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Distinguished Concerts International New York (DCINY) presents Between Heaven and Earth in Review

Distinguished Concerts International New York (DCINY) presents Between Heaven and Earth

Distinguished Concerts Orchestra and Distinguished Concerts Singers International

James M. Meaders, DCINY Associate Artistic Director and Conductor, Tom Shelton, Guest Conductor, Richard Sparks, Guest Conductor

Jolaine Kerley, soprano; Timothy J. Anderson, narrator

Stern Auditorium at Carnegie Hall, New York, NY

March 7, 2016

The massed-choir events presented by Distinguished Concerts International New York (DCINY) generally have a very high level of music making and popular success. Monday’s concert was quite a mixed-bag, gathered under the title mentioned above. The singers come from eight states and six foreign countries and are prepared by their individual local conductors before traveling to New York to combine with many other choirs.

The first one-third of the evening was devoted to seven selections for a huge youth choir, containing all age groups from small boys up to high schoolers. They were led efficiently by Tom Shelton, who also made some of the rather slick arrangements. The selections were not performed in the order listed on the program, and one was left out entirely. Perhaps I shouldn’t evaluate this performance with the same rigor I would apply to a professional choir. Surprisingly, the enormous group had trouble actually projecting, except when the vocal writing allowed the voices to soar to higher notes, where one could enjoy the characteristic gleam of such an age-group. The repertoire extended from modern sacred, to Baroque, folk-inspired (Stephen Hatfield’s moving Family Tree), even Italian madrigal. The exciting Ritmo by Dan Davison involved not only singing, but clapping, stomping, finger-snaps, chest thumps, and marching in place—a veritable encyclopedia of eurhythmics, accompanied by piano four-hands (the very capable Matthew Webb, assisted by his page turner).

Several instrumental solos were featured: trumpeters Anna Roman and Jesdelson Vasquez; and flutist Tamar Benami, as well as a fearless (uncredited) choir member for the concluding Go Down Moses. The performance certainly brought pleasure to the many parents and friends of the singers in the audience, and it is good to see young people (a) learning music at all, and (b) working together on something instead of the relentless isolating march of the cell phone.

After the infamous “brief pause” to shift huge choirs (only ten minutes this time), conductor Richard Sparks led a new chorus, narrator, and soprano, with a small ensemble of piano, organ, two oboes, two French horns, and a percussion assemblage, in the New York premiere of Toronto-based composer Allan Bevan’s Nou Goth Sonne Under Wode. The composer also played his own organ part. This work takes many of the sentiments in the traditional crucifixion scene Stabat Mater and ramps up the grief until a sort of transfiguration occurs to Mary, who then sings a concluding Alleluia. The choral writing relies too heavily on musical clichés of mourning, aiming for monumentality, but the whole was very sincere. The O Vos Omnes section was particularly successful. The part for narrator was a bit odd, sometimes too soft despite amplification. There were other moments when the chorus, narrator, and soloist were drowned out, despite the small instrumental ensemble size. The valiant soprano was the very good Jolaine Kerley, whose clarity and expression were top-notch. She wisely chose to just stop singing the climactic loud high D-flat (her last note) before it gave out entirely, just keeping her mouth open and letting the choral resonance fool you into thinking she was still singing it. Smart lady, this trick was sometimes employed by the likes of Elisabeth Schwarzkopf.

After intermission, James Meaders, one of DCINY’s associate artistic directors, conducted yet another two-hundred-plus singers and large string orchestra in the Sunrise Mass by the young Norwegian composer Ola Gjeilo. This was by far the most beautiful and intriguing work on the program. He set the traditional Latin texts of the Mass, but gave each section a title having to do with the (usually) natural world: The Spheres (Kyrie), Sunrise (Gloria), The City (Credo), Identity (Sanctus) & The Ground (Agnus Dei). His use of tone clusters and overlapping chords makes the musical language seem more modern than it really is, but very beautiful. In The Spheres, motives that are first heard “smudging” into each other are later presented cleanly as a melody by the choir. The work is also cyclic, that is, themes heard are reused elsewhere in the work, a time-honored technique and one that gives unity. There is perhaps a bit of over-reliance on stock “minimalist” gestures in the string parts. The final chord of the piece, on the word Pacem (peace) was stunning in its hushed quality, held for a very, very appropriate long time.

Perhaps music is what’s “between heaven and earth.”

by Frank Daykin for New York Concert Review; New York, NY

Distinguished Concerts International New York (DCINY) presents Mortals & Angels: A Bluegrass Te Deum in Review

Distinguished Concerts International New York (DCINY) presents Mortals & Angels: A Bluegrass Te Deum

Jonathan Griffith, DCINY Artistic Director and Principal conductor

Distinguished Concerts Singers International

Dailey & Vincent, special guests

Jay Disney and Linda Powell, narrators

Luigi Salerni, director

Carol Barnett, DCINY composer-in-residence; Marisha Chamberlain, librettist

Stern Auditorium at Carnegie Hall, New York, NY

January 25, 2016

How do you get to Carnegie Hall? Practice, practice, practice? Not this week! “Shovel, shovel, shovel!” quipped Jamie Dailey of Dailey & Vincent, the world-renowned bluegrass group, to the delight of all those in attendance. In the aftermath of what some were calling “Snowmageddon” (or “Snowpocalypse”, if you prefer), Distinguished Concerts International New York (DCINY) presented a concert entitled Mortals and Angels: A Bluegrass Te Deum. The first half was selections from Dailey & Vincent, and the second half was the world premiere of the work for which the concert was named, Mortals and Angels; A Bluegrass Te Deum, a “follow-up” of sorts to composer Carol Barnett and librettist Marisha Chamberlain’s earlier collaboration The World Beloved: A Bluegrass Mass.

As I entered the hall, I noticed that hundreds of white handkerchiefs (with the name of the concert and date printed on them) draped over the seats. I pocketed this concert swag and was sure it was going to be of some use later.

