Distinguished Concerts International New York (DCINY) presents The Cry of Jeremiah in Review

Distinguished Concerts International New York (DCINY) presents The Cry of Jeremiah in Review

Distinguished Concerts International New York (DCINY) presents The Cry of Jeremiah
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Robert A. Harris, composer/conductor
William C. Powell, DCINY Debut Conductor; Rosephanye Powell, composer/narrator
Alice Tully Hall, Lincoln Center; New York, NY
May 10, 2014
 
Cry of Jeremiah

The Cry of Jeremiah

 

Distinguished Concerts International New York (DCINY) presented a concert of works by prominent African-American composers and scholars Robert Harris and Rosephanye Powell in a program entitled “The Cry of Jeremiah,” at Alice Tully Hall at Lincoln Center on May 10, 2014. Mr. Powell was to conduct the New York premiere of his Gloria. The Cry of Jeremiah (also a New York premiere)was to feature the composer, Ms. Powell as the narrator, with her husband William Powell conducting. With approximately two hundred and fifty singers from Alabama, Illinois, Florida, North Carolina, South Dakota, the Bahamas, and “individuals from around the globe,” it was the tried-and true DCINY formula: Bring together talented musicians and let the magic unfold. This performance was no exception.

Opening the concert was the Gloria. It is a five-movement work scored for chorus, soprano soloist, and orchestra. The movements are Gloria in excelsis Deo, Laudamas Te, Domine Deus, Qui tollis, and Quoniam tu solus sanctus. As is stated in the notes, any of these movements could be performed independently. Often this modular approach leads to some unevenness, but the five movements mesh together well. Gloria is a work filled with brilliance and poignancy. Gloria in excelsis Deo is strongly reminiscent of the opening movement of John Rutter’s Gloria in both the brass and vocal writing. Soprano soloist Heather Hill was exceptional in her role in the Domine Deus and Quomium tu solus sanctus movements. Her upper register was crystalline in its clarity and beauty, with an exquisitely controlled vibrato that was perfect for this work. This listener found the Qui tollis to be particularly compelling both harmonically and stylistically. The bold final movement dies away to a quiet ending with the word Amen delivered almost in a whisper. Mr. Harris is a no-nonsense conductor, who led with understated restraint.It was a performance of which the chorus, orchestra, and soloist could be proud.

The Cry of Jeremiah tells the story of the prophet Jeremiah’s struggles as he is abused and imprisoned for his prophecies. This four-movement work is scored for narrator, chorus, organ, and orchestra, and freely uses the 20th chapter of the book of Jeremiah for the text. Those movements (and corresponding verses) are entitled Is Not His Word Like a Fire (Jeremiah 20:9), O Lord, You Have Deceived Me (Jeremiah 20:7-9), Cursed Be the Day (Jeremiah 20: 14-18),and Hallelujah! (Jeremiah 20:11-13).Each movement opens with the narrator speaking as Jeremiah before the chorus and orchestra enter.

As well as being an accomplished composer, Ms. Powell is an exceptional orator. She became Jeremiah as the words came forth with raw emotion. Those words were at turns despairing, raging, and finally, exultant. The power of her oratory was spellbinding, deepening the meaning of the music that followed. One wonders, with the narration so inextricably bound to the music, whether a less passionate narrator (or omitting the narration) might possibly nullify the power of the music, but such is the case with many similar compositions. In any case, this work most likely was written with a very specific audience in mind, and while it is an effective work for the concert stage, it is an emotionally supercharged work that would enjoy great success in performances at churches or houses of worship.

The music of The Cry of Jeremiah is eclectic. There is Baroque-influenced contrapuntal writing mingling with jazz harmonies and rhythms, and African-American spiritual/gospel vocal styles. Combined with the narration, this is a theatrical work that demands not just to be heard, but to be experienced in all its glory. Conductor William Powell led the Distinguished Concerts Orchestra and chorus with the quiet strength and confidence of one who is in full command. The chorus radiated the emotions of the spoken words with equally passionate ensemble singing. The audience was so taken by this work that they greeted the end of each movement with enthusiastic applause, in spite of the request in the program to hold all applause until the end of the final movement.

When soprano Brandy Woods came to the front of the stage in the Hallelujah! and unleashed a improvisatory solo while the chorus swayed and clapped in a frenzied joy, it brought the already excited audience to a fever pitch. When the last note was sounded the audience sprang up as one in a thunderous ovation, saving the greatest appreciation for Ms. Powell, who was the star of the evening. Ms. Powell joined Ms. Woods in a jubilant gospel-style improvisation as the chorus encored the last section of the Hallelujah. The audience clapped and swayed along to bring the evening to a triumphant close.

