to jam on the stage of Carnegie Hall with the living legend David Sanborn. He more than held his own, and getting a “high-five” from Mr. Sanborn was something this youngster will remember forever.

If I had had my trumpet with me, I would have found a way to get on stage to join in. Luckily for security, I somehow lacked the foresight to bring my instrument with me, but I cannot guarantee that if Mr. Chapman brings his groups back to New York that I will not give in to temptation.

If you ever have the opportunity to hear The Voodoo Orchestra, La Onda Caribeña, the Crescent Super Band, or any group lead by Caleb Chapman, do not hesitate to do so. Do not walk, but run to the box office and get your tickets before they sell out. It is truly the experience of a lifetime.

by Jeffrey Williams for New York Concert Review; New York, NY

Shattered Glass Ensemble in Review

Rondo Music Society presents

Shattered Glass Ensemble

Elizabeth Woo, violin soloist

Zankel Hall, Carnegie Hall; New York, NY

May 7, 2013

Shattered Glass Ensemble at Carnegie Hall; photo credit: Brian Hatton

Shattered Glass, a sixteen member string orchestra sans conductor, is very much a product of the 21^st century -marketing themselves with a professionally produced website and all the elements of social media (Facebook, Twitter, YouTube, and Instagram). The players hail from all around the globe, but they all met and joined together while attending the Manhattan School of Music. In addition to having a wide mainstream repertoire, Shattered Glass has been active in crossover collaborations with pop and hip-hop artists. Mentored by the noted violinist, teacher, and composer Albert Markov, this group is poised to make its mark on the music world by reaching out to as wide an audience as possible.

Violinist Elizabeth Woo, artistic director of Shattered Glass and highly acclaimed artist in her own right, headlined a program featuring her as a soloist in works by Vivaldi, Sarasate, and Albert Markov. The program opened with the Concerto for Three Violins in F major, RV 551 of Vivaldi, with violin soloists Elizabeth Woo, Holly Jenkins, and Tina Bouey. The opening Allegro movement got off to a problematic start, with intermittent intonation issues and tentative playing. The question that arose was whether this was something borne of nerves or was it going to be an endemic problem throughout. The answer was forthcoming in the Andante, where the playing was solid, and the final Allegro, which proved that any jitters were gone. The playing was confident, with good ensemble balance and precise intonation. The second work, the Ricercar a 6 from The Musical Offering by J.S. Bach was composed on what amounted to a challenge by Frederick the Great. On May 7, 1747, Frederick gave Bach a theme with the task to improvise a three-part fugue on the spot. When Bach made short work of that, Frederick demanded a six-part fugue. Bach asked leave to write out the work and The Musical Offering was the end result. On the 266^th anniversary of this meeting, Shattered Glass played the Ricercar a 6 in an arrangement by young composer Qin Dang for twelve players (six violins, three violas, two cellos, and a double-bass). Her arrangement uses as inspiration Anton Webern’s Klangfarbenmelodie approach to the same work (though the latter included winds, brass, and harp). As violist Michael Davis said in his comments before playing, “making connections is the biggest challenge,” in the work. That challenge was successfully met – the interplay between the twelve musicians was excellent; at no time was any single player dominating over the others in what was a perfect rendering of the Klangfarbenmelodie style. To end the first half, Shattered Glass offered the String Symphony No. 7 in D minor, MWV N 7, a remarkably mature work composed by Felix Mendelssohn at the age of thirteen (!). For the first time, all sixteen players took to the stage. Bass player Max Jacob provided a moment of levity when he abruptly hustled off the stage only to return a moment later with a huge grin and his missing bow, much to the amusement of the audience. Now that all players were properly equipped, they launched into a spirited reading. The precision of attack in the opening Allegro and superb dynamic control, especially the pianissimos in the Andante, were striking. The playful, almost sinister colors of the Menuetto and finally the energetic Allegro molto contributed to a winning performance.