I will admit that I had my doubts about this program beforehand. On a previous program, with the same composer and librettist, I was not entirely convinced that either musical style of the combination, bluegrass or classical, was well served, and I had some reservations about the libretto. Interested readers can follow to link to read more- Bluegrass 57@7 review. In fairness, it should be mentioned that my colleague David LaMarche did not have any such issues when he reviewed the same work in 2014 – Sounds of Americana review. Would I have the same opinion with this new work?

Dailey & Vincent took the stage to open the night. The nine members are Jamie Dailey (vocals/guitar), Darrin Vincent (bass/vocals), Aaron McCune (guitar/vocals), BJ Cherryholmes (fiddle), Bob Mummert (drums), Buddy Hyatt(piano), Jeff Parker( mandolin/vocals), Jessie Baker (banjo), and Shaun Robertson(guitar).”How many of you have heard bluegrass?” asked Jamie Dailey. “Well, you’re gonna hear some now!” he said as the group launched its six-song set. This listener is no bluegrass expert, but he is more than capable of recognizing expert playing and singing. The six selections alternated between fast and slow works, but all offered ample opportunities for these fine musicians to showcase both their individual talents in solo passages and very tight ensemble play.

Jamie Dailey bantered with the audience between numbers, introducing his band mates and telling stories about each. Darrin Vincent introduced Mr. Dailey. Just one fun fact – Shaun Robertson was appearing with the group for the first time, after being discovered on Instagram and being invited to audition for the group! We live in interesting times!

A cover of “Elizabeth”, the Statler Brothers’ hit (for which Dailey & Vincent received a Grammy nomination in 2011) was lovely, and “American Pride”, a patriotic song written by Jamie Dailey, brought the house down. A visibly moved Mr. Dailey humbly accepted the standing ovation. He has a voice that can soar with the best of them!

There was no intermission, but as Dailey & Vincent played on, the stage began to fill with singers dressed entirely in white, soon to be joined on the side of the stage by a much smaller number of very young singers dressed in all black. Conductor Jonathan Griffith took to stage dressed in blue jeans, flannel shirt with bandana, and hat, and took out his hankie and waved it to the audience, signaling the start of Mortals and Angels. Commissioned by the DCINY Premiere Project, Mortals and Angels is a thirteen-movement work that is close to an hour in length. Jay Disney was the spokesperson for the Mortals, who were represented by the children’s choir dressed in black, Dailey & Vincent, and the audience members on the parquet level. Linda Powell was the spokesperson for the Angels- the choir members dressed in all white and the audience members in the upper levels. Mr. Disney gave the “back story” for what was to happen; in short, the “Mortals” were on a fishing vacation and happened to encounter a group of Angels at the same spot (just go with it…). Mr. Disney and Ms. Powell were both “personality plus”, and their playful banter with each other and the audience as they “defended” their sides’ interests was good, clean fun, and added to the theatric quality of the work, though I’m not sure if it was really necessary. Perhaps I’ll leave it at that and let others argue for each side.

The “Mortals” sans Dailey & Vincent were overwhelmingly outnumbered by the “Angels”. I’m still wondering if it was intended for a child’s choir to be “battling” forces seven times their numbers (Mr. Disney made a remark about the 222 singers behind him, as he pointed to the “Angels”). These youngsters gave it all they had, but they were almost completely covered. This is perhaps something that should be considered in future performances.

The text of the work flows with a natural ease, without any agendas (hidden or unhidden), and the music is sincere and without any pretense. This is a winning combination, and with the unique talents of Dailey & Vincent, it was a winning performance. The audience got into the act with the waving of those white handkerchiefs. It was definitely not your typical concert experience, but it was full of raucous joy, something our world today is often lacking.

“We Don’t Stay Afraid for Long” was a favorite, both for the music, and the verse, especially the lines, “Oh, some of us believe in zombies/Some in fairies and elves/Some of believe in angels/And some of us just believe in ourselves.” There’s a lot of wisdom in those words.

So one might ask who won, the Mortals or the Angels? Let’s call it a draw, or better yet, let’s say everyone won, with special credit to Dailey & Vincent, who were the stars not just of this work, but of the entire concert.

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

Distinguished Concerts International New York (DCINY) presents Two Cultures, One Dream in Review

Distinguished Concerts International New York (DCINY) presents Two Cultures, One Dream

Jonathan Griffith, DCINY Artistic Director and principal conductor; Jie Yi, Debut Conductor

Earnestine Rodgers Robinson, visiting composer; Heather Sorenson, arranger, orchestrator and accompanist

Ana Isabel Lazo, soprano; Ting Li, tenor; Tshombe Selby, tenor; Chai-Lun Yueh, baritone; Brian Wahlstrom, baritone and narrator; James T. Meeks and Michelle R. McKissack, narrators; Jiaju Shen, pipa

Distinguished Concerts Orchestra; Distinguished Concerts Singers International

Stern Auditorium, Carnegie Hall, New York, NY

February 16, 2015

Two Cultures, One Dream was the title of the concert presented by Distinguished Concerts International New York (DCINY) on February 16, 2015. While the “two cultures” were only implied as East and West, the “one dream” was explicit – freedom from oppression and the triumph of the people against their oppressors. With singers from Connecticut, Illinois, New Jersey, New York, North Carolina, Ohio, Texas, Washington, Canada, China, New Zealand, Taiwan, and “individuals from around the globe,” the stage was set for that at which DCINY excels – the “big show.”

The first half of the program was the Yellow River Cantata (which was reworked in 1969 at the instigation of Madame Mao into the well-known Yellow River Piano Concerto, by a “committee” of five Chinese composers) by Xian Xinghai (1905-1945). Xian was one of the first Chinese composers to have adopted western influences, having studied composition with Vincent D’Indy and Paul Dukas in Paris, and no doubt with Soviet composers during his time in the Soviet Union in the 1940s. Given the honorific “The People’s Composer” by Mao Zedong, Xian’s legacy rests largely his with his more “populist” works, the Yellow River Cantata being his best-known work with western influences.

