Distinguished Concerts International New York (DCINY) presents Sounds of the Season: The Music of Mark Hayes and Pepper Choplin in Review

Distinguished Concerts International New York (DCINY) presents Sounds of the Season: The Music of Mark Hayes and Pepper Choplin in Review

Pepper Choplin, composer/conductor: Mark Hayes, composer/conductor; Todd Arant, Heather Choplin, narrators
Distinguished Concerts Orchestra; Distinguished Concerts Singers International
Stern Auditorium at Carnegie Hall, New York, NY
December 2, 2019

 

Distinguished Concerts International New York (DCINY) concluded its 2019 concert season on December 2nd with a concert entitled Sounds of the Season: The Music of Mark Hayes and Pepper Choplin. It featured original works by Mr. Hayes and Mr. Choplin, along with arrangements of holiday favorites. Singers (the program listed 537!) from Arizona, Arkansas, California, Florida, Idaho, Illinois, Indiana, Kansas, Maryland, Mississippi, New Hampshire, North Carolina, Ohio, South Carolina, Virginia, Austria, Canada, and the United Kingdom were present to fill the hall with holiday cheer. Thanks to DCINY for making the program available for viewing on-line: Sounds of the Season: The Music of Mark Hayes and Pepper Choplin.

Pepper Choplin took to the stage to conduct his work Heaven’s Child. Mr. Choplin is a DCINY favorite (this is his 8th appearance with DCINY). His ebullience is always front-and-center, inspiring those under his direction to reflect his boundless energy. His fans are legion – he knows just what they love, and he never fails to delight them. 

The Holiday Music of Mark Hayes and Pepper Choplin. Photo Credit: Dan Wright Photography/DCINY Productions

 

Heaven’s Child is a ten-movement, forty-minute work. Quoting Mr. Choplin, “Heaven’s Child is a poetic telling of Divinity come to earth. The language of the music and narration is not meant to be literal, but serves to open our imagination to discover the Christmas truth.” 

Heaven’s Child is quintessential Choplin, full of unfailing optimism, beautiful soaring melodies, abundant climaxes, and avoidance of anything harmonically jarring beyond passing tones.  The music is peppered (no pun intended) with quotes from standards (Adeste Fildeles, Angels We Have Heard on High, We Three Kings, Hark! The Herald Angels Sing) throughout.

Narrators Heather Choplin and Todd Arant were excellent in their role. They projected well, even with the large forces sometimes making it a challenge to hear them. The story they told was compelling and unapologetically “religious,” which I did admire, but I did find that referring to God as “the master composer” was a bit much.  Special mention for soloists Teri Modelevsky, Stephanie de Jong, Jessica Isaacs, and Colton Ranguette; you all were stars tonight. The orchestra and chorus wrung every last drop of euphoria in a performance that was truly inspiring to witness.

 

This type of music presents a challenge to the reviewer as how to comment. The lack of tension (harmonically and otherwise) can seem trite very quickly, yet it is that very quality that this style of composition invites. One could argue (and rightfully so) that you do not compare Praise Music with standard concert hall works.  Of all the ten movements, Newborn Cry was this listener’s favorite, for the reason of differentiation from the other movements in matters of tone and mode. Perhaps I’ll leave the last word to an audience member seated near me, who was heard to say, “It’s so beautiful! I could listen to this music all night long!” Her enthusiasm was shared by most in the hall, who leapt to their feet in a loud ovation.

Mark Hayes took the podium for the concert’s second half to conduct his Magnificat and Sounds of the Season, along with his arrangements of six other works.  Mr. Hayes is also a DCINY favorite (this is his 7th appearance with DCINY). As I wrote of Mr. Hayes in an earlier review, “While Mr. Hayes is skilled in all aspects of composition, it is his undeniable gift for melodic writing that is his calling card.” That quality was much in evidence this evening.

His Magnificat, which takes its text from Luke 1:46-55, opened the half. Mr. Hayes alternates Latin with English, which he has often done in his works. His setting has rhythmic drive and some angular harmonic lines, yet also moments of serene beauty.  He tops it off with a quasi-baroque fugue at the ending, culminating in a final shout of Amen. It was a thrilling ten minutes. One cavil – the fugue was a challenge for the chorus that was not entirely met, though hardly a disaster. It is difficult with forces of this size to have the crispness of sound to avoid muddling the counterpoint.

Next up was Mr. Hayes’ other original composition, Sounds of the Season.  It’s a brief (about three -minute) work that takes inspiration from Carol of the Bells. The chorus shone brightly, with good projection, diction, and ensemble balance. Without break, Mr. Hayes launched the orchestra and chorus into a medley of It’s Beginning to Look Like Christmas and It’s the Most Wonderful Time of Year. Believe (from the movie The Polar Express) followed. Another extended medley followed, with Winter Wonderland of Snow (a pairing of Winter Wonderland and Let It Snow! Let it Snow! Let it Snow!), Sing We Now of Christmas, and Variations on Jingle Bells. This set can be simply described as a pure celebration of the season, delivered with ebullience. While each work was entertaining, it was the Variations on Jingle Bells that was a real showstopper. Mr. Hayes describes it as “a journey of multi-meter madness, a holiday waltz, a jazzy swing section, a Baroque detour complete with operatic diva and cadenza, and a splashy ending worthy of Barbra Streisand.” That all sounds a bit corny, but it was madcap fun that even an ultra-curmudgeonly Scrooge would have found irresistible. Soprano soloist Candice Helfand-Rogers brought the house down with her humor-filled “Diva,” but make no mistake, while the act was good fun, her voice is the real deal. The “Hollywood blockbuster” finish was the icing on the cake, and the audience roared in approval.  Congratulations to DCINY for a great night, and Happy Holidays to all!

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents Calling All Dawns in Review

Distinguished Concerts International New York (DCINY) presents Calling All Dawns in Review

Swiss Gospel Singers & Friends
Christer Løvold, Director, Piano
Jonathan Griffith, DCINY Artistic Director and Principal Conductor
Christopher Tin, Composer/Conductor
Distinguished Concerts Orchestra
Distinguished Concerts Singers International
Carnegie Hall, Stern Auditorium, New York, NY
June 9, 2019

 

Distinguished Concerts International New York (DCINY) curated another typically (over-)generous program of choral music, and most of it was very well done. If I were to re-title the afternoon, it would have to be something like “The Victory of Globalism.” The massed choirs were even more international than usual, with Germany, Hungary, Switzerland, France, and Trinidad & Tobago, as well as the domestic participants. All told, somewhere north of 500 singers participated.

Swiss Gospel Singers are three words one doesn’t anticipate seeing in succession, and never did I think I would be hearing and reviewing such a group. Nevertheless, the choir of about 100, composed of four separate choirs all directed by Christer Løvold, was well-trained and their ensemble was good. Four of the ten selections seemed to exemplify the best of what I expect when the word “gospel” is used, that is, a certain ecstatic worship fervor and a genuine sense of swing. Those four were: The Sweetest Song I Know, To My Father’s House, Kyrie, and Will The Circle Be Unbroken? However, the choir was often nearly drowned out (something that rarely happens at a DCINY event) by the amplified small jazzy instrumental ensemble that accompanied them. Well-done solos, both instrumental and vocal, were conveyed by some of these same players. The other selections made a somewhat anodyne impression.

After a reset to orchestra and massed chorus, Robert Ray’s Gospel Mass delivered on its promise of combining the Catholic Ordinary of the regular mass with the aforementioned ecstatic enthusiasms of true gospel. Hard to believe, but when this work was composed, just over 40 years ago, it was intended as an experiment, for one performance only! Its longevity is a testament to its quality. Jonathan Griffith helmed the group with his trademark excellence, bringing out every thrilling detail—no balance issues here. Vanessa Thomas was the super soloist.