Sinfonietta Per Archi ( Sinfonietta No. 1 for Strings), composed in 1992 by Krzysztof Penderecki (b. 1933), opened the second half. This work alternates from the strident to the nostalgic throughout while making virtuosic demands in both solo and ensemble. Shattered Glass seems to possess a particular affinity for this work. The playing was exceptional from start to finish in what was the highlight of the concert to this listener. Special mention must be made of the soloists; violinist Elizabeth Woo, violist Celia Hatton, and cellist Grace Ho for their exceptional playing. After the thorny Penderecki, Pablo de Sarasate’s Spanish Dances – Playera, Zapateado, and Habanera, were a surefire way to lighten the mood. In an arrangement by Mr. Markov where the piano accompaniment was transcribed for strings, Elizabeth Woo took center stage in the soloist’s role. Ms. Woo has the requisite technique and gave these crowd-pleasing works a virtuosic performance. The large and enthusiastic audience roared its approval. As much as I detest histrionics and admire control, I found myself wishing for a bit less restraint from Ms. Woo. To close, Ms. Woo performed the world premiere of Rhapsody No. 6, “Korean”, written especially for her by her teacher Albert Markov (b.1933). Inspired by a visit to Gangwon Province in South Korea, this work uses traditional Korean folk melodies in an “East meets West” fashion. Ms. Woo was a shining star in this highly effective and charming work. The audience responded with a standing ovation for Ms. Woo, Mr. Markov, and the ensemble. This work will no doubt become a cornerstone in the music festival in Gangwon Province that the dynamic Ms. Woo founded and where Shattered Glass will also perform.

Shattered Glass is a promising ensemble. With a core of such talented and enthusiastic young players, the future should be bright. With the growing popularity of such groups with similar missions, such as Brooklyn Rider and Alarm Will Sound, there is every reason to believe that Shattered Glass will enjoy commercial and artistic success. I look forward to hearing them again in the future.

by Jeffrey Williams for New York Concert Review; New York, NY

Los Angeles Youth Orchestra in Review

Los Angeles Youth Orchestra

Russell Steinberg, artistic director and conductor

Stern Auditorium, Carnegie Hall; New York, NY

February 25th, 2013

Los Angeles Youth Orchestra

The Los Angeles Youth Orchestra arrived at Carnegie Hall and performed with great passion and dedication. They not only arrived at Carnegie, but as an organization and youth orchestra, they have truly “arrived’. The obvious reason for this event was to give these young players a remarkable opportunity to perform in New York, in one of the great halls of the world. But the other purpose was to show that this organization will be a permanent mainstay in their own community. Clearly, they will be just that.

The students’ training, which involves mentoring with members of major orchestras and rehearsing with professional musicians on a weekly basis, is paying off. The orchestra includes between 80 and 90 students ranging in age from 8-18, from both public and private schools. Although a good percentage of its students do not pursue music as a profession, all of the students’ lives are greatly enhanced through the classics and new music, and they learn life lessons through the program—including giving to and feeling a sense of community, the benefits of teamwork, plus knowledge of history and the arts. Some of their alumni, like violinist Niv Ashkenazi and flutist Elizabeth Erenberg, have decided to enter the music profession, and they joined current members for this Carnegie performance. Ashkenazi joined the orchestra originally as a teenager with the dream of becoming a concert violinist and studying at Juilliard with Itzhak Perlman, and he has fulfilled both those goals. Erenberg is now a successful flutist who recently received her master’s degree from The New England Conservatory, studying with Paula Robison.

Los Angeles Youth Orchestra

The program was dedicated to the memory of the orchestra’s late program director and viola coach, Eve Cohen. In addition, one of the premieres, “EveStar”, by Russell Steinberg, was composed in her honor. Cohen worked with Steinberg to help develop the future of the organization and also to convince violinists to make the relatively seamless switch to the richer, more velvety sound of the viola. The music appropriately concludes with the viola section sustaining a low G string note while violins shimmer and sparkle above–as if to say she has said goodbye but will always remain with the orchestra in spirit. The work is structured so that its sprightly middle section provides a welcome energetic contrast (kids like upbeat tempos)—as if to bask in the many happy memories Cohen provided. This section gives the work real variety, and therefore provides conductors with the opportunity to program a contrasting work that’s both dreamy and animated. No doubt, it is the kind of inspired, catchy piece that deserves many performances. The same can be said for Steinberg’s “Carnegie Overture”, which is naturally celebratory–containing freshly lyrical passages that invite warm feelings–but also pulsating with edgy syncopations and dissonance. The percussion section helps drive the work, which has a real sense of continuity and organic growth from beginning to end. The orchestra played both works with a sense of nostalgia and purpose, with focus and infectious energy. They were well-prepared, performing with rhythmical precision and tonal refinement.

Also on the program was music from Beethoven’s challenging eighth symphony and a welcome, playable William Ryden/ Stephen L. Rosenhaus arrangement of De Falla’s music: a combination of the Miller’s Dance from “The Three Cornered Hat” and the Ritual Fire Dance from “El Amor Brujo”. Steinberg exudes much joy in his conducting, and the players respond with affection and exuberance in return. His interpretations of the Beethoven and De Falla were first rate. I cannot mention everyone here, but the horn and percussion sections were particularly excellent throughout the program, with special kudos to the solo clarinet and solo bassoon players.