Distinguished Concerts International New York (DCINY) presents Two Cultures, One Dream

The “original” Yellow River Cantata was written in 1939, which, according to Xian’s daughter, took only six days to complete. Using the poetry of Guang Weiran as the text, there are four performed versions, with seven to nine movements. The version performed on this occasion is the most frequently played, with seven movements. The writing is tonal and bears the influences of Mr. Xian’s western studies, sometimes in a derivative way. The melodic material is largely folk-influenced and uncomplicated. The work is to exhort the Chinese people to resist and repel the Japanese invaders who were occupying China at the time (1939). The idea of a musical work to rally the people is not unique (Shostakovich’s Symphony No.7 “Leningrad” being one of the most obvious examples), but it is chiefly this context that makes Yellow River Cantata effective. Each movement begins with a male narrator exhorting the people to action, using the Yellow River as a symbol of Chinese identity.

Now, after all this background, it is time to talk about the actual performance. This was one of the most energetic performances of any work I have seen in many years! There were no half-measures at any time; it was full tilt from start to finish by all. It was especially interesting to see how involved the chorus was in performance. It was obvious they were giving it their all, with evident pride, as if to say “This is our music, and we are proud to share it with you.” Conductor Jie Yi was a force of nature, with boundless energy and enthusiasm that won the day. Mr. Jie has star potential and charisma that reminds one of Gustavo Dudamel and the young Leonard Bernstein. The soloists were outstanding as well. Baritone Chai-Lun Yueh was confident and projected with both strength and dignity, tenor Ting Li and baritone Brian Wahlstrom in duet were well matched as Jiaju Shen set the mood with accompaniment on the pipa, while soprano Ana Isabel Lazo captured the heartbreak in “Lament of the Yellow River” with perfection. Finally, Mr. Wahlstrom’s narration was excellent, in both English and Chinese, as his voice filled the hall. The net result was, to this listener, a rare occasion where the quality of the performance exceeded the actual intrinsic value of the work itself.

After intermission, it was time for the world premiere of Exodus, a four-part oratorio depicting the story of the Israelites being held in captivity in Egypt, their ultimate escape, and their triumph in reaching the Promised Land. The story is so well known that I will not recount it here. The composer, Earnestine Rodgers Robinson, has written two other critically acclaimed oratorios, The Crucifixion and The Nativity. It is highly likely that Exodus will join these two works in similar esteem, as it is a piece of great power, worthy of the subject matter and never losing its hold on the listener in its nearly one-hour length. The vocal writing is highly effective and the first-rate orchestrations by Heather Sorenson serve to strengthen the work even more. I would like to make special mention of the setting of Psalm 23 in Part IV, which has been set by some “heavy hitters” in musical history. Ms. Robinson’s version can hold its own with any of them.

With the dynamic narrations from Pastor James T. Meeks and Michelle R. McKissack (a daughter of Ms. Robinson), the talented tenor Tshombe Selby, the return of Ms. Lazo with the hard-working Mr. Wohlstrom, and the passionate and well-prepared chorus, it was a winning performance. Led by the supremely able Jonathan Griffith, who has made an art form of leading forces of several hundred, and the fine Distinguished Concerts Orchestra, it was a great end to the evening. The audience obviously found this to be so, given the ovation and the cheers for Ms. Robinson when she came to the stage. Congratulations to all for a great concert.

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

Distinguished Concerts International New York (DCINY) presents The Music of Karl Jenkins in Review

Distinguished Concerts International New York (DCINY) presents The Music of Karl Jenkins

Karl Jenkins, composer/conductor

Jonathan Griffith, DCINY Artistic Director/Principal conductor

Lucy Knight, soprano; Mark Watson, baritone

Distinguished Concerts Orchestra; Distinguished Concerts Singers International

Stern Auditorium, Carnegie Hall, New York, NY

January 19, 2015

In what has become an annual tradition, Distinguished Concerts International New York (DCINY) presented a concert in celebration of Martin Luther King, Jr. Day featuring the music of Karl Jenkins. This edition was truly global in scope, with singers from Germany, South Africa, United Kingdom, Switzerland, Sweden, Canada, Russia, Ireland, Italy, California, and Massachusetts (including a children’s chorus). With a first half consisting of the United States premieres of Llareggub and The Healer, a second half featuring The Peacemakers, and a post-concert opportunity to greet Mr. Jenkins and have him autograph his latest CD release, it had all the makings of a special evening.

Before the concert proper, Mr. Jenkins joined DCINY conductor Jonathan Griffith on stage for an impromptu conversation about the works on the first half. There was much laughter as Mr. Griffith attempted to pronounce poet Dylan Thomas’s (invented) “Welsh” word Llareggub. Mr. Jenkins smiled as he gave what would be a “proper” Welsh pronunciation (k(ch)la-REG-gub), and then told the audience that when spelled backwards it has a very different meaning in English, a wordplay betraying Thomas’s sense of humor. I leave it for the reader to figure it out! Mr. Jenkins also expressed his admiration and thanks for the many texts written especially for him by his wife, Carol Barratt, a formidable talent in her own right. After a few closing words about Mr. Jenkins’s esteem for Terry Waite (who was captured by terrorists in January 1987 while working to secure the release of hostages, and held captive for nearly five years), who provided friendship and texts to the composer, Mr. Jenkins then took to the podium to conduct Llareggub.