After intermission, it was Christopher Tin’s turn to lead his massive, truly global song cycle Calling All Dawns, which gave its name to the entire concert. Mr. Tin is a two-time Grammy winner whose music has been performed in Carnegie Hall, Lincoln Center, and the Hollywood Bowl, among others. His song Baba Yetu, originally written for the video game Civilization IV, holds the distinction of being the first piece of music written for a video game ever to win a Grammy Award. Mr. Tin’s Calling All Dawns won him his second Grammy in 2011 for Best Classical Crossover. He also composed the opening song from the recent hit movie Crazy Rich Asians.

Calling All Dawns is so vast in scope and conception, it is hard to convey in words. Multiple languages are sung, and vocal soloists range from traditional “western” oratorio singers to Portuguese fadistas, Indian classical vocalists, and Maori chanters! The cycle is divided into three sections: Day, Night, and Dawn, each with prayers for the three stages of life: birth, death, and rebirth. Joy, mystery, and hardship, as Mr. Tin states in his excellent, brief note, all mirror the complicated nature of human beings. The work ends in triumph, however, after all the darker challenges, new life wins. “Life is always right/And I do not fear mine/Whatever comes, let it come” and “I do not fear life/Nor its counterpoint/Whatever comes, let it come” were very inspiring moments, as well as the line “Gather, gather and go forward!” A beautiful affirmation for a June day, indeed.

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by Frank Daykin  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) Presents Mass in Blue: The Music of Will Todd in Review

Distinguished Concerts International New York (DCINY) Presents Mass in Blue: The Music of Will Todd in Review

Will Todd, DCINY Composer-in-Residence and Pianist
Alicia Walker and James M. Meaders, Guest Conductors; Distinguished Concerts Singers International
Kristin M. Claiborne, Soprano; Craig Butterfield, Double Bass;
Cliff Leaman Saxophone; Chris Lee, Percussion
David Geffen Hall, Lincoln Center, New York, NY
Apr 7, 2019

 

An entire program at David Geffen Hall was devoted this weekend to the music of Will Todd (b. 1970), Composer-in-Residence for Distinguished Concerts International New York (DCINY). Featured were two large-scale works, Mass in Blue (constituting the first half, conducted by Alicia Walker) and Songs of Peace on the second half (conducted by James M. Meaders), followed by a shorter piece, No More Sorrow. Choruses came from all over (Connecticut, Florida, Kansas, Maine, Mississippi, Missouri, Rhode Island, South Carolina, Texas, and Virginia, as well as Canada and the UK), and Geffen Hall was abuzz with the excitement that DCINY always manages to create.

In case our readers are unfamiliar with Mr. Todd (as this reviewer was), he is a British composer and jazz pianist, best known for combining jazz and blues with traditional choral music. His jazz trio performs regularly and plays a large role in his Mass in Blue (2003), originally entitled Jazz Mass. The mass, commissioned by the Hertfordshire Chorus in the United Kingdom and premiered there in 2003, has since been performed over 200 times at venues including the Barbican, London, and Lincoln Center, NYC, as well as live on BBC Radio. Mr. Todd’s arrangements and compositions overall have been performed before dignitaries worldwide and in prominent venues across the globe. For more information, visit https://willtodd.co.uk

Some may call it bold – or even cheeky – to take the Latin text of the Mass, so reverently treated to noble settings by Bach, Mozart, Beethoven, Schubert, Fauré, Verdi, and others, and to set it chorally against the often insistent rhythms of a jazz trio of piano, percussion and double bass, with saxophone as well; anyone objecting to it, though, is around sixteen years late, as it appears that Mass in Blue has done quite well in terms of repeat performances and overall popularity.

Of course, the use of jazz in religious works is not new, and many artists (Duke Ellington, Mary Lou Williams, and others) have used the soulfulness or earthiness of some jazz styles to express personal faith quite naturally; the Todd Mass, though, sent a different message, and a mixed one, largely due to the juxtaposition of old Latin with his particular style of jazz. There were moments when the sacredness of the venerated texts seemed simply lost in the high gloss of the piano lounge, with all its commercial associations, and one felt a twinge of sadness, as if seeing a dear elder friend abandoned on a noisy, crowded street corner. This feeling would have not arisen had the familiar Latin texts been replaced by original personal ones in the composer’s native tongue, building bridges to a new sacred music through new words. Then again, this reviewer is sixteen years too late in commenting.

In terms of the performance itself, the DCINY rendition of Mass in Blue was a triumph. Conductor Alicia Walker, who works regularly with multiple choruses in South Carolina as well as through international programs, is a dynamo. She led the combined choruses through a performance of tremendous polish and spirit. It had to be a challenge to juggle chorus and jazz trio in terms of both tempo and balance, but she was more than up to it. The soprano soloist Kristin M. Claiborne was also superb, singing improvisatory jazz lines that reached the stratosphere. One reads in Ms. Claiborne’s biography that she, like Dr. Walker, has also led choral groups here and abroad and in fact worked with groups of the singers performing on this occasion. This was quite a team from Columbia, South Carolina, and with the rest of the DCINY singers, they made a formidable group.

Mr. Todd’s Mass in Blue consists of the six usual movements of a mass, the traditional Latin Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus Dei – though, again, there was nothing usual about the settings. The work opens with jazz piano, and here it was Will Todd himself at the keyboard, his opening blues improvisation punctuated with soft swishes of the cymbal by percussionist, Chris Lee. Mr. Todd is a highly skilled jazz pianist, for whom piano seems to be the center of inspiration, though he is known for numerous choral works and arrangements.

Soprano, Kristin Claiborne wove her solos beautifully into the first movement Kyrie, but it was probably the third movement, Credo, which showed her in full glory. For anyone unaccustomed to the idea of a mass with 12-bar-blues sequences and “funky riffs” (as described in the excellent notes by Ralph Woodward), the spirit of the performers certainly helped sell it. Thankfully the settings of “crucifixus” and “et sepultus est” reflected more sobriety than much of the rest of the piece, although they still felt somewhat facile. They normally would provide the depths against which the “et resurrexit” line rises, though the latter was still fittingly jubilant. Dr. Walker was masterful, not only corralling these massive forces to keep up with the trio’s highly energized flights, but also reining them in to give leeway to the occasionally freer solo and trio passages.

Percussionist Chris Lee was rock-steady throughout a marathon afternoon of playing with little break, but he also enjoyed the occasional featured moment, such as his somewhat freer “last hurrah” in the third movement Credo. Saxophonist Cliff Leaman shone as well, particularly in the fourth movement, Sanctus.

An opening pizzicato solo from excellent double bassist Craig Butterfield introduced the next movement Benedictus with an unforgettably smooth style. One half expected something along the lines of Van Morrison’s Moondance to break out, but then again, much of the afternoon involved filtering out similar associations of popular music (and classical text) from one’s preconceptions. With that approach there was much to enjoy, including more stunning high notes from Ms. Claiborne in the Agnus Dei. The audience was unable to obey the printed instructions not to applaud until the end of the piece and burst into ovations at the end of the Credo and subsequent movements. There was certainly much appeal here for the audience, and it grew with each added voice, meter change, crescendo, and upward modulation.

The second half by comparison was more subdued. The program notes by Will Todd on his Songs of Peace tell of his mother, who passed away in 2012, and of her importance in instilling “a lifelong interest in choral music and worship.” James M. Meaders was the conductor for this half and was excellent as ever.

