Distinguished Concerts Orchestra; Distinguished Concerts Singers International
Jonathan Griffith, DCINY Artistic Director and conductor
Hilary Apfelstadt, conductor laureate; Martha Shaw, director; Carol Joy Sparkman, accompanist;
Dinos Constantinides, composer-in-residence; Iris Derke, flute soloist; Kirsten Agresta Copely, harp soloist
David Geffen Hall, Lincoln Center, New York, NY
March 17, 2018
On a chilly St. Patrick’s Day, Distinguished Concerts International New York (DCINY) offered a respite from the holiday revelry in New York City by way of a concert entitled Reflections of Light. Featured were the World Premiere of a work by DCINY favorite Dinos Constantinides and Luigi Cherubini’s masterful Requiem in C minor. Singers from Georgia, Mississippi, New Jersey, New York, Ohio, Oklahoma, Canada, and New Zealand were on hand to reach for the stars.
The concert was live streamed on DCINY’s Facebook page. Click here to watch: DCINY Facebook page
Martha Shaw took the podium to open the concert with a set of eight songs on celestial themes. The chorus was made up of middle school and high school singers. For a complete list of the works, I recommend that the reader take a moment to read Ms. Shaw’s charming program notes by following this link: Reflections of Light Program Notes.
One has to expect a certain unevenness with groups of younger singers, which is not meant as a criticism, but the reality of a wide range of abilities of the participants. In this case, the sopranos were the dominant force.
Ms. Shaw coached her young charges well. Even if there were occasional balance issues, the intonation was solid, and the poise of the singers was admirable. It is always a joy to see the smiles of young performers regardless of any musical considerations. Pianist Carol Joy Sparkman was an integral part of the success.
Highlights included the opening Salmo 150 (Psalm 150) by Ernani Aguiar, which was delivered with a driving intensity, and Gus Edwards’s 1909 vaudeville hit By the Light of the Silvery Moon. True Light, by Keith Hampton featured an unnamed male singer, who came to the front of the stage and gave an impassioned solo. He had the audience cheering. The chorus swayed to and fro in rhythm to the music. Their families and friends rewarded their stars with a standing ovation, something these young performers will remember for a lifetime.
After a short pause, the stage was set for the World Premiere of Dinos Constantinides’s Concerto for Flute, Harp, and Orchestra, LRC 268b, written for and dedicated to Iris Derke and DCINY in celebration of their ten-year anniversary.
This work is meant as a companion piece to Mozart’s Concerto for Flute, Harp, and Orchestra, but with the Greek-themed style in which Mr. Constantinides excels. The composer writes in his notes that he used materials from prior works, notably in the second movement, Hymn, which uses the Delphic Hymn dating back to 200 B.C. (As I have mentioned in a prior review, I am somewhat incredulous about this, but will defer to Mr. Constantinides). Jonathan Griffith took the podium to conduct.
The Concerto showed Mr. Constantinides to be quite skillful in writing idiomatically for both the flute and harp soloists. Both Ms. Derke and Ms. Copley were shown to great advantage, with passagework that showcased their virtuosity, including the use of extended techniques. This listener’s favorite movement was the finale, Dance, a lively romp that could be called “Greek Hoedown.” Mr. Constantinides joined Ms. Derke, Ms. Copley, and Maestro Griffith on stage to take a bow for a well-deserved ovation from the audience.
After intermission, conductor laureate Hilary Apfelstadt took the podium to lead Luigi Cherubini’s Requiem in C minor. Written in 1816 for an 1817 memorial service for Louis XVI (who was beheaded twenty-three years earlier), this work was greatly admired by Beethoven, Schumann, and Brahms. Cherubini used small forces (no flutes) and no vocal soloists, perhaps because of the limitations of the space available for that memorial service.
Ms. Apfelstadt took a careful, well-considered, and meticulous approach. Her directions were spare and without any histrionics, confident that the excellent Distinguished Concerts Orchestra would produce maximum results. That confidence was well-placed in what was truly an exceptional performance. The sinister Dies Irae, complete with gong(!), and the Agnus Dei, which began in an almost defiant manner, but resolved into a beautiful serenity, were the highlights for this listener. Much praise must be given to the chorus as well. They were well-prepared and thrived under Ms. Apfelstadt’s leadership. The audience gave all the performers a standing ovation at the concert’s end. Keep reaching for the stars, DCINY!