Carnegie Hall was packed with a nearly full house, and there was excitement in the air. The Los Angeles Youth Orchestra staff, board and generous supporters are making this orchestra a vital part of the Los Angeles community, and it was wonderful for them and the New York audience that they made such an auspicious Carnegie Hall debut. Russell Steinberg has greatly helped with building this orchestra into an invaluable treasure; a shining and everlasting star.

by Anthony Aibel for New York Concert Review; New York, NY

The Sounds of War and Peace (DCINY): Chapter 2- The Music of Karl Jenkins

Distinguished Concerts International New York (DCINY)

The Sounds of War and Peace: Chapter 2- The Music of Karl Jenkins

Distinguished Concerts Orchestra, Distinguished Concerts Singers International

Jonathan Griffith, Music Director; Karl Jenkins, Composer-in-Residence.

Stern Auditorium, Carnegie Hall; New York, NY

January 21, 2013

“The Sounds of War and Peace: Chapter 2”

“The Sounds of War and Peace,” a two-evening event begun January 20th, continued on January 21st with Chapter 2 – The music of Karl Jenkins. The United States premiere (and second performance worldwide) of Songs of the Earth was programmed with The Armed Man: A Mass for Peace and its accompanying film (also entitled The Armed Man), and it had the promise of being a fascinating evening.

The Armed Man: A Mass for Peace is probably the most frequently performed work by Karl Jenkins; in fact, it might be one of the most frequently performed works of any contemporary classical composer. Since its premiere in April 2000, The Armed Man has been performed worldwide well over 1000 times – an average of twice a week. Although I have heard this work on recording countless times and know it well, a live performance of The Armed Man is an experience that never ceases to move me.

The Armed Man is a thirteen-movement work for orchestra, chorus and vocal soloists. Using the 15^th century French song L’homme Armé as a starting point, the theme is that the armed man must be feared – an idea that is still with us in the 21st century. Using sections of the Latin Mass, the Bible, The Mahabharata, and words from Kipling, Dryden, Tennyson, Mallory, Swift, Togi Sankichi, and Guy Wilson, this hour-long work is a journey through the preparations for battle, prayers for deliverance, the call to arms, the horrors of the battle, and its aftermath, with the final declaration that “peace is better than always war”.

The accompanying film I have always had mixed feelings about. It was premiered in its current form in Johannesburg, South Africa in September 2007. The images are powerful and often disturbing, as I am sure was the intent, to highlight the horrors of war. Quoting Jenkins, the film “greatly enhances the musical performances and inevitably leaves the audience emotionally drained, often in tears.” I understand Jenkins’ viewpoint, but I also believe the music is powerful enough to stand on its own without any imagery.

Conductor Jonathan Griffith knows this work well and his mastery was immediately obvious. His steady leadership kept everything under control, even deftly tackling a small ensemble problem in the “Better is Peace” movement that could have turned into a disaster. He brought it back on-track almost instantly. The Distinguished Concerts Orchestra played, especially the percussion section, with the fire this work demands. The chorus was well-prepared and a worthy collaborator to the orchestra. It was notable that the sopranos did not crash on the jagged rocks of “Charge!” in which the high A’s have claimed countless victims. Highlights included the cello solo in the Benedictus, and Iman Shamsi Ali in his off-stage Adhaan. The four vocal soloists were all impressive in their roles, limited though they were. My one disappointment was the surprisingly timid brass in the “Charge!” This was a time for them to really come to the fore and it just did not happen. All-in-all, it was a inspired performance that was held the listener from the opening snare drum marching cadence, to the chorus singing the healing words of Revelation 21:4, to end the work.

The Vocal Ensemble Brevis, an all-female choir from Croatia took to the stage to open the second half. Led by Antoaneta Radocaj-Jakovic, they presented works from the Croatian composers Josip Hatze (1879-1959) and Slavko Zlatić (1910-1961). Hatze’s Ljuven Sanak (Sweet Dreams) was especially soothing after the emotionally demanding first half of the concert. Zlatić’s Varijacije na nardonu temu (Variations on a Folk Theme) was an interesting work that deserves to better known. It was disappointing that the program notes omitted any information about the composers, the pieces, or the ensemble. This excellent assemblage deserved its proper recognition. As a way to bridge the two large Jenkins works, the ensemble ended with his Adiemus, which they performed with great energy and polish.

While the orchestra and chorus members returned to the stage, Griffith invited Karl Jenkins to the stage to have an impromptu discussion about his new work, Songs of the Earth. Jenkins told the audience that the work came from a commission from the Cultural Olympics. He decided to use the idea of Greek mythology as the basis for the work. Jenkins’ “invented language”, first used in the Adiemus project, was the text for Songs of the Earth. Jenkins explained this gives the composer great flexibility in tone and rhythm in the vocal writing. The six movements were selected because Jenkins found them “musically stimulating” as opposed to following any defined story lines.