Llareggub is a musical snapshot of life of the fictional village setting of Dylan Thomas’s Under Milk Wood. The three movements, Starless and Bible-Black, Eli Jenkins’ Prayer, and At the Sailor’s Arms, are played without break. Starless and Bible-Black is serene, with an atmospheric feeling that is strongly suggestive of a pitch-black night that slowly moves towards daybreak. The second movement, Eli Jenkins’ Prayer, features a quote from a hymn, “Burnt Oak”, written by Karl Jenkins’s father (not to be confused with Eli Jenkins, who was a creation of Dylan Thomas and bears no relation to the composer’s father). Concertmaster Jorge Ávila played his solo part with expressive feeling that was sentimental, but never maudlin. The finale, At the Sailor’s Arms, is a visit to the local pub, filled with chat, drinking, merriment, more drinking, brawling, and drinking until drunk. Complete with a honky-tonk piano, it was just like being there in the thick of it. One could easily imagine Dylan Thomas amongst the locals, matching them drink for drink. Mr. Jenkins led the Distinguished Concerts Orchestra with his customary understated manner, always letting the music and the musicians take center stage. Llagerggub was a delightful quarter-hour visit to the wonders and whimsy of Wales, a trip this listener very much enjoyed taking. I suspect the large audience shared my opinion, as they gave Mr. Jenkins a hearty ovation.

Karl Jenkins

After this happy romp, it was time to move to the serious side with The Healer. Subtitled A Cantata for St. Luke, The Healer is a nine-movement work scored for soprano and baritone soloists, chorus, strings, oboe (doubling on cor anglais), and percussion. Taking a page from his earlier Stabat Mater, the composer uses the middle-eastern percussion instruments (the riq and darbuca) to accentuate the sounds of the ancient land. With text from the Book of Common Prayer, St. Luke (from the Authorised Version (Luke 15: 3-7) and Vulgate (Luke 2:29-32) version of the Holy Bible), William Blake, Fyodor Dostoyevsky, Carol Barratt, Vivien Harrison, and Terry Waite, The Healer is another demonstration of Mr. Jenkins’s seemingly limitless ability to capture the essence of such evocative material with the simplest of means. A perusal of the score highlights this – it is deceptively simple, but the net effect is one of great import. This is the mark of a composer who has the courage to stick to his guns in a musical world that often scoffs at such an approach as pandering to the hoi polloi.

Highlights for this listener were in abundance, however I will limit myself to those I found the most compelling. Soprano Lucy Knight captured the essence of “The eyes of a child” with true innocence. Baritone Mark Watson projected strength throughout, and his “The Shepherd” was particularly fine. The large chorus was well prepared, from the chant-like Prologue to the Epilogue (Nunc dimittis). Special mention goes to oboe/cor anglais soloist Ryan Walsh for his excellent playing. The Healer can well join the growing list of works by Mr. Jenkins that should enjoy widespread performances.

After Intermission, it was time for the two-part, seventeen movement The Peacemakers. Scored for orchestra, chorus, soprano soloist, bass and ethnic flutes, ethnic percussion, Uilleann pipes, soprano saxophone, and electric bass, The Peacemakers resembles his earlier works The Armed Man in its blueprint and Stabat Mater in multicultural influences. Quoting Mr. Jenkins, “One line from Rumi sums up the ethos of the piece: ‘All religions, all singing one song: Peace be with you.'” This is an ideal that our world sadly is sorely lacking, as the composer himself lamented in his program notes. The texts for The Peacemakers comes from a variety of sources, some expected (Scripture from the Bible and Qur’an, Gandhi, the Dali Lama, Nelson Mandela, etc.), some unexpected (Albert Schweitzer, Percy Shelley, Anne Frank), and of course, Carol Barratt and Terry Waite.

Unlike The Armed Man, with the duality of war and peace, The Peacemakers is singularly focused on peace. The music draws one in and holds one in its thrall, rather than grabbing and pulling one as The Armed Man does. This is not to say that there are not any martial moments in The Peacemakers, but when they appear, it is a joyful call in the name of peace rather than any warlike saber rattling. As much as I would enjoy commenting on each of the seventeen movements, I am going to single out two movements that were my favorites, the hauntingly beautiful The Dove, with Lucy Knight’s exquisite heart-melting voice, and the amazing He had a dream- Elegy for Martin Luther King Jr. with the soprano saxophone’s bluesy riffs winding in and out of the melody, complete with a quote from Robert Schumann’s Träumerei. It could easily stand alone in performance , and would be a welcome addition to any musical tributes for Dr. King. Kudos to all the soloists (Jorge Ávila, Violin, Jesse Han, Bass Flute, Premik Russell Tubbs, Bonsuri and Ethnic Flutes, from NYJAZZ: Rob Derke, Soprano Saxophone; Carlo de Rosa, Electric Bass; and Andy Blanco, Ethnic Percussion, Joseph Mulvantrey, Uilleann Pipes), the Distinguished Concerts Orchestra, and the Distinguished Concerts Singers International.

Maestro Jonathan Griffith led yet another winning performance, as I have come to expect from this fine musician. It is no surprise that Mr. Griffith was awarded the 2014 American Prize in Conducting- professional orchestra division. The ovation was long, loud, and well earned. Mr. Jenkins took to the stage and modestly bowed while saluting the performers. It was a wonderful ending to a exceptional evening of music. I am already looking forward to January 18, 2016.

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

Distinguished Concerts International New York (DCINY) presents Misatango: A Tango Mass from Argentina in Review

Distinguished Concerts International New York (DCINY) presents Misatango: A Tango Mass from Argentina

Flutopia Wind Ensemble; Jennifer Lapple, Director

Tierra Adentro De Nuevo Mexico Dance Ensemble; Joaquin Encinias, Director/Vocalist

Pablo Christian Di Mario, Director; Martín Palmeri, Visiting Composer/Pianist; Kristy Swann, mezzo-soprano

Distinguished Concerts Orchestra, Distinguished Concerts Singers International

Stern Auditorium, Carnegie Hall, New York, NY

January 18, 2015

On a cold, rainy afternoon in New York, Distinguished Concerts International New York (DCINY) presented a concert entitled Misatango: A Tango Mass from Argentina. What better way to way to escape the weather than with the vibrant, lively sounds of far away Argentina, courtesy of performers from France, Brazil, Denmark, Germany, Switzerland, and of course, Argentina. Also featuring the Flutopia Wind Ensemble and the Tierra Adentro De Nuevo Mexico Dance Ensemble, the stage was set for a performance that proved to be a treat for the ears and eyes alike.