The Songs of Peace included six movements: Requiem, Precious Moment (text by Todd), Just as I am (from the traditional hymn of that name), Ave verum, A Song of Peace (text by Todd), and the lovely, lyrical finale, Into the Stars, in which the treble piano parts seemed to twinkle like celestial imaginings. Along with Into the Stars, one of the highlights was Just as I am. As Mr. Todd writes, his mother loved the hymn, which “she always said she would like at her funeral, and indeed this arrangement in a solo piano version was what I played on that occasion. The voices feel like a natural addition.” Though the hymn version was not specified in the program, it was the Saffron Walden melody that Mr. Todd used (this reviewer’s preference too, among a confusing array of versions). It was sensitively arranged by Mr. Todd, with an a cappella opening, a florid jazz center, and touching return to the melody in the end. There was something so direct and immediate at work here that, even though it was a pre-existing hymn, it seemed as if one might be hearing the composer’s truest voice.

 

The concert ended with a performance of No More Sorrow, another touchingly beautiful song, which offered a much-needed respite from the ubiquitous percussion. (Let there be no mistake – the afternoon’s percussionist was absolutely terrific – but just as with any pervasive flavor or stimulus, one could not after a while fully absorb anything else.) No More Sorrow provided a perfect end to another successful DCINY concert, and the words served as a final good wish for all.

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by Rorianne Schrade  for New York Concert Review; New York, NY
Distinguished Concerts International (DCINY) presents Total Vocal with Deke Sharon in Review

Distinguished Concerts International (DCINY) presents Total Vocal with Deke Sharon in Review

Deke Sharon, Conductor, Arranger, and Creative Director
DCappella, Special Guests
Vintage Mix, Special Guests
Distinguished Concerts Singers International
Stern Auditorium at Carnegie Hall, New York, NY
March 24, 2019

 

Distinguished Concerts International New York (DCINY) held yet another large-scale concert on Sunday at Carnegie Hall with its production of Total Vocal with Deke Sharon, 5th Anniversary. For those unfamiliar with the name Deke Sharon, he is a leading force (arguably the leading force) behind the enormous resurgence of a cappella singing here in the US and around the world for the past few decades. As arranger and conductor, Deke Sharon was a producer of The Sing-Off, an a cappella singing competition that was on television from 2009-2014, and it spawned numerous similar enterprises. Perhaps the best-known a cappella film, Pitch Perfect (2012) was followed with sequels Pitch Perfect II in 2015 and Pitch Perfect III in 2017. There seems no sign of the craze letting up, and this 5th anniversary concert helped affirm that fact.

Featured on this concert were smashing a cappella arrangements nearly all made by Deke Sharon (and one original composition). Mr. Sharon has made over 2000 arrangements, and they are eminently appealing and singable. For full disclosure, much of the music popular with these largely teenaged performers is not generally my cup of tea – it generally leaves me craving a Bach Fugue or a Brahms Sextet; that said, very few people with a pulse could resist the sheer joy in music-making that these groups share. Guests joining the Distinguished Concert Singers International included the Disney ensemble DCappella, guests from The Sing-Off and Pitch Perfect films, and the singing quadruplet ensemble, Vintage Mix.

Once a few hundred mostly young singers had filed onto risers on the Stern Auditorium stage, their charismatic leader Deke Sharon launched the music with fun.Medley (no typo – that is the name) from the show The Sing-Off (credited to Jeff Bhasker, Andrew Dost, Jack Antonoff, and Nate Ruess). The three songs of the medley were Some Nights, Carry On, and We are Young. It was full of energy and fun, with eighteen soloists cranking up the excitement, but thanks to some overdone amplifying it was almost unbearably loud. Covering one’s ears tightly barely helped. One started worrying about how one would endure the next few hours, but the electrifying presence of Deke Sharon managed to sustain one’s hope.

Not to sound like a fangirl (happily married old gal here), but the tall, athletic Deke Sharon has one of the most magnetic stage personalities one has ever encountered. To say he exudes energy, rhythm, and joy is wholly inadequate – he is a phenomenon. He appears virtually airborne as he covers the entire stage in a few strides and conducts with a uniquely agile and exuberant dance, drawing ecstatic energy from his musicians. In his role as emcee he excels as well, and, as he greeted the audience after the first number, he took on the role of cruise director (complete with humorous references to old television shows Gilligan’s Island and The Love Boat). His travel-themed banter helped string together a program of some fairly disparate music.

Forget About the Boy (from the 2002 Thoroughly Modern Millie, music by Jeanine Tesori) took us back to flapper days with a jazz-age beat (and thankfully more listenable volume -perhaps because there were no guest artist microphone requirements?). The segue to a love song was a natural, and Beneath Your Beautiful (by Mike Posner from Pitch Slapped) fit the bill. With the chorus in the role of “string orchestra” the featured soloists Martel Jones, Aryanna Rent, John Yokoyama, and Chelsea Rifkin sang beautifully.

I’ll Make a Man Out of You (from Mulan – Matthew Wilder) featured guest artists Chamber Bravura (consisting of 35 vocalists) in a passionate and tightly knit performance. I Wanna Be Like You (by Robert Sherman and Richard Sherman) followed with special guest group DCappella (four men and three women) giving their all. Amps were all still overpoweringly loud, but one still enjoyed the spirit through cupped ears.

Bellas Opening (a medley by various artists from Pitch Perfect 2) included the catchy tune Timber and a quote from America the Beautiful. Soloists were Madeline Glave and Lilly Gaven, with Madeleine Lasker as the excellent vocal percussionist (often called beatbox). One of the fun aspects of a cappella singing, of course, is the range of vocal techniques used to substitute for traditional instruments – and these effects throughout the concert were amazing.

It’s A Man’s World (James Brown) featured the group Unstremental (around fifteen singers), reveling in melisma like the inimitable Brown himself. Travelin’ Band (John Fogerty) followed without any miked soloists, but with full choral forces in a spirited delivery of its rock and roll beat, it had the perfect sound. The audience joined in the infectious fun with clapping. A more pensive song, I Lived (Ryan Tedder), followed as a welcome breather in a lovely arrangement.

The afternoon’s only arrangement not by Deke Sharon was Connecticut (Hugh Martin and Ralph Blane, arr. Adam Bock) with special guests Vintage Mix, a group of quadruplets (yes, quadruplets!) who sang with a not-surprising familial blend and synchronization. The song itself, new to this listener, occupies a rather obscure niche, but it was a good vehicle for these sensational siblings (three sisters and a brother) who took the audience back to the days of close harmony singing (reminiscent of the barbershop quartets of the 1890’s, revived in the 1940’s). Deke Sharon (ever the teacher and leader) used the performance as a springboard to get the audience to try some part singing (with surprisingly decent results), before the first portion of the program concluded with the chorus singing the Earth, Wind & Fire hit, September (Maurice White) with Reed Rosenberg, vocal percussionist. At the risk of sounding curmudgeonly, I don’t share Mr. Sharon’s enthusiasm for this song, but it certainly did make for a high-voltage close.

To continue for just another moment in curmudgeonly mode, Carnegie Hall is a beautifully resonant hall that does not require the heavy amplification that was used, and in fact one of the beauties of a cappella singing is its focus on the music one can make with just the human body, though admittedly a soloist may need some amplification to be heard over a large chorus (and certainly the vocal percussionists do); that said, the decibel levels here were so painful that an older woman in my row actually (demonstratively) removed her hearing aids, while others repeatedly jolted and cringed. I was prodded to relay to some assistants milling about the stage at intermission that some in the audience were actually in pain. For the second half the issue was much improved – though whether that was because of modified settings or one’s newly encroaching deafness remains uncertain.