Songs of the Earth is an interesting combination of the early Jenkins (Adiemus and the jazz influences from his Soft Machine days) with the larger works, such as The Armed Man, Stabat Mater, and The Peacemakers. The opening movement,” Khaos”, is aptly titled. An improvised saxophone solo plays over the pulsating rhythms of the orchestra and the chorus. It has a primordial quality suggesting the birth of the unformed universe. The second movement, “Gaia: Mother Earth” has the chorus chanting her name over and over in a worshipful manner or ritualistic adoration. “Ouranos and the Heavens”, the third movement, has an ethereal quality, with a singing violin solo and another improvised saxophone solo. The fourth movement, “Dance of the Titans”, with its ever changing meter (one bar 7/8, the next bar 3/4, then the pattern repeats), has a quirky feeling that at times boarders on the grotesque. “Tethys, Goddess of Fountains and Stream”, the fifth movement, has a flowing, water-like feel that the title suggests and features another extended saxophone solo. The final movement, “The Pit of Tartarus” has a relentless driving energy that is strongly akin to the Paradisi Gloria from Jenkins’ own Stabat Mater.

Mr. Jenkins should be pleased at the fine performance of his new work which made it a great success. Congratulations are in order for the chorus from Pennsburry, Pennsylvania (consisting of the High School Concert and Women’s Concert choirs with the Community Chorus), the Distinguished Concerts Orchestra, and conductor Griffith, who combined their considerable talents to make it all come together. Songs of the Earth should take its place with other of Mr. Jenkins’ popular works, and I’m sure his many fans will be looking forward to future performances.

by Jeffrey Williams for New York Concert Review; New York, NY

The Sounds of War and Peace (DCINY): Chapter 1 in Review

Distinguished Concerts International New York (DCINY)

The Sounds of War and Peace: Chapter 1

Distinguished Concerts Orchestra, Distinguished Concerts Singers International

Francisco J. Núñez, composer/conductor; Jonathan Willcocks, composer/conductor

Stern Auditorium, Carnegie Hall; New York, NY

January 20, 2013

The Sounds of War and Peace: Chapter 1

Distinguished Concerts International New York (DCINY), well-known for themed programs, created a concert series called “The Sounds of War and Peace”. Over two nights, each “chapter” focuses on music that expresses not only the horrors of war and its aftermath, but also the idea of peace through the idea of multi-cultural understanding and cooperation. On January 20, 2013, Chapter 1 was performed- the first half “peace”, and after intermission, “war”.

The first half, featuring elementary and middle school-aged performers from Georgia, Connecticut, Texas, Pennsylvania, and Maryland was conducted by the multi-talented Francisco J. Núñez. Billed in the program as “Music for Future Peacemakers”, it was a selection of works that could be best described as having the qualities of child-like innocence, rather than having any more overt “peace “message. It was more William Blake than Mohandas Gandhi. Opening with Kayama from Adiemus: Songs of Sanctuary by Karl Jenkins, the night got off to a good start. One of Jenkins’ earlier works, it already incorporates many elements of what could be called his signature sound – an easily sung melody combined with the flavor of diverse multi-cultural influences, especially in percussion and rhythm. The “words” of this piece are invented and are not part of any recognizable language, lending it what the program notes described as a “tribal” sound. It was given a joyful performance. Dôme épais, better known as the “Flower duet”, from Leo Delibes’ Lakmé followed. The soprano and mezzo-soprano soloists (whose names were not mentioned) sang this favorite with polish in an arrangement by Núñez. The chorus was challenged by the some of the upper register sections, not at all surprising considering the age of the performers. It did seem to be a curious selection that did not really fit in with the other works or the theme of the concert itself. Three Dominican Folk Songs, as arranged by Núñez, captured the essence of nursery songs. From the playful, to the poignant, and even to the mocking, the young performers brought it all to life. After this whimsy, a more serious selection was in order, and selections from Misa Pequeña Para Niños (A Children’s Mass) fulfilled this. Composed by Núñez in memory of his father, it is a fitting tribute written by a composer who has a great understanding of the limitations and possibilities of the child’s voice. The three selected movements were rendered with great feeling and in conjunction with the “big sound” of the orchestra elicited from the young performers a collective sound beyond their years. The remaining selections brought back the spirit of joy and hope. The polyrhythmic clapping in Aaron Siegel’s The Light Come Down was a highlight of the evening and brought the crowd’s roaring approval. Sesere Eeye, complete with hands waving, jumps, and leaning forward, was the signal that the fun was back, which continued in Oye by Jim Papoulis. Even Núñez got into the act, dancing at the podium while the singers spun around in their own dance, reminiscent of Gustavo Dudamel with the Simón Bolívar Youth Orchestra. Ending with the anthem-like Give Us Hope from Papoulis, the hearts of the audience were won over completely. It was truly touching to see the smiles and excitement on the faces of the young performers – a memory that will be with them always.