Distinguished Concerts International New York (DCINY) presents Misatango

The Flutopia Wind Ensemble took to the stage for the first half. Led by Jennifer Lapple, Flutopia is comprised of high school wind players from the Washington, D.C., and Northern Virginia areas. As one might guess from the name, the group is heavily weighted with flutists (with nineteen flutists among the forty-nine total players listed in the program). Opening with Beyond the Horizon, by Rossano Galante (a work that bears more than a passing resemblance to Frank Erickson’s Toccata for Band) the young players of Flutopia got off to a nervous start, with intonation issues and cracked notes in the brass section. One might chalk this up to jitters, but there was also a rather timid, “play-it-safe” approach that any experienced brass player will tell you is almost a guarantee for these problems to occur. Happily, the second piece, Zoltán Kodály’s Dances of Galanta was played with precision and charm. If anything (and this was a recurring theme throughout), one wanted a lot less restraint and more extroverted, ebullient playing. The ever-popular Eric Whitacre’s October was nicely played, and David Shaffer’s Costa del Sol was just pure fun. Ending with an energetically played Danse Bacchanale (from Camille Saint-Saëns’s Samson et Dalila), Flutopia brought their many supporters to their feet in a loud ovation. No matter what reservations I might have about a performance, it is always a delight to see the beaming smiles of the young performers from the stage.

A Tango Mass from Argentina

There were many individual soloists who played with great skill and polish. I would like to make special mention of the excellent (un-credited) clarinet soloist, as her playing was a cut above her talented band mates. Ms. Lapple led with a clear baton technique and demonstrative gestures to her players. Even between pieces, she took the time to step off the podium and communicate with the group. This is a well considered, nurturing approach, which can only benefit the developing young musicians. As a final thought from an eternal band geek, I would very much like to see Flutopia “go for it”, to take risks and really let loose.

After intermission, the Tierra Adentro De Nuevo Mexico Dance Ensemble, a group of young men and ladies, gave a wonderful performance of the art of flamenco. I will leave any specific commentary about the dancing to those who know better. That said, I will channel my inner Bruno Tonioli (the extremely passionate and animated judge of Dancing With the Stars), grab my score paddle, and thrust it up while shouting “TEN!”

Misatango: A Tango Mass from Argentina

The last work of the evening, Misa A Buenos Aires (Misatango), is a pairing of the traditional mass with the sounds of the tango. I admit that I had my doubts about this concept, but was still intrigued about it all as I watched the three-hundred-plus singers take the stage. Misatango is a six-movement work scored for chorus, string orchestra, bandoneón, and mezzo-soprano soloist. Quoting the composer, Martín Palmeri, “…my objective in this composition was to maintain the harmonic language, rhythms, melodic designs, and all the characteristics of the tango within the orchestra score, thus allowing the chorus to have the full liberty to ‘just sing the mass.'” One can say with certainty that Mr. Palmeri succeeded brilliantly in his objective. Misatango captures the simmering tension of the tango without any kitsch in the vocal writing. Indeed, one can sense the influences of Mozart throughout with a distinctive Argentinean flavor. Of the six movements, the Credo was the most compelling to this listener, but each movement commands interest.

Special praise must go to Kristy Swann, whose voice was simply ethereal, a beacon of light that would pierce any darkness. Conductor Pablo Christian Di Mario led the chorus and orchestra with skill, keeping the huge vocal forces from covering the orchestra while allowing them equal prominence. The Distinguished Concerts Orchestra was particularly outstanding in one of the better performances I have heard from these players. The audience rewarded all the performers a loud and prolonged ovation, giving Mr. Palmeri the lion’s share of the applause.

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

Distinguished Concerts International New York (DCINY) presents “I Believe… Remembering the Holocaust” in Review

Distinguished Concerts International New York (DCINY) presents “I Believe… Remembering the Holocaust”

Distinguished Concerts Orchestra, Distinguished Concerts Singers International

Jonathan Griffith, conductor

Donald McCullough, conductor/composer, Zane Zalis, visiting composer

Sara Jean Ford, soprano/”Tova”; Rachel Arky, mezzo-soprano; Peter Kendall Clark, baritone, Alexander Gemignani, “Reinhardt”; Drew Gehling, “Aaron”

Alice Tully Hall, Lincoln Center, New York, NY

November 9, 2014

As one who has been to many concerts given by Distinguished Concerts International New York (DCINY), I am very familiar with the “formula” employed; a joyful and/or uplifting theme presented on a large-scale, with world-class guest artists and exciting new compositions with singers of all ages from around the globe. The concert entitled “I Believe…Remembering the Holocaust” captured some of those ideals, but to call a performance in remembrance of what was arguably the most horrific example of cruelty in mankind’s history “joyous” would be inconceivable; it was, however, a thought-provoking and emotionally charged evening that would have been moving even to the hardest heart. A portion of the ticket sales went to benefit the Holocaust Resource Center of Temple Judea, in Manhasset, New York.

Singers from Connecticut, Washington DC, Florida, Virginia, California, Austria, Germany, Canada, and “individuals from around the globe” joined together with the Distinguished Concerts Orchestra in the United States premieres of two works- In the Shadow of the Holocaust and I Believe.