Grievances receded, in any case, as one watched the force of nature that is Deke Sharon bounding back to the stage, seemingly made out of music. He led the chorus in the relatively unknown Elton John song Club at the End of the Street (Bernie Taupin) and followed with the ever-popular Blue Skies (Irving Berlin) with Bekal Peterson and Madeline Ross, jazz soloists, scatting to beat the band. A mellower feel was setting in, and Blue Skies made a nice segue to the popular Soak Up the Sun (Sheryl Crow and Jeff Trott) with eighteen soloists and Filip Rusin as vocal percussionist, all excellent.

One of the big standouts of the evening was the ensemble Revv52 (around fifty singers from Canada), featured next in Moondance (Van Morrison). With beautiful intonation, smooth blending, and seductive rhythm, they revived this sometimes forgotten hit from the seventies.

Just when one thought the concert had reached a peak, we heard Quiet Moon, composed and sung by Deke Sharon himself – he has (not surprisingly) a beautiful voice! He was joined by Antonio Fernandez from DCappella, and both did impressive vocal percussion as well. Many in the audience gasped in admiration as Mr. Sharon alternated his gently crooning vocals with some of the best “mouth trumpet” one has ever heard. For those unfamiliar with this skill, it is the simulation, using one’s own mouth, of the sounds of trumpets – and Mr. Sharon did two kinds, in rapid alternation with vocal phrases. Nothing could quite top the latter, but Defying Gravity (Stephen Schwartz) from Wicked was excellent – lovelier than I had remembered it, undoubtedly due in part to the arrangement.

The superb Croatian ensemble, A.K.A. Crescendo, was welcomed next (a dozen or so musicians) to sing a medley of Jailhouse Rock/Levisice (Mike Stoller, Daniel Popovic, and Alka Vuica). They ought perhaps to be renamed “A.K.A. Accelerando” for the beautifully synchronized way they handed some ramping up of the tempo, but let it suffice to say that they were great, another polished and tightly knit group. The full chorus followed with As (by Stevie Wonder, 1976) as arranged for the Sing-Off winners, Committed.

Approaching the end of the program, the group DCappella returned to give a fittingly sentimental rendition of Remember Me from the 2017 movie Coco (music by Robert Lopez and Kristen Anderson-Lopez). It was even more heartrending than the original in this Deke Sharon arrangement. Finally, riding the wave of the 2018 movie Bohemian Rhapsody, the combined forces of DCappella, Vintage Mix, and Distinguished Concert Singers International gave a passionate rendition of Don’t Stop Me Now (Freddie Mercury). Singers streamed down the aisles stirring up audience members to join in the singing and clapping. An encore of The Lion Sleeps Tonight, complete with rhythmic “Wimbawet” sections, capped the concert off well.

Several audience members who appeared cranky, uncomfortable, and impatient at the concert’s start could be seen bobbing, swaying, and tapping hands and feet by the end. Many looked high on music. If the spirit of this concert resembled an evangelical event, in a way it was. Deke Sharon believes in the power of music to transform the world, and he shows how it is done, drawing people together through the love of it (even sharing his email for anyone in the audience who may not be able to find a chorus to join). When he says that music can transform people, it may sound like a platitude, but I wouldn’t doubt his sincerity for an instant. This concert itself gave ample evidence.

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by Rorianne Schrade  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) Presents Magnificat in Review

Distinguished Concerts International New York (DCINY) Presents Magnificat in Review

Distinguished Concerts Orchestra and Distinguished Concerts Singers International;
Jonathan Griffith, Artistic Director and Principal Conductor; Nancy Menk, Guest Conductor;
Claire Leyden, Soprano; Lindsey Anderson, Mezzo-Soprano; Jennifer Zetlan, Soprano
Stern Auditorium/Perelman Stage at Carnegie Hall, New York, NY
March 17, 2019

 

Distinguished Concerts International New York (DCINY) presented another large-scale concert this weekend, entitled Magnificat: Music in Celebration of International Women’s Day. The first half included works by Johannes Michael Haydn, Ralph Vaughan Williams, Johannes Brahms, Libby Larsen, Ola Gjeilo, and Zachary Moore, all for women’s choir and orchestra under the direction of Dr. Nancy Menk. The second half was entirely devoted to John Rutter’s Magnificat for mixed choir and orchestra, under the direction of DCINY Artistic Director Jonathan Griffith. As ever, it was an extravaganza, with several hundred voices from all over the world and audience members barely able to contain their excitement, applause, and cheers.

The Magnificat text was present not only in Rutter’s great piece by that name on the second half, but also in several works on the first half. For those unfamiliar with the term Magnificat, it traditionally refers to the musical setting of the Canticle [or Biblical hymn] of Mary, which contains the words that the Virgin Mary spoke (according to the Gospel of Saint Luke) right after the Annunciation (the announcement by the Angel Gabriel that she would soon be giving birth to Jesus Christ). Magnificat settings can also include words spoken to Mary at the Annunciation, and also those about her, along with related texts of the Gloria, Ave Maria (Hail Mary) and more, but in any case, a concert dedicated to the Magnificat centers upon Mary.

Magnificat was thus an appropriate name for a Women’s Day celebration and for a concert billed as a celebration of the 175th Anniversary of Saint Mary’s College in South Bend, Indiana (Saint Mary here also referring to the Virgin Mary). Two choirs from Saint Mary’s College, their college choir and alumnae choir, represented the school well under Dr. Menk, their Chair of Music, who led them through works in varied styles, including a work which the college commissioned from Libby Larsen 25 years ago, Canticle of Mary. Their combined forces, along with the rest of the Distinguished Concert Singers International, totaled around 260 choristers to share the stage with the Distinguished Concerts Orchestra.

The programming was brilliant, not monochromatic as one might expect with such unity of theme, and even the staunchest atheist would probably acknowledge the power of the music itself, along with its fascinating history. The concert opened with Johann Michael Haydn, the underappreciated younger brother of Franz Joseph Haydn, and his brief beautiful Magnificat served as a somewhat restrained classical greeting before the more involved works to come. It also provided an introduction to this half’s two soloists, soprano Claire Leyden and mezzo-soprano Lindsey Anderson, both excellent.

In complete contrast with the Haydn, the Vaughan Williams Magnificat followed, its mystical atmosphere intensified by shadowy chromaticism and sinuous flute lines. This setting is no heavenly harmony suggesting a serene Mary, but rather an eerie evocation of supernatural forces, its imaginative orchestration eliciting awe from the start. Mezzo Lindsey Anderson was the powerful soloist, singing with outstanding tonal control and a projection of the music’s mystery and grandeur. In what was skillful programming, the Ave Maria, Op. 12 of Brahms followed, relatively delicate in its orchestration, moving to simpler F major harmonies and a lighter pastoral spirit. The chorus sang it with reverent purity.

Dr. Menk conducted expertly throughout her portion of the program, but her skill was especially in evidence in the remaining works, including Libby Larsen’s Canticle of Mary, a canticle of unusual jubilation. Opening with an oboe solo, which in the composer’s words “represents the exuberance and free spirit” of Mary, the piece pulses with anticipation and joy. The choral singers gave their all, and soprano Claire Leyden sent her piercingly beautiful solo soaring from a balcony near the stage.

Ola Gjeilo’s Gloria followed with similar joy, here in a more folk-like vein and sung with gusto. If the theme of Mary was not overt in the final work, Always Keep This Close, by Zachary J. Moore (b.1992), the overall theme of women was certainly present, with text by Colleen Carhuff expressing the love of singing in a women’s choir. Starting out with nostalgic warmth, it built to a tremendous peak, closing with the repeated words “We are one.” The combined choruses were indeed one.