The adults took to the stage for the “war” second half- the Carnegie Hall premier of A Great and Glorious Victory, conducted by the work’s composer Jonathan Willcocks. This work was commissioned to mark the bicentenary of the Battle of Trafalgar. Scored for tenor soloist, chorus and orchestra mirroring Haydn in his Nelson Mass, the four movements use words from the Latin Requiem Mass, the Book of Common Prayer, and contemporary accounts of the events, including Nelson’s.

This four- movement work not only commemorates the well-known battle and it’s most famous personality, Admiral Nelson, but a much lesser-known event that occurred after the battle. A terrible storm after the battle had finished threatened all the combatants and in the spirit of cooperation and brotherhood, they put their differences aside and aided the others regardless of nationality.

The first movement, Preparation, is a solemn prelude to the coming battle. One can feel the rising tensions as there are prayers for strength and hope of victory. The second, Conflict, has the chorus singing the Dies Irae while the tenor soloist is singing the words of Nelson at the same time. It was an inspired idea that highlighted the idea of battle. Eventually, the battle slows and the Lacrymosa quietly ends the movement. Storm, the third movement, featured the tenor soloist singing off-stage (in this case, in the balcony) from the Book of Common Prayer asking for deliverance from the terrible storm. Finally, the last movement, Reconciliation, highlights the ideal of a new peace, where the former enemies cast aside their differences. It ends with the tenor soloist singing off-stage while his voice fades to silence. The composer refers to this movement as the heart of the work.

Willcocks proved to be an effective and engaging conductor, while tenor soloist Daniel Shirley’s voice soared over the large forces with strength and clarity. The DCINY orchestra played with intensity and brought out both the savage and the sublime. The large chorus was well prepared and sang with great fervor and passion. A Great and Glorious Victory wasn’t composed with DCINY in mind, but it is a work they could make their own. It was a memorable performance.

by Jeffrey Williams for New York Concert Review; New York, NY

Duo Sirocco in Review

Duo Sirocco in Review

Nathalie Houtman, recorders and xiao (chinese flute)

Raphaël Collignon, harpsichord

Pro Musicis

Weill Recital Hall at Carnegie Hall

February 16, 2011

Duo Sirocco

What a wonderful and informative evening! More than just a concert of music for recorder and harpsichord, it was a virtuoso display by two masters of their instruments, combined with a most enlightening history lesson. Yet there was nothing pedantic about this evening’s presentation entitled “A Baroque Concert in the Chinese Emperor’s Palace.” From the opening “Air Chinois” to the closing sonata by Arcangelo Corelli, the concert flowed along so gracefully and pleasantly that it almost seemed to be choreographed.

Who knew that “the musician, missionary and priest Teodorico Pedrini (1671-1746) was sent to Beijing in 1701 by the Pope at the behest of the Emperor of China, who had expressed a wish to have a European artist in his service?” (The preceding was a quote from the fine program notes written by members of the Duo Sirocco and Dr. Richard E. Rodda.) Who knew that one of the first serious western studies of non-western music was written by the French Jesuit missionary Joseph-Marie Amiot (1781-1793) who arrived in Beijing in 1751?

The program, described in the notes as an attempt “to reproduce a concert that would have been given at the palace of Emperor Qian Long (1735-1794),” began with “Air Chinois,” Amiot’s transcription of a Chinese melody, plaintively performed on the Xiao (Chinese flute) by Nathalie Houtman. Ms. Houtman, who began playing from the rear of the hall, walked towards the stage down the right aisle. The non-western aspect of the unaccompanied melody was reinforced by an expressive upward-sighing-figure at the end of each phrase. Meanwhile, Mr. Collignon was quietly walking down the left aisle and then up onto the stage. With perfectly rehearsed timing, he sat down at the harpsichord and joined Ms. Houtman for the conclusion of the Amiot.

The “western-music” part of the concert began with the Sonata for Recorder and Harpsichord, Opus 3 No. 6 by the aforementioned Teodorico Pedrini. (We were to hear two more of these sonatas later in the program, all part of the composer’s Opus 3, his only surviving works.) Although these works are of minor musical merit, they were beautifully performed with an impeccable sense of ensemble and great ornamentation. As they were of great historical interest, I am very glad to have heard them in this context. More interesting musically was the next work, a sonata by the French composer and flute virtuoso Michel Blavet (1700-1768).