In the Shadow of the Holocaust is a thirteen-movement work featuring music from the archives of Holocaust survivor Aleksander Kulisiewicz (1918-1992), an amateur singer and songwriter, and compiler of songs from his five years of imprisonment. Donald McCullough selected and arranged music from this archive, but also decided to include articles and letters as well to be read before each section. Opening with a sorrow-filled lament played by a cello soloist, the tone was set for a work of sadness, strength, dignity in the face of unspeakable horror, and undying hope. Mr. McCullough proved himself to be not only a capable arranger, but also an effective and sensitive conductor. In my opinion, the selected readings gave the work the foundation of its power. The readers were all excellent, but I must single out Janet Snell in her reading of Letter to Mom. Her reading was so convincing that I am still emotionally devastated – it was absolutely one of the most heartbreaking things I have ever heard. The cello soloist was Caitlin Sullivan, who played with the skill of a first-rate performer and the understanding and emotional projection of a true artist throughout the work. Vocal soloists Sara Jean Ford, Rachel Arky, and Peter Kendall Clark were not to be overshadowed in their featured roles. After the end of the last movement, the silence hung in the air for what seemed an eternity. Mr. McCullough silently closed the score, set his baton down on the podium and turned to face the audience. It almost seemed that to applaud would have been inappropriate after this emotionally draining journey, but at last the silence was broken, and a justly deserved ovation was given to the performers.

I Believe, composed by Zane Zalis, was the second half. This twelve-movement work is well over an hour in length (the program listing it as sixty-five minutes) and has been called a “Holocaust Oratorio”. This designation is apt, but not in the conventional sense of the word. I consider I Believe to have much more in common with Broadway songs then the operatic styles of a conventional oratorio. Far from being a criticism, this quality is in my opinion the strength of this piece, the element that makes it “work.” It is accessible and has appeal to a wide range of listeners. I Believe follows the timeline of the genesis of the Holocaust through the aftermath. It would be beyond the scope of this review to detail each movement, but I highly recommend the reader to visit http://www.ibelieveproject.org/about-excerpts-chapter01.php to explore the story behind each movement.

Broadway singing sensation Sara Jean Ford was an ideal choice for the role of Tova. The child-like innocence of Tova was captured with the added dimension of a soaring, beautiful voice for songs that demanded a singer with her qualities. Alexander Gemignani, as the vile Reinhardt, was a revelation. He was so effective in his role that I found myself despising him with a vengeance each time he spoke, especially when he spewed out the hate-filled rants of Adolf Hitler. Drew Gehling, as Aaron, projected dignity and hope with a voice that reminded me very much of Josh Groban, a singer I enjoy hearing.

Conductor Jonathan Griffith led the large forces with a steady hand in yet another excellent performance I have come to expect as par for the course from this excellent musician. The complexities of the vocal polyphony went without a hitch from the well-prepared chorus members, including a very talented children’s chorus. Barely had the last note died away when the audience leapt up in an ovation. When Mr. Zalis took to the stage, the ovation went from a thunder to a roar. It was a well-earned reaction for an amazing performance of a power-packed work.

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

Distinguished Concerts International New York presents Tzu-Yi Chen in Review

Distinguished Concerts International New York presents Tzu-Yi Chen

Tzu-Yi Chen, piano

Weill Recital Hall at Carnegie Hall, New York, NY

October 11, 2014

A magnificent recital took place on October 11 by Taipei-born pianist Tzu-Yi Chen. I am going to have to discipline myself not to use every superlative in the first paragraph. Suffice it to say that, in a wide-ranging program, she displayed not only the usual technical command one expects, but beautiful tone, total artistic involvement, deep feeling, stylistic understanding, and in an era of cookie-cutter musicians, the feeling of spontaneity, even risk, that makes an evening truly memorable, often electrifying.

The first half of the recital was devoted to “classicism/variation” and the second half to “programmatic illustration.”

Ms. Chen opened with a jewel of late Mozart, Nine Variations in D major on a Minuet by Jean-Pierre Duport, K. 573, written in 1789 to curry favor for possible employment in Potsdam, to a minuet tune by Prussian King Friedrich Wilhelm’s cellist. The theme, ninety percent of which -adheres only to notes found in the tonic triad, was presented with limpid grace, perfect phrasing, and breathing that never went overboard. Each variation unfolded with a plan, yet managed to sound as if she was improvising it on the spot. Each repeat was taken, with subtle and tasteful color differences that never overstepped the vocabulary of the period. In the heart-rending D Minor variation, Ms. Chen inhabited it as if it was a lost lament intended for Pamina in Die Zauberflöte, with the fatality of the Neapolitan sixth chord experienced deeply. Next came one of middle-period Brahms’ more massive creations, the Variations and Fugue on a Theme by Handel, Op. 24. Even from the opening notes of the original Handel, Ms. Chen presented the audience with the sound world of Brahms, an interpretation with which I agree. Every single tempo change and nuance was observed, with never a feeling of over-planning. The music simply seemed to be welling up from some secret source within her. Her sense of lyricism and rubato was beautiful. Her pedaling created sophisticated mixtures of harmony, which are specified by Brahms or at least implied by the notation. I can only single out a few highlights from this giant work: Var. VI, the misterioso was the spookiest I’ve ever heard; Var. XII, the soave was indeed suave; Var. XIV, the sciolto (literally: unbound, or non-legato) was ecstatic; Var. XXII, the Musette floated on a cloud of B-Flat; the mad whirling of Var. XXIV was hair-raising. The fugue was presented as a grand quasi-orchestral sonority, complete with majestic bell-ringing.

After intermission, Ms. Chen played the Suite Astrologique for Piano by a fellow-countryperson, Lan-In Winnie Yang (b. 1980). I’m glad the composer didn’t feel the need to follow the calendar, but arranged the twelve short vignettes, one for each sign, in an order that allows the music to flow best. Her work has many audible influences, Scriabin, Chopin, Schoenberg, Rachmaninoff, even a wink here and there to jazz or ragtime, but it manages to remain original and atmospheric, especially when confided to the rich tonal palette of Ms. Chen. If one had stripped the titles from each piece and simply called the totality “Suite,” I feel it still would have had impact. Ms. Chen closed with the titanic Pictures at an Exhibition by Mussorgsky, illustrations in music of artworks by a recently deceased friend of the composer, Victor Hartmann. From the opening notes of the first “Promenade” (Mussorgsky’s unifying device that represents walking through the gallery from picture to picture), she became a completely authoritative “Russian” pianist in tone and brilliance. She really opened up for this work’s fierce demands, but always put the emotional content first. One of my favorite sections, not the loudest or fastest, has always been “Catacombs: Con Mortuis in Lingua Mortua” (With the Dead in a Dead Language), which Ms. Chen played as though she herself had either invented the catacomb many thousands of years ago, or been trapped in one. The audience rose to award her a richly deserved standing ovation after she dispatched the octaves of the “Hut on Fowl’s Legs (Baba-Yagá)” with ferocity, and the “Great Gate of Kiev” was depicted triumphantly.