To cap off a brilliantly conceived concert, the second half featured the Magnificat of leading British choral composer, John Rutter (b. 1945). Larger in scope than the Magnificats heard earlier on the program (the longest of those being the twelve-minute Vaughan Williams piece), Rutter’s work spans forty minutes over the course of seven movements. It was interesting to compare how differently Rutter set some of the same text as other composers, for example, the line “the rich he hath sent empty away” which Vaughan Williams punctuated with dramatic rests, while Rutter chose to set it to gentle soothing harmonies. Clearly such a text has inexhaustible possibilities.

John Rutter is a master of his art, and the listener was held in his thrall from his Magnificat’s very first notes. Though Rutter has strangely been criticized for incorporating elements of lighter twentieth-century music (as if he is to remain in an aesthetic vacuum), his music is indisputably rooted in a British tradition that includes Benjamin Britten, David Willcocks, and others. His Magnificat reflects eclectic influences of the late twentieth century as well, but all in what seems to this listener to be a perfectly organic way.

In the first movement, Magnificat anima mea, there are shifts from the feeling of 3/4 to 6/8 via sharp accents, establishing an immediate energy, and these were projected with vigor by the performers. The mood was suitably contemplative in the movement Of a Rose, a lovely Rose, a movement hearkening back to works by Bach and other earlier composers, but the music regained the brassy power of the twentieth century in the third movement, Quia fecit mihi magna. Full mixed choruses produced a big sound, including fifteen choirs from California, Colorado, Indiana, Pennsylvania, South Carolina, Tennessee, and Virginia, as well as Australia, Canada, and the UK, and, as DCINY always lists “individual singers from around the globe.” Jonathan Griffith held the masses together beautifully, as always.

Superb soprano Jennifer Zetlan was the soloist throughout this work, and her fluid golden tones were particularly beautiful in the fourth movement, Et Misericordia, conveying a sense of solace after the prior fanfares – and before the muscle-flexing fifth movement, Fecit potentiam. The latter was given such assertive projection by the lower voices that it seemed at any moment ready to burst into,“the Jets are gonna have their way tonight” (from Bernstein’s West Side Story) – in other words, it was not lacking in testosterone! One could only admire the way Rutter developed his material here in brilliant imitation before subsiding with the final line about the meek (humiles). The milder Esurientes followed, opening gently with harp and affirming heavenly promises, with the help again of lovely solo lines from Ms. Zetlan, and the subsequent Gloria Patri with cymbal crashes (and the return of the opening rhythms) made for a triumphant end to this wonderful work. It was a triumphant end to a great concert as well. Congratulations to all involved, and encore!

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by Rorianne Schrade  for New York Concert Review; New York, NY
Distinguished Concerts International New York presents “Messiah…Refreshed!” in Review

Distinguished Concerts International New York presents “Messiah…Refreshed!” in Review

Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Jonathan Griffith, Artistic Director/Conductor
Penelope Shumate, soprano; Claudia Chapa, mezzo-soprano; John McVeigh, tenor; Christopher Job, bass.
Stern Auditorium at Carnegie Hall, New York, NY
November 25, 2018

 

The holiday season is now in full swing, with the post-Thanksgiving crush of shoppers trying to scoop up ubiquitous “Black Friday” deals and other irresistible goodies. In the midst of all this hoopla, Distinguished Concerts International New York (DCINY) presented their signature event and most anticipated concert of the year, Messiah…Refreshed! – DCINY’s blockbuster performance of George Frideric Handel’s Messiah. This was DCINY’s 8th anniversary performance of this magnificent work. For full disclosure: This listener reviewed the second (2012) and fifth anniversaries (2015) of Messiah…Refreshed!. The soloists, back for the third year in a row, were the “A-team” – soprano Penelope Shumate (www.penelopeshumate.com), mezzo-soprano Claudia Chapa (www.claudiachapa.com), tenor John McVeigh (www.uzanartists.com/ john-mcveigh), and bass Christopher Job (www.christopherjob.com). Eighteen choruses from California, Colorado, Canada, Illinois, Indiana, Minnesota, Pennsylvania, South Carolina, Texas, Virginia, Wisconsin, Hong Kong, Qatar, South Africa, United Kingdom, and “individual singers from around the globe” filled the ranks of the Distinguished Concerts Singers International chorus (with the program listing 467 singers). The audience members that filled the sold-out hall were rewarded with an afternoon that not only was musically fulfilling, but spiritually uplifting.

Messiah is no stranger to reworking and revision. There is no “definitive” version (“sing-along” editions and even a rock version have been heard). Handel himself rearranged and rewrote sections to suit his needs, and selections could be added or deleted based on the talents available. Mozart produced a version in 1789 that is still often used. The version presented by DCINY is generally attributed to Sir Thomas Beecham and Eugene Goossens, although Beecham’s contribution was overstated for many years by his widow. Lady Beecham’s claims were refuted in the 1990s; the score was completely Goossens’s work.

Beecham recorded this version in 1959; it is still available on CD today, and while some consider it the “gold standard, ” it continues to be controversial. Traditionalists who believe that Handel’s conception should remain true to the original find the Goossens version to be vulgar, while its proponents aver that the expanded forces enhance the grandeur of the work. This reviewer is firmly in the later camp.

As I stated in 2012; “Make no mistake; this is not your great-grandfather’s Messiah. It is brash, extroverted, and at times bombastic. It is not Messiah – it is MESSIAH, with double the sound, new and improved, with cymbals and triangle! It is Messiah on steroids, the epitome of the saying ‘Go big or go home.’” Those words are just as true in 2018 as they were then. What this listener was wondering was how this year’s performance would compare to 2012 and 2015. The quick answer is that the 2018 version exceeded both.

One can credit this success to conductor Jonathan Griffith. Dealing with such gargantuan forces can be like trying to herd cats. It would be so easy to lose control, but Griffith has proven time and time again that he has an uncanny ability to master these large forces. He is part coach, part drill sergeant, and part wizard all rolled up into one! His direction focused on delivering the big sound of Goossen’s version without overwhelming the singers and without losing focus on the music itself. The playing was excellent throughout, and while I admit I missed seeing and hearing the exuberance of the percussionists from prior years (especially 2012), the net effect was one of a more polished performance that reflects Maestro Griffith’s heightened refinement of the work. The choruses (the chorus for Part One gave way to a different chorus for Parts Two and Three) were prepared well by their respective leaders. Their balance was exceptional, the diction was precise, and the strong direction of Maestro Griffith helped inspire them to a level higher than they probably imagined was possible.

The four soloists, the “A-Team,” all brought their “A-game” today. To sing Handel’s demanding solo parts is challenging enough for even the most accomplished of singers, but to avoid being overwhelmed by the large forces behind them and to project a tone that is neither strident nor forced make up a tall order. That order was filled. Strength and confidence are a hallmark of these talents; the vocal gymnastics that abound were dispatched with apparent ease (and easy it was not!). There was never a moment when any singer was in peril of being drowned out. There is much to praise, but I will try to focus on highlights for each. Soprano Penelope Shumate’s bright voice soared, but she also enchanted in softer passages. Rejoice greatly, O daughter of Zion had remarkable flair. Mezzo-soprano Claudia Chapa continues to astonish with her robust voice (with the added reality of the orchestra often being in the same register), but her exquisite sensitivity in her shaping of phrases was truly striking. Her He was despised was, as before, this listener’s favorite. Tenor John McVeigh’s clarity of tone and complete involvement were always front and center; Ev’ry valley shall be exalted was the highlight of his performance to this listener. Bass Christopher Job is a powerhouse. His voice commanded attention as it filled the entire hall. Why do the nations so furiously rage together? was the high point of his outstanding singing.