 

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by Jeffrey Williams  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 International New York (DCINY) presents Vocal Colors
Alice Tully Hall, Lincoln Center; New York, NY
April 12, 2014

 

What does one call a concert with 243 singers drawn from seven choirs from Alabama, Georgia, and Indiana, singing fourteen works by fourteen different composers? The presenting organization Distinguished Concerts International New York (DCINY) called it “Vocal Colors,” in what was a night filled with a wide variety of music, some playful, some poignant, but all performed with commitment and a sense of joy.

The honor of opening the concert was given to the Alabama A&M University Concert Choir. Led by Horace R. Carney, Jr., they offered six works that showcased their versatility in a wide range of styles. Humor abounded in Paul Carey’s Play With Your Food, featuring some clever skits (including a serenade to a box of instant mashed potatoes), which had the audience laughing out loud. Water Night by Eric Whitacre was done with sensitivity, but the gospel inspired works were a cut above the rest. The opening work, Lift Every Voice and Sing from Roland Carter, immediately established that this choir was the real deal. Hehlehlooyah from James Furman allowed the choir to demonstrate their mastery of more contemporary complexities, and Stacy Gibbs’ setting of Psalm 46 in Be Still and Know was given a quietly powerful and assured performance. Maestro Carney extolled his choir to pull out all the stops in Moses Hogan’s Elijah, a dazzling tour-de-force that ended their set in triumphant style. The audience loved it and showed the appreciation for this high-octane finale with a well-served standing ovation. I must admit that I would have expected an ensemble of this caliber to close the concert. The high-level of their performance no doubt inspired the two choirs that followed.

After a short pause, four choirs from Indiana joined together under the direction of Scott R. Buchanan. They were the Cathedral High School Singers, the Elkhart Memorial Chamber Choir, the Indiana State University Concert Choir, and the Terre Haute South Chamber Singers. They offered seven works. As with the Alabama singers, versatility was very much a theme. The simple (F. Melius Christiansen’s Praise to the Lord and Blow Ye the Trumpet by Kirke Mechem) and the complex (Hosanna in excelsis from Brent Pierce) were delivered with equal measures of skill in very polished performances. Not to be overlooked were the lovely Autumn by Joshua Shank, using Rainier Maria Rilke’s poem of the same name for the text, and Jeffery L. Ames’ achingly poignant In Remembrance, including piano and violin accompaniment,written after a tragic accident that took the life of one of the composer’s students and two members of her family. Maestro Buchanan steered his forces through these diverse works with careful attention to the subtle details. The highlight of their set was Ritmo by Dan Davison, which was a treat for both eyes and ears. Complete with polyrhythmic hand clapping and stomping, the choreographed movements were in perfect synch, which added an extra dimension to a lively, exciting work. In a final touch of showmanship, the singers executed the “wave” to the delight of all. They brought their set and the half to a festive close with Damon H. Dandridge’s energetic Rockin’ Jerusalem, which was rewarded with a standing ovation.

After intermission, The Combined Choral Ensembles of Davidson Fine Arts School and Westminster Chorale took the stage. Hailing from Georgia, these young singers were led by Timothy Michael Powell in his work Saint George and the Dragon. Many are familiar with the legend of Saint George rescuing the captive Princess Sabra from the evil dragon Ascalon and saving the Kingdom of Silene.  In this version, with libretto by Charles Anthony Silvestri, the story is given a new telling fitting for today’s world. The Princess is someone who wishes to explore everything, but her father gives her up in ignorance to what he thinks is a monster. The dragon is a force for good and sets the Princess free and offers to carry her around the world so she might explore. Finally, our erstwhile hero George is an awkward teenager who is sincere but completely misguided what he believes to be his duty. He is not very bright, but eventually the dragon teaches him with compassion that there is more to things than meets the eyes. George grows into a hero worthy of sainthood, and Sabra and Ascalon fly off to explore the world.  The message is clear:  1. Women do not need saving, they are strong and smart. 2. Appearances can be deceiving. 3. We are all capable of rising above long-held prejudices if we open our minds and hearts to do so.  Mr. Powell has written a work that allows younger singers to showcase their developing talents, without making it sound pandering, a mark of a skilled composer who understands the voice in all stages of development. Including a piano and violin accompaniment, this work was led with the steady guiding influence of Mr. Powell. It was given a standout performance by some up-and-coming talents. It is always a treat to see the smiles on the faces of these young performers as they give it their all. It is an image I never tire of, and when it is paired with a polished performance, it is all the better. The audience loved it and rewarded the group with a standing ovation, ending what was a great evening of music.

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents Bridges to the Future in Review

Distinguished Concerts International New York (DCINY) presents Bridges to the Future in Review

Distinguished Concerts International New York (DCINY) presents Bridges to the Future
The University of Southern Denmark Symphony Orchestra, Saul Zaks, director
Hershey Symphony Orchestra, Sandra Dackow, director
Stern Auditorium at Carnegie Hall, New York, NY
April 22, 2014
 

Distinguished Concerts International New York (DCINY) is justly renowned for presenting groups and performers from around the world in New York’s famous concert halls – and to enthusiastic audiences. On April 22, DCINY presented not one, but two orchestras, the University of Southern Denmark Symphony Orchestra and the Hershey Symphony Orchestra in a concert entitled “Bridges to the Future.”