She favored us with two encores, first the final movement of the Ginastera Piano Sonata No.1, Op. 22, marked Ruvido ed ostinato (rough and obstinate), which was white-hot, and played with both total abandon and control, if that’s not too paradoxical. In the second encore, the Bach/Busoni Ich ruf zu Dir, Herr Jesu Christ emerged as a plaintive call of homesickness to her native country. She has traveled much for her training: Paris, Germany, and she now resides in Washington DC, where she must bring great joy and fine instruction to her students in the Levine School of Music. I would like to hear some of French repertoire the next time she appears and there certainly will be many, many more times.

by Frank Daykin for New York Concert Review; New York, NY

Distinguished Concerts International New York (DCINY) presents “Under the Western Sky” in Review

Distinguished Concerts International New York (DCINY) presents “Under the Western Sky”

Utah Voices and Legacy Brass Ensemble; Michael D. Huff, director; Carrie Morris, accompanist

Mariachi Espuelas de Plata; Ramon Niño III and Imelda Martinez, co-directors

Cristian Graces, DCINY Debut Conductor; Distinguished Concerts Singers International

Stern Auditorium, Carnegie Hall; New York, NY

June 22, 2014

The program presented by DCINY under the umbrella title of “Under the Western Sky” was really three concerts in one, a rare treat for the enthusiastic audience.

The first half was called “Hometown Praise: Music From Utah,” featuring the Utah Voices, led by Michael D. Huff, accompanied by the Legacy Brass Ensemble and Carrie Morris, keyboard (and an unidentified organist). The large choir (approximately 110 members by my estimate) was perfectly prepared, in tune, with rich full tone that could produce a thrilling forte or whisper more confidentially at the softer dynamics. If you think “Utah choir” means only the Mormon Tabernacle Choir, you need to hear this group. Only a few times did they threaten to be overwhelmed, balance-wise, by the excellent brass players.

Their selections made one realize what a crucial role the sense of place plays in both faith and patriotism. Standouts included Kurt Bestor’s “Prayer of the Children,” a harrowing plea for peace based on the composer’s experience in Yugoslavia as a Mormon missionary, and Utah composer Leroy Robertson’s setting of “The Lord’s Prayer,” from his Oratorio from the Book of Mormon, NOT to be confused with the irreverent hit Broadway musical. The Irish folk song “Be Thou My Vision” arranged by the conductor, Mr. Huff, was beautifully done, with special contribution from Carrie Morris, finally getting to play the nine-foot Steinway instead of the electronic synthesizer she had been using prior. The section concluded with the rousing English folk song “Thou Gracious God, Whose Mercy Leads,” better known to some as “Oh Waly, Waly.”

After intermission, the tone shifted to a youthful emphasis. First came the charming Mariachi Espuelas de Plata, an award-winning high school group from North Side High School in Fort Worth, Texas. Their three pieces were done with suavity and great flair, using different combinations of the traditional violin, trumpet, guitar, one flute, and one harp, and some vocals.

They then made way for the Distinguished Concert Singers International, a sort of collective choir, indeed international, of all-treble voices from: South Carolina, Indiana, Honduras, California, Australia, Washington State, Norway, Maryland, and Oregon. These girls’ and (unchanged) boys’ voices were scrupulously prepared, each choir by its own regular conductor, before meeting the excellent DCINY debut conductor/composer Cristian Grases.

Much of their work involved the integration of eurhythmics, that method of instilling music in early childhood through the use of bodily movement. You could feel how comfortable everyone was with the complex arrangements, all of which were done with clear diction and excellent pitch and humor, with a choir about double the size of the Utah Voices.

Dr. Grases clearly has a flair for this work, and must be applauded for his care. He was honored with the world premiere of his own Gloria, a setting of the second portion of the Ordinary of the Catholic Mass. Dr. Grases’ is in Spanish, and each of the five sections is a rhythmic travelogue of Latin America, from Colombia to Puerto Rico, the Andes, Venezuela, and Cuba. The joyful bounce was surely appropriate for this most celebratory section of the Mass, even if the numbers did have a certain “sameness” to them, that’s just nit-picking on my part.

Earlier, the choir had imitated the wind, and the conductor invited the audience to join in as well, in “El Viento” from OperetaEcológica, by Dr. Grases’ teacher, Alberto Grau, whose clever reworking of “La Cucaracha” culminated with the extermination of the bug ( Dr. Grases himself) by a cute child imitating a bug spray can.

The entire afternoon was a multicultural and multi-musical celebration. Bravi!

by Frank Daykin for New York Concert Review; New York, NY

Distinguished Concerts International New York (DCINY) presents “Dream a Better World . . . Ignite the Spirit!” in Review

Distinguished Concerts International New York (DCINY) presents “Dream a Better World . . . Ignite the Spirit!”

Lincoln High School Gospel Choir, T.H.I.S Movement Players

Darcy Reese, Director

Darnell Davis and The Remnant

Tonia Hughes, special guest

Alice Tully Hall, Lincoln Center, New York, NY

June 14, 2014

Good news! Gospel is alive and well in Minnesota. “Gospel” means “good news,” so this is particularly appropriate. Distinguished Concerts International New York (DCINY) presented a thrilling evening of mission-inspired music in a concert entitled “Dream a Better World…Ignite the Spirit!” at Alice Tully Hall on Saturday, June 14, 2014.