One cannot speak about Messiah without mention of the Hallelujah chorus. This listener has been to many DCINY concerts, and Messiah in particular, so I knew the coming “surprise”. Both second and third tiers were filled with singers (the chorus from Part One), ready to rise on cue. I knew what was coming and when it was to occur, and I was braced for it – and yet once again, it blew me away! The sound of nearly five-hundred voices filling the hall as the audience stood (many of those in the audience singing along) was simply magnificent. Yes, it’s over the top, but it is still a thrill! The audience roared its approval at the end of the chorus. The applause continued for several minutes until Maestro Griffith beckoned the audience to sit down.

After this, Part Three is almost an anti-climax. The closing chorus, Worthy is the lamb that was slain, also had the participation of the singers in the tiers. The excitement built to a fever pitch, but there were no mishaps (as in prior years) after that final dramatic pause. The work was brought to a rousing close, and the audience responded with thunderous applause for the soloists, choruses, orchestra, and Maestro Griffith. It was a well-deserved ovation to a memorable concert. Congratulations to all!

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) Artist Series presents The Music of Dinos Constantinides in Review

Distinguished Concerts International New York (DCINY) Artist Series presents The Music of Dinos Constantinides in Review

Froso Ktistaki, Louis Wendt, piano; Athanasios Zervas, soprano and alto saxophone; Dionisios Roussos, alto saxophone; Leo Saguiguit, tenor saxophone; Eric Honour, baritone saxophone; McKenzie Miller, soprano; Leanne Clement, mezzo-soprano; André Chaing, baritone
Weill Recital Hall at Carnegie Hall, New York, NY
October 8, 2018

 

I have reviewed Mr. Constantinides twice previously in these pages (2015 and 2016), and I am inclined favorably to his music, which displays a truly original point of view and lots of personality, with rewarding stretches of yearning neo-Romantic melody, and helpings of Greek folksong and other monophonic melodies, such as Gregorian chant fragments and/or even ancient Greek fragments of notated music (such as they are understood). It is rhythmically interesting and, at least for the piano, the sonorities are pleasing to the ear.

A forty-minute selection of solo piano works opened the concert, played by the wonderful Froso Ktistaki, who has a great ear for piano sound, a large imagination, and an obvious commitment to and involvement with this composer and his language. Her playing was lovely, particularly in the Reflections IX, a mournful remembrance of a departed rescue cat, Tiger, who belonged to the composer. Theme and Variations, based on a Greek folk tune, was a collection of brief responses or “ruminations” on the original tune. The Heavens Are Telling, a transcription of an organ and voice work, would never be mistaken for Haydn’s joyful paean in The Creation, but Mr. Constantinides’ has its place too, with the second repeat of the “B” section ravishing in Ms. Ktistaki’s hands. The Suite for a Young Man was an often-humorous “musical biography” of coming-of-age, including the longed-for yet dreaded and awkward first kiss. The work reminded me in a strange way of a smaller version of the huge Grande sonate: Les quatre âges by Alkan that depicts a man at the ages of 20, 30, 40, and 50.

Alto Saxophonist Athanasios Zervas brought his wonderful control into play with the Midnight Fantasy II, redolent with clusters adorning the skeleton of a Nat King Cole song, not quoted literally of course, rather stylistically evoked. Ms. Ktistaki was the perfect partner in this work.

After intermission, the Athens Saxophone Quartet (Athanasios Zervas, Dionisios Roussos, Leo Saguiguit, and Eric Honour) took the stage to “speak to each other,” one, two, three, and four at a time in the aphoristic “-logues” (pro-, tetra-, mono-, and epi-). Their massed sound was very orchestral, their virtuosic coordination impeccable.

Unfortunately, for me, the weakest work of the evening came last: Rosanna (and Angelina, in David Madden’s original 1989 libretto), a “one-act opera,” which is an inaccurate billing indeed. It seems more like a sketch for something that could be an opera someday. The subject matter certainly has verismo “cred”: two friends, two dead children, love gone wrong, jealousy, and gossip. Mr. Constantinides, however, has allotted most of the true action to a village priest narrator who sings (and speaks)that action in a great clump right at the beginning, leaving not much room for anything to happen. This was a piano-accompanied concert version, with the singers (McKenzie Miller, soprano, Leanne Clement, mezzo-soprano, André Chaing, baritone) inexplicably arrayed behind the piano, which made their sound less immediate and their language often unintelligible. Mr. Constantinides conducted the able pianist, Louis Wendt, who could have just as easily played his interesting music without a conductor. The strongest of the three soloists was Mr. Chiang, whose diction was clear and whose sonority was appropriate. Ms. Miller and Ms. Clement suffered from the aforementioned lack of clear language, which was interesting to me because when the soprano/mezzo-soprano had a few lines to speak instead of sing, everything was crystal clear. Singers: you can make a beautiful, focused sonority that will not overwhelm your consonants if you remember to place the voice forward and hang the consonants on the front of the tone. The composer’s soaring lines for the soprano and mezzo-soprano did not help this issue, nor did the vocal range, which was all over the map for both, creating either pronounced wobble or shrill tones. They were, however, obviously emotionally committed to what they were singing. There were also two uncredited “assistants” seated on the stage, who delivered only spoken commentary. The music itself contained many good moments of interesting harmony, reflecting the emotions of the story, but it meandered too much, it lacked contrast, and the pacing was “off.” None of this deterred the enthusiastic supporters of Mr. Constantinides, who stood unanimously at the end.

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by Frank Daykin  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) Presents Spirit Journey in Review

Distinguished Concerts International New York (DCINY) Presents Spirit Journey in Review

Distinguished Concerts Orchestra/Distinguished Concerts Singers International;
Pepper Choplin, Composer/Conductor; Mark Hayes, DCINY Composer-In-Residence;
Kevin McBeth and Andy Waggoner, Guest Conductors;
Leslie Mabe and Rachel Schutz, Sopranos; John Robert Green, Baritone; Steve Coldiron, Narrator

 

 

Distinguished Concerts International New York (DCINY) presented yet another large-scale concert last weekend at Carnegie Hall, and as has often been the case, it was more than a concert. Entitled “Spirit Journey,” the event centered on choral music of prayer and faith by Mark Hayes and Pepper Choplin, and there were moments when one needed to pinch oneself to remember that one was at Carnegie Hall and not in a church. Naturally, many of Western music’s most profound creations have sprung from faith or have been dedicated to it, and one thinks of (among others) the colossal contributions of J. S. Bach, with his initialing of SDG, Soli Deo Gloria (“To God Alone be the Glory”) at the end of many masterpieces; this concert, though, was much more overt in its religiosity and even included the interspersing of miniature sermon-like introductions between movements of one work, recited by narrator Steve Coldiron. The homilies were an interesting touch, but neither enhancing nor detracting from the musical experience for which this listener came.

Mark Hayes and Pepper Choplin are two composers who are quite well-known to DCINY. This concert marked Pepper Choplin’s fifth appearance with DCINY, and Mark Hayes is currently the composer-in-residence for DCINY. Their compositional styles made for a simpatico pairing, though with distinct differences here due to the contrasting selections, Mr. Choplin’s chosen work being overall a bit more sweetly hymn-like, while the contributions of Mr. Hayes emphasized a more rhythmic earthiness in Spirit Suites I and II and selected arrangements of spirituals.