Although they were brilliantly performed, the works by Pedrini and Blavet paled next to the music of Jean-Philippe Rameau and Archangelo Corelli. For this listener, the musical high points of the concert were the three harpsichord works by Rameau. I marveled at the harmonic vocabulary of “La Dauphine” and was thrilled by the weird chord progression in “L’Enharmonique,” made even more expressive by Mr. Collignon’s subtle use of rubato. The repeated notes imitating the sound of chickens in “La Poule” were made even more interesting by the way Mr. Collignon varied the articulation. This was great technical skill in the service of great music.

It should be noted that none of the five works which appeared on the printed program as “Sonata for Recorder and Harpsichord” were originally written for these instruments. As stated in the program notes, the three Pedrine sonatas were written for violin and bassoon continuo (bass instrument and harpsichord improvising the stipulated chords), the Blavet for transverse flute and basso continuo, the Corelli for violin and basso continuo. In the baroque, the bass instrument which doubled the lowest note of the harpsichord was often omitted, and other treble instruments could perform the parts originally written for violin or flute. The virtuosic high point of the evening took place during Ms. Houtman’s performance of the Corelli violin sonata, the concert’s final work. What is idiomatic on a violin would seem to be almost impossible on the recorder. After I heard the fast arpeggio “string crossings” in the first movement, in my notes I wrote “Wow!” After the second movement I wrote “faster?”, and after the third I marveled “even faster!!” What fleet fingers, what quick tonguing, what thrilling playing!

After a rousing round of applause, Mr. Collignon ambled onto the stage strumming a tiny Renaissance guitar. Mr. Houtman followed, and together they brought the concert to a delightful conclusion with a rollicking performance of an arrangement of the Tambourin from Rameau’s “Pièces de clavecin, 1731.”

by Harry Saltzman for New York Concert Review; New York, NY

Concert for Peace – Celebrating the Spirit of Martin Luther King, Jr. (DCINY)

Concert for Peace – Celebrating the Spirit of Martin Luther King, Jr.

Distinguished Concerts International New York in Review (DCINY)

Carnegie Hall, New York, NY

January 17, 2011

Distinguished Concerts International New York, or DCINY, as the group calls itself, rounds up choruses from around the world, brings them to New York and presents them in concerts mostly composed of recently written but highly accessible music. The concert on January 17 was dedicated entirely to the music of DCNY’s composer-in-residence, Karl Jenkins. Originally from Wales, Mr. Jenkins is, according to his website, the most frequently performed living composer in the world. His style is tonal and presents a fusion of classical, ethnic, and popular music. The music often sounds like the best of movie music; indeed Mr. Jenkins has achieved great success as a composer of both television commercials and film scores. Although his music is sometimes too repetitious for my taste, it is often rousing and at times quite beautiful.

The two works presented on this concert were Mr. Jenkins’ “Gloria” and “Stabat Mater.” The first piece was a U.S. premiere. The major part of its text was taken from the Gloria of the Latin Mass. Interspersed were readings from other religions: the Bhagavad Gita, (Hindu), the Diamond Sutra, (Buddhism), the Tao Te Ching (Taoism), and the Qur’an (Islam). The choruses were the Kings Chorale from Canada, the Laramie County Community College Choir from Wyoming, the Methodist College Chapel Choir from Ireland, the Ottawa University Concert Choir, and the Sno-King Community Chorale from Washington. Charlotte Daw Paulsen was the mezzo-soprano soloist and DCNY’s Artistic Director, Jonathan Griffith conducted. The orchestra was drawn from local players. The choruses sang with assurance and beauty of tone, although from where I was sitting they were at times not as loud as might have been wished. Ms. Paulsen has a lovely voice but was similarly under-powered. The exemplary conducting of Jonathan Griffith cannot be faulted.