Once in a very great while, all critical apparatus simply must be thrown out the window in favor of a totally emotional “surrender” response to music-making that is so energetic and joyful that words would only diminish it. Nevertheless, I must try with a few words to convey a portion of what took place.

This is the very best of what American youth looks like, in an era when the din of school shootings and bullying threatens to absorb all our attention. Not only was the dedication of the students bursting forth, but the obvious glory of their fine teacher, Darcy Reese, and the supporting musicians and the community that gives rise to the group. The choir celebrates and emphasizes diversity. You can see the joyful commitment on every face. They move and respond naturally to the music in a way the canned antics of the television show Glee can’t equal. This is the real thing: glee.

I was seated amid many Minnesotans, who were beaming with pride. I heard their stories of cancelled flights, and four-, ten-, twelve-hour delays in getting to New York. It was all worth it for them and for the audience. Their children sang a two-hour program of excellent, mostly gospel, arrangements, all from memory. Many solo turns were taken by members of the choir, and they all performed with exquisite poise and sincerity. A few of the pieces were more like “soft” belief-oriented rock, and there were also a few readings made over background music.

The T.H.I.S. (The Hero Inside Shines) Movement was particularly inspiring, with its mission: “We refuse to let the world be as it is. We refuse to blind ourselves by excuses and lies. We are determined to have an effect on the world. We will persevere and change our world, one action, one note at a time.” The students have raised thousands of dollars for worthy causes, including Haiti, Africa, and the “Bully Bench” for children to sit on if they have no one to play with at recess, from a hometown of only 8000 people. If they had blown the roof off of Alice Tully Hall more than metaphorically, I’m certain their life-affirming energy would have spilled over the city, healing and transforming.

Special mention must be made of the heaven-bound singing of the guest artist Tonia Hughes, and one incredible pianist, Aaron Fagerstrom, whose understanding of authentic gospel style goes way beyond his young years. He made me smile when he finished a certain phrase using his wrist as a shock absorber, tapering beautifully and sensitively in the best “classical” manner.

In the words of Ms Reese: “Take the journey, experience the music, and pass it on.” Mission accomplished.

by Frank Daykin for New York Concert Review; New York, NY

Distinguished Concerts International New York (DCINY) presents Bluegrass & Gray: Sounds of Americana in Review

Distinguished Concerts International New York (DCINY) presents Bluegrass & Gray: Sounds of Americana

Distinguished Concerts Orchestra, Distinguished Concerts Singers International

Jefferson Johnson, DCINY Debut Conductor; Michael Adelson, Guest Conductor
Carol Barnett, Composer-in-Residence; John Purifoy, Composer-in-Residence
Special Guest: Dailey & Vincent

Stern Auditorium, Carnegie Hall, New York, NY

June 8, 2014

I may have been the only New Yorker in a sea of warm and appreciative Southerners for the presentation by Distinguished Concerts International New York (DCINY) of Bluegrass and Gray: Sounds of Americana, an unconventional program of choral and bluegrass music on the main stage of Carnegie Hall. While it is not unusual for a wide variety of ensembles to appear at Stern Auditorium, this performance was an odd mixture of styles, genres, and levels of professionalism.

The concert consisted of three parts, of which the second, a tour de force by the bluegrass band Dailey and Vincent, was the joyous highlight. I am not an aficionado of bluegrass music, but the level of technique and musicality shown by these players rivals that of the most celebrated groups in any branch of entertainment. It took a few tunes to adjust the balance of amplification, and when the band was playing at full volume, the lyrics of the songs were unintelligible. The instrumental solos, however, were tight and clean, even at the most bracing speed. At the core of the group is a quartet of very fine singers, anchored by a rock solid bass (Christian Davis) and a tenor who can both float and belt,
Jamie Dailey. All of the players, without exception, were impressive, but I must single out Darrin Vincent and Jeff Parker for their ease of execution and spontaneity.

Framing the Dailey and Vincent set were two choral works featuring choirs from Florida, Kentucky, Mississippi, New York, Tennessee, and Washington: John Purifoy’s The Chronicles of Blue and Gray and Carol Barnett’s The World Beloved: A Bluegrass Mass. A work with serious intentions, The Chronicles of Blue and Gray had moments of simple, unaffected beauty. The text was assembled from writings of the Civil War era – popular songs, letters, speeches, and poetry, highlighting the anguish caused by the violent rift between North and South. The speeches of Abraham Lincoln and the heartbreaking letters of soldiers about to die are difficult to improve upon by setting them to music. Mr. Purifoy chose the smartest path- largely staying out of the way of his libretto. His writing is idiomatic and generous, especially in the long, beautifully sung duet for Caitlin Hawkins and Travis Hazelwood. In the end, though, I felt that the work could have used more invention and daring on the part of the composer. Distant trumpets, lonely field drums, and open harmonies are overly familiar and specific aural images for war. They lose their effectiveness, though, with repetition.

The finale of the program, The World Beloved: A Bluegrass Mass, smartly retained the services of Dailey and Vincent as both backup band and soloists. Ms. Barnett provided a well-crafted, challenging composition for both chorus and guest artists. She has a light touch with difficult music, and the combined choruses, for the most part, rose to the occasion. The only miscalculation was the disparity between the highly amplified sound of the bluegrass ensemble and the more natural acoustic of the voices, which dampened the effect of even their most compelling passages.

Both choral works benefited from the clear and precise direction of the conductors Michael Adelson and Jefferson Johnson. Mr. Adelson, in particular, was impressive in his control of detail and phrasing. The very fine orchestra, credited simply as the Distinguished Concerts Orchestra, deserved to be listed in full for their excellent contributions to the program. The expertise of their playing, as of Dailey and Vincent, elevated the entire afternoon to a level worthy of Carnegie Hall.

by David La Marche for New York Concert Review; New York, NY