Mr. Choplin’s sole work of the evening, Our Father: A Journey through the Lord’s Prayer made up the first half and was conducted energetically by its composer. The conception itself struck this listener as ingenious, with its nine movements each centering on a different phrase from the Lord’s Prayer. Considering such fertile material, though, this listener wanted a bit more harmonic or contrapuntal variety. The Lead Us Not into Temptation movement was appropriately troubled in its minor tonality and rhythmic urgency, and there were elements of despair and struggle in the Let Your Kingdom Come movement as well, but a certain sweet glossiness verging on commercialism tended to dominate some other movements. The influence of non-classical genres was apparent in a way that this listener, at the risk of sounding overly traditional, found a bit off-puttingly schmaltzy for such a hallowed text. Some parts even brought to mind a nightclub sort of flavor, including Holy Be Thy Name (which, on each successive repetition of the descending major sixth on the word “Holy” had this listener thinking more and more of Patsy Cline in Crazy).

High points among the Choplin movements included Forgive Us with its sigh-like motive bringing it a stirring and genuinely plaintive quality. Particularly successful as well was the introduction (later reprised) of We Are Not Alone, a movement set to those words in an excited rhythmic whisper, creating the backdrop for the prayer itself. The reprise of it was creatively handled, and all was given an excellent performance by the Distinguished Concerts Orchestra and Distinguished Concerts Singers International. Leslie Mabe, soprano and also director of one of the choirs (the St. Paul United Methodist Church, from Virginia) sang her solo part with a pure and beautiful tone.

Mr. Choplin is a composer with unquestionable experience, popularity, and a prolific output. He is the composer of over 275 anthems for church and school choir, with 19 church cantatas, a book of piano arrangements and over a hundred commissions. His works have sold several million copies since 1991. He obviously has a “secret recipe” that brings delight to many, and the large audience seemed to revel in the experience.

After intermission we heard two suites of spirituals and several individual spiritual arrangements by Mark Hayes. Mr. Hayes is an award-winning pianist, composer, arranger, and conductor with a personal catalog of over 1000 published works. He has conducted his own major works at Carnegie Hall, Lincoln Center, and in a festival of sacred music sponsored by none other than the Vatican.

Spirit Suite I was conducted charismatically by Kevin McBeth and opened with a rousing rhythmic rendition of the song, In That Great Gittin’ Up Mornin’. The soloist for all three songs in this suite was soprano Rachel Schutz, who gave exceptionally fine performances. This reviewer frequently opts not to read performers’ biographical notes before a concert, preferring to take the interpretations on their own merits, but some performers send one flipping quickly to the back of a program to find out “who is this giving such an amazing performance?” Ms. Schutz inspired this reaction. Especially in the song, Sometimes I Feel Like a Motherless Child, she shone, handling its unaccompanied iterations with heartbreaking feeling. Mr. Hayes had varied the main melody beautifully, sending the elaborations skyward, and Ms. Schutz rose to the challenge with effortless grace. Didn’t My Lord Deliver Daniel? closed the set with exuberance, and despite brass, percussion, and strings in full force, the soprano voice penetrated with impressive clarity.

It is rare to have two such remarkable singers in one night, but it was a lucky night. Spirit Suite II, conducted expertly by Andy Waggoner, enlisted the talents of baritone John Robert Green, who was perfectly suited to this repertoire, with a rich and deep sound, robust and regal. He gave Little David, Play on Your Harp an infectious energy, and imbued the perennial favorite, Swing Low, Sweet Chariot, with such pure emotion that a number of tissues were spotted being pulled from pockets and purses. Joshua Fit the Battle of Jericho, as Mr. Hayes has arranged it, is irresistibly dance-like, and Mr. Green, with the chorus and orchestra, captured the spirit to perfection.

 Kevin McBeth returned to the stage to conduct a winning performance of I Want Jesus to Walk with Me, leaving Mr. Waggoner to conduct the New York Premiere of Deep River, given a full-blown treatment worthy of a Hollywood film score.  A rollicking rendition of Ain’t that Good News (also a Mark Hayes New York Premiere) made for a high-spirited close to the program.

The audience stood and gave a loud ovation, many members apparently excited to be present for their loved ones in the choruses from Arkansas, California, Georgia, Illinois, Missouri, North Carolina, Ohio, Pennsylvania, Virginia, Washington, Brazil, and Canada. Kudos once again to DCINY!

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by Rorianne Schrade  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents Vocal Colors in Review

Distinguished Concerts International New York (DCINY) presents Vocal Colors in Review

Distinguished Concerts Singers International
J. Reese Norris, Eric Barnum, Conductors
Jennifer Rushton, Kristen Kemp, Pianists
Richmond Choral Society and The Arcadian Chorale
Marina Alexander, Director, Ahram Lee, Pianist
Stern Auditorium at Carnegie Hall, New York, NY
May 25, 2018

 

While thousands of New Yorkers were busy fleeing the city for the Memorial Day weekend, hundreds of dedicated choristers, their conductors, families, and friends were flocking toward Carnegie Hall, for the fourth annual Vocal Colors presentation by DCINY (I have reviewed them previously in these pages- Vocal Colors 2017 & Vocal Colors 2016). As Lisa Young’s thulele mama ya says: “Don’t worry, Mama.” Well, mamas will probably always worry, but reviewers needn’t worry about the quality of these events. Once again, the dedication, cooperation, communal spirit, and positive message of choral music showed all its energy.

 

The program was divided into three sections, one before intermission and two after. The first section had an all-female choir, conducted by the esteemed J. Reese Norris, of whose compositions a generous helping was presented. All the selections were performed from memory, an outstanding accomplishment in itself. If there was a sort of sameness to the sound due to the tessitura of young women’s voices, it was relieved by strategically placed (uncredited) instrumental obbligati: light percussion, guitar, cello, with the piano as base. The linking of hands near the end of Jacob Narverud’s Sisi ni moja (We are one) provided a powerful counterpoint to its message, especially in an age becoming inured to mass shootings. Norris’ own Paper Crane (Heiwa), inspired by Hiroshima, had his signature powerful “zoom” ending. His wedding present for his own wife, We Sing of Love, using parts of the Song of Solomon, was lovely. All the works were beautifully prepared and executed.

 

After intermission, another leader in American choral music, Eric Barnum, conducted his group in his own contemplative compositions: Afternoon on a Hill (Millay), and A Thousand Red Birds (poems by Oakes, Bode, and Porter), where soloist Nathan Krueger’s contribution to In the Silence was perfect, as the observer of snowfall. Mr. Barnum concluded with two works he feels belong together as aspects of the same thing: Evensong and Den blomsterid nu kommer (The time of blossom now comes), keen observations of the natural world, captured in music.

 

Then came conductor Marina Alexander with her own groups: The Arcadian Chorale (NJ) and Richmond Choral Society (Staten Island). After a brief, energetic Norwegian Alleluia by Kim André Arnesen, a real neglected masterpiece was given, by a Swedish composer whose work was previously unknown to me (shame on me!): Otto Olsson, who died in 1964. His Te Deum was composed in 1906. What a glorious, powerful setting of this hymn of praise! It certainly deserves to be heard every bit as much as the Berlioz, Verdi, and Bruckner settings. Transcendent beauty, indeed.

 

Well done, colorful vocalists!