The second half of the program, almost twice as long as the first half, was a performance of Mr. Jenkins’ “Stabat Mater,” written in 2008. This work employs ancient instruments and modes from the Middle East alongside the standard Western harmonies and instrumentation. As he did in the first half’s “Gloria,” Mr. Jenkins interpolated six movements in other languages which strikingly contrasted with the Latin of the standard “Stabat Mater” text. One of these movements, “And the Mother did weep” was, for me, the high point of the concert. This lovely, haunting piece for chorus and orchestra was full of surprising and enchanting twists and turns of melody and harmony. I hope I have the chance to hear it again. In other interpolated movements, there is also a part for “ethnic vocals,” performed by Belinda Sykes, who also played the Mey, a Middle Eastern double reed instrument. The choruses for the second half of the program were the Kirk Choir of Pasadena Presbyterian Church, from California, the Mendelssohn Choir of Connecticut, the Fairfield University Chamber Singers, the Saddleworth Musical Society from England, the Sine Nomine Singers of North Carolina, the University of Johannesburg Choir from South Africa, and the West Windsor-Plainsboro High School South Chorus from New Jersey. These groups, all well-prepared, were capable of more power than the forces on the first half, although their intonation wavered a bit during the a cappella “Fac ut portem Christi mortem.” The concert ended with a grand climax, as the choruses from the first half joined in from the balcony. The audience leapt to its feet and there was thunderous applause.

by Barrett Cobb for New York Concert Review; New York, NY

Orchestra of St. Luke’s in Review

Christian Tetzlaff, Violinist and Leader

Carnegie Hall; New York, NY

October 28, 2010

Christian Tetzlaff

Christian Tetzlaff is a brilliant violinist with a scholarly mind and a passionate heart. His repertoire ranges from the baroque to the present, and he is equally at home in recitals, concertos and chamber music. In this concert, he demonstrated yet another facet of his versatility: as leader of an orchestra, both as concertmaster and soloist.

In the latter capacity, he presented Mozart’s Violin Concerto No. 3 in G major K.216 (1775), and the Carnegie Hall premiere of Sibelius’ Suite for Violin and Strings, Op. 11 (1929). Standing in the middle of the orchestra facing the audience and playing from the score (which he certainly did not need), he did not really conduct, for, to these infinitely adaptable, protean players, following him seemed second nature. In the Mozart, he joined the first violins in the tuttis; playing with his usual clarity, charm, and expressiveness, his tone was pristinely beautiful throughout. He reserved his virtuosity for his own cadenzas, though his facility tempted him to adopt record-breaking tempos. The three Sibelius pieces are pleasant miniatures with bucolic titles: “Country Scenery,” “Evening in Spring,” and “In the Summer.” The first two are calm and pastoral, but the third is a Perpetuum mobile, played here at a speed beyond human ears. (Why should the summer be in such a hurry?) The only cavil about Tetzlaff’s performances was visual, not musical: his playing is so natural and effortless that it is a pleasure to watch, but his knee-bends, dips and gyrations are enough to induce sea-sickness.

For the rest of the program, he sat in the first chair, which limited his mobility somewhat but not entirely, and since the members of this orchestra also like to indulge in a good deal of physical activity, the stage looked like a sea of swaying bodies.

Schoenberg’s “Verklärte Nacht” Op. 4, written for string sextet in 1899 and orchestrated in 1943, was inspired by a poem by Richard Dehmel. It depicts a man and a woman walking through a moonlit forest, her anguished confession that, yearning for motherhood, she conceived another’s child before she met him, and his understanding, reassuring response. Schoenberg captured the glittering moonlight, the dark, despairing beginning and the radiant, hopeful end, as well as the intense, fraught human emotions, with shimmering, surging, super-romantic music. Its lush sonorities are well served by the orchestral version, but its contrapuntal complexity is clearer in the sextet. Moreover, in the chamber version all parts are equal, while the orchestra’s violas and cellos have to be split in half, tilting the balance in favor of the violins, which are naturally divided into two sections.

Tetzlaff led a luxurious-sounding, emotionally concentrated performance, keeping things together with some big gestures and a bit of discreet time-beating. Haydn’s Symphony No. 80 in D minor(1784) was distinguished by the expressiveness of the Adagio, the grace of the Menuetto, and the hectic tempo of the Finale, which brought the house down.

by Edith Eisler for New York Concert Review; New York, NY

András Schiff & The Kalichstein-Laredo-Robinson Trio in Review

András Schiff, piano

Carnegie Hall; New York, NY

October 26, 2010

The Kalichstein-Laredo-Robinson Trio

Joseph Kalichstein, piano, Jaimie Laredo, violin, Sharon Robinson, cello

Michael Tree, viola, Anthony McGill, clarinet

Kaufman Auditorium, 92^nd Street Y

October 28, 2010

András Schiff

The 200^th birthdays of Robert Schumann and Fredéric Chopin are being celebrated this year in performances all over the world.

Two memorable Schumann programs were presented here recently. Pianist András Schiff likes to concentrate on a single composer and has frequently offered total immersions in the music of Bach, Beethoven, Schubert and others. So it was natural for him to devote his recent recital to four major compositions by Schumann, all sets of shorter pieces, the genre in which he excelled.