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by Frank Daykin  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) Presents Dreamweaver in Review

Distinguished Concerts International New York (DCINY) Presents Dreamweaver in Review

Distinguished Concerts Orchestra, Distinguished Concerts Singers International, James M. Meaders, DCINY Conductor
Ola Gjeilo, Composer-in-residence and Piano
Miran Vaupotić, Guest Conductor
Meredith Lustig, Soprano
Jessica Grigg, Alto
Stern Auditorium, Carnegie Hall, New York, NY
April 15, 2018

 

 

Once again Distinguished Concerts International New York (DCINY) demonstrated the power of music on a massive scale in their recent concert at Carnegie Hall. It was another extravaganza.

 

Behind it all, of course, is a mission of encouraging music far and wide through performance and education, and in tribute to one who devoted decades to this mission, James M. Meaders, DCINY Conductor, presented the DCINY Educator Laureate Award to conductor, arranger, author, and educator, Dr. Milburn Price at the program’s opening. It set a tone of reverence to start off the evening.

 

For the music itself, Norwegian Ola Gjeilo and American Dan Forrest were the two featured composers whose major works were presented, alongside shorter works by Michael J. Evans, Joseph Deems Taylor, Dwight Beckham, and Matej Meštrović. Mr. Gjeilo and Mr. Forrest share some remarkable similarities in some ways. Both happen to have been born in 1978, and both write music that employs rather conservative tonality in exploring spiritual themes. Both are part of a growing wave of choral music that often hearkens back to days of chant, while freely tapping into multicultural or folk material, the simple harmonies and spare textures of New Age music, and some cinematic orchestral elements. Both composers are, perhaps needless to say, immensely popular.

 

Whatever one’s musical style preferences might be, it is hard not to admire the passion with which several hundred choir members on Sunday embraced both composer’s works. The Distinguished Concerts Singers International, the core group, along with the Distinguished Concerts Orchestra, set the stage for committed performances by choruses from the states of California, Florida, Georgia Kentucky, Louisiana, Minnesota, Mississippi, Oregon South Carolina, Texas, and Washington, as well as Australia, Canada, the UK, New Zealand, and (as DCINY’s printed material states) “individuals from around the globe.” Wow!

 

Mr. Gjeilo, known as the composer-in-residence with the well-loved group, Voces8 (heard on Decca with the choir, Tenebrae), has composed for other notable groups as well, such as the Phoenix Chorale, whose bestselling Northern Lights collection on Chandos was named iTunes Best Classical Vocal Album of 2012. Mr. Gjeilo has also released crossover piano albums Stone Rose and Piano Improvisations, parts of which this listener has heard and would characterize as “New Age.” As a disclaimer, New Age is not a style of which this listener is terribly fond in general, though, Mr. Gjeilo’s persuasive gifts make that stance difficult.

 

The first work we heard on Sunday was Mr. Ojeilo’s set of seven choral pieces called Dreamweaver, including movements, Prologue, Dreamsong, The Bridge, Intermezzo, Paradise, Dominion, and Epilogues. Mr. Ojeilo’s biography states that “his music often draws inspiration from movies and cinematic music” – and one could certainly hear that marked influence on Sunday. In the movement entitled Bridge, built largely on a rhythmically driving repeated bass note beneath surging crescendi, one could easily imagine a film hero engaged in desperate struggle, and indeed, the text of Dreamweaver features its own hero. It is based on the Norwegian medieval folk poem, Draumkvedet (with translated text by Charles Anthony Silvestri) in which its protagonist, after a thirteen-day sleep, recounts his dreams of “brave, beautiful, terrifying, and ultimately redeeming journey through the afterlife” (in the composer’s words).

 

The alternation of hymn-like calm and robust cinematic flourishes made for immediately gratifying dramatic episodes, even if occasionally one felt a yearning for the slower burn of a work by Beethoven or Brahms. Highlights were expressive solos from the string principals and some subtle chordal surprises in the opening movement Prologue.

 

Mr. Gjielo’s Song of the Universal followed, set to a text of Walt Whitman. Opening with a quiet choral hum, the music built to ecstatic peaks. The piano alternated between providing glassy rhythmic treble timbres and simply underscoring the basic harmonies. A personal reservation from this listener was that occasionally when the piano served merely to outline or double the harmonies, it detracted from, rather than adding to, the transcendent effect as a whole, lending things a more pedestrian feeling. Overall, though, Gjeilo’s pieces – and their performances – emerged as music that should engage this increasingly “attention deficit” world. Maestro James M. Meaders conducted with marvelous mastery and energy, as he did again later in the Dan Forrest work.

 

One would be remiss not to mention the superb soprano, Meredith Lustig, whose sound soared with great purity with and above the chorus. She also sang in the second half to grace the Forrest work, as did exceptional alto, Jessica Grigg.

 

Dan Forrest, whose Jubilate Deo closed the program, is known as the acclaimed composer of choral, orchestral, instrumental, and wind band works, which, through several publishers, have sold in the millions of copies and become firmly ensconced in the repertoires of musicians around the world. Mr. Forrest’s Requiem for the Living, given its New York premiere under the auspices of DCINY in 2014, was reviewed quite favorably in New York Concert Review here: DCINY Life and Liberty In Review.

 

Jubilate Deo is a remarkably potent work. Employing texts in Latin, Hebrew, Arabic, Mandarin, Zulu, and Spanish, it marks a growing trend towards a “globalized” choral style seen also in some of the music of Karl Jenkins, Christopher Tin, and others. The sheer numbers onstage were so large that, even in the hands of expert conductor Meaders, they threatened to encumber the tempo stability and ensemble; thankfully, however, they never quite did. With the steel resolve and training by so many choral directors from all over the world, these singers held their own in what was ultimately a triumph.

 

Especially moving was the second piece, a duet sung in Hebrew and Arabic simultaneously by Ms. Grigg and Ms. Lustig, intended to symbolize (in the words of the composer) “the unity between these cultures.” It was extremely stirring. Other highlights included the rousing Zulu movement, Ngokujabula!, which is so infectiously joyful that it will surely be a favorite with choruses as a standalone piece. This listener could not shake the tune for much of the day, despite inability to pronounce the word! Bravo to all!

 

Sandwiched between the Gjeilo and the Forrest was a string of shorter works for orchestra alone under the direction of excellent guest conductor Miran Vaupotić. The group started with Into the Woods by American composer Michael J. Evans (b. 1964), a musical celebration inspired by a Celtic fertility festival. It was played with exotic sensual relish.

Next came a work by American Joseph Deems Taylor (1885-1966), known more commonly as simply Deems Taylor and remembered today more for his music criticism and eponymous award in music criticism than for his compositions. Despite (or perhaps because of) his relative obscurity as a composer, it was a joy to hear a composition of his, a well-constructed, thoughtful movement of stately mood. Mr. Vaupotić is to be commended for looking outside of the more commonly played fare.

 

Also unknown to this listener was a work by American Dwight Beckham (b. 1931), entitled Memorial Ode. Based on the beautiful Ralph Vaughan Williams tune Sine Nomine, it is enhanced by timpani and snare drum rhythms yielded by the initials HR in International Morse Code (for the dedicatee Harold Romoser) – an intriguing compositional feature. It is a regal work and was given a fine performance.

 

Last of this set before intermission was a performance of Danube Rhapsody by Croatian Matej Meštrović (b. 1969), with the composer at the piano in two flashy concerto-type movements which brought to mind some of the festive crowd-pleasers of André Rieu or other crossover artists. It was clearly a joyous moment for the performers, particularly Mr. Meštrović, who took several selfies and blew kisses to the audience!

 

The evening was all in all quite a success. The audience appeared to love every minute. In this day of decrying empty seats in concert halls, DCINY apparently has their answer to that problem.

 

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by Rorianne Schrade  for New York Concert Review; New York, NY