The program opened with the latest of the four works: “Waldszenen” (Forest Scenes) Op. 82 (1848-49). These nine character sketches, bearing poetic titles such as “Lonely Flowers,” “Friendly Landscape,” “Accursed Place,” fairly breathe the air of an enchanted forest; the most famous one is “Prophet Bird,” whose light, tonally ambiguous downward arpeggios really suggest a bird in flight. Schiff underlined the delicacy, pastel shades and changing moods of these elusive pieces; as always, his tone was uniquely beautiful and his control of dynamics (mostly subdued) and color were remarkable.

In another intimate, introspective set, “Kinderszenen” (Scenes from Childhood) Op. 15 (1838), Schumann depicts the activities and emotions of children – probably observed in his own family – with remarkable empathy. “Träumerei” (Dreaming) has become so popular that it has been subjected to innumerable transcriptions, many unfortunately ill-suited to its innocent simplicity.

The program’s other two works, “Davidsbündlertänze” Op. 6 (1837) and “Symphonic Etudes” Op. 13 (1834-37, rev. 1852), are more substantial in scope and content. Both invoke creatures of Schumann’s imagination, notably his alter egos, the introspective Eusebius and the fiery Florestan. In addition, there is the League of David, who, like their Biblical models, are united in their fight against the (musical) Philistines. Schiff brought out the character of the different dances in the “Davidsbündler” (where, contrary to his usual custom, he did not observe the repeats and omitted two numbers), and all the mercurial moods of the “Etudes,” from the dark somberness of the Theme to the ebullience of the Finale.

Never one to stint on encores, he rewarded the audience’s enthusiasm with the entire “Papillions” (with repeats) and the Finale of the C-major Fantasie.

Chamber Music at the Y, founded and directed by Jaimie Laredo, violinist of the KLR Trio, its resident artists, is devoting this entire season to Schumann, but combining his works with those of his friends and contemporaries. At the first concert, the guest composer was Brahms, whose Trio for clarinet, cello and piano was flanked by three works by Schumann. The Trio’s guest artists were Michael Tree, violist of the now unfortunately retired Guarneri Quartet, and Anthony McGill, the spectacular new principal clarinetist of the Metropolitan Opera Orchestra.

Kalichstein-Laredo-Robinson Trio

The concert was a most auspicious opening of the Y’s season. Kalichstein, who played every piece on the program, was, as always, a superb partner; he adjusted his style and beautiful, singing tone to each instrumental (and personal) combination in close rapport, and, despite the open piano, was never too loud. In the “Fantasy Pieces” Op. 73 for clarinet and piano (1849), McGill brought out the widely different character of the three pieces, displaying an extraordinary variety of color and nuance; his musical projection was so strong and genuine that his excessive body-language was an unnecessary distraction.

By contrast, Tree’s playing of the “Fairy Tale Pictures” Op. 113 (1851) was a model of dignity and inward expressiveness. These four pieces are less idiomatic to the instrument than the Fantasy Pieces; the viola’s low register and relatively subdued sound are easily overpowered by the heavy piano part, especially in the two middle pieces, no matter how careful and discreet the pianist tries to be. Tree and Kalichstein achieved an unusually good balance, but the two slow corner pieces still came off best: the first, with its closely interwoven voices, was an intimate conversation; the last was a deeply moving, pensive, resigned song of farewell. After over 30 years of partnering string players, Kalichstein’s ability to match the viola sound was uncanny.

We owe the Brahms Clarinet Trio Op.114 (1891) to the great clarinetist Richard Mühlfeld. Brahms, though not yet 60 years old, had decided to stop composing in 1890, but when he met Mühlfeld a year later, he was so impressed with his artistry that he was inspired to write four works for him: a trio, a quintet, and two sonatas. All are suffused with an autumnal, nostalgic mellowness, as if the setting sun were casting its last golden glow over the landscape. In these mature masterpieces, Brahms was at the peak of his compositional mastery; the Trio is a perfect blend of almost soloistic rhetoric and close ensemble. The performance was beautiful, austere but warm, unanimous and deeply felt; the three players projected their love of the music and their pleasure in one another’s company from first note to last.

The program closed with Schumann’s Piano Quartet Op. 47 (1842). At 32, Schumann, in his own words, was also “at the height of his powers.” Indeed, the Quartet’s concision, its combination of structural discipline and poetic romanticism, give it an air of sanguine self-confidence that makes it special among Schumann’s works. Every instrument gets its share of solo passages; the players reveled in the luscious melodies without becoming sentimental, and in the brilliant passages without upstaging one another. The concert was a total joy.

by Edith Eisler for New York Concert Review; New York, NY