The University of Southern Denmark Symphony Orchestra took to the stage to start the concert. “Dance of the Cocks” from the opera Maskarade (Masquerade) by Carl Nielsen (1865-1931) was the first piece. What could be more natural than a Danish orchestra playing a selection from Denmark’s national opera and from the pen of the man most consider to be Denmark’s greatest composer? This spirited piece was played with an extroverted and expansive sound, from the bold, decisive attacks in the opening bars to the rousing finish. The string section was especially strong in some very fine ensemble playing. The winds had moments of less than precise playing, but the overall effect was excellent. Conductor Saul Zaks led with a steady hand, never allowing the exuberance of Nielsen’s conception to become overblown.

Following the Nielsen was the Piano Concerto in A minor, Op. 16, by Edvard Grieg. Of course Grieg was Norwegian, not Danish, but one can make allowances for the Scandinavian connection. Christian Skovgaard Flarup was the un-credited soloist (this I was able to figure out from the personnel listing of the orchestra and connecting his appearance at the piano in a later work). In what can only be described as a curious choice, the first two movements were the only ones played. I am familiar with the idea of playing a single movement of a concerto (usually as a time-saver or time-filler, or for a young artist to play with orchestra as a special reward), but to offer two movements, while omitting the third strikes me as a poor decision. One can speculate on the reasons for this – the most plausible (based on a last-minute quality to the performance) might be that the soloist had not as yet mastered the finale. The net effect spoiled the work, and it would have been better either to omit the second movement as well or to have not played the work at all. There were moments in the first movement when orchestra and soloist were out of synch, but Maestro Zaks worked very diligently to keep everyone together. Mr. Flarup gave a credible performance, but the cadenza in the first movement was played with excessive caution, which stripped all the drama away. He has undeniable talent, but there is still much work to do, based on this concert.

Following the Grieg came music from the 1942 ballet Tolv med Posten, Op.37 (“Twelve by the Mail,” based on the Hans Christian Andersen story of the same name), by Estonian-born, Danish composer Knudåge Riisager (1897-1974). Three selections were offered, full of charm and whimsy, but also including some brilliant writing for the brass. The excellent string playing was joined by equally dynamic work from the winds and brass. In the closing measures of the last selection, the entire winds and brass sections stood, bringing this delightful set to a joyful close.

As a last-minute addition to the program, Oblivion, by the Argentine tango master Astor Piazzolla, ended the half. After the happy-go-lucky Riisager, it seemed to be an odd choice to end the half with this melancholic piece. Perhaps it was meant as a warm-up for the second portion of their program. In any case, the cello soloist was rewarded with a standing ovation for his sensitive performance. Sadly, his name was only hastily announced before the start of the program as the large audience was at its pre-concert loudest, drowning out any hope of actually hearing it.

Before moving on to the second half, I must address a serious issue. The complete omission of any program notes, biographical information for composers, and soloists’ names (especially in a Piano Concerto!) was at best an unaccountable carelessness that I am not prepared to excuse (not to mention the misspelling of Danish national treasure, Hans Christian Andersen). This concert was a big event for this orchestra, playing in one of the finest concert halls in the world, so it is mind-boggling that these amateurish oversights occurred. It is disrespectful to the listening audience, who should not be expected to have expert knowledge of these works and the composers. It undercuts the efforts of these fine musicians, who, of course are not responsible for this, but nonetheless are assigned the guilt by association. They, as well as the audience, deserve better.

The Hershey Symphony Orchestra hails from Hershey, Pennsylvania. Led by the energetic Sandra Dackow (who provided program notes for her group’s works), they took the stage to open the second half. Their program consisted of two works, Danzón No. 2 by the Mexican composer Arturo Márquez (b. 1950) and the much-loved Polovtsian Dances from Prince Igor of Alexander Borodin.

Danzón No. 2 is a work overflowing with rhythmic vitality that captures the energy of the Cuban and Mexican dance style that it is named for. While it was premiered in 1994, its explosion of popularity can be attributed to Gustavo Dudamel’s programming of this work in 2007 for a North American tour with the Simón Bolívar Youth Orchestra. Maestra Dackow was an ebullient tour guide as she led her ensemble in what can be called a ten-minute journey of unbridled fun. The playing was passion-filled, and at times even overzealous in terms of volume, but no doubt the Hershey players were captured by the adrenaline rush of the moment. In any case, I’ll happily take some over-exuberance to a lackluster reading every time.

Next up was Borodin’s Polovstian Dances. Themes from these dances were used in the musical Kismet, the most famous being the unforgettable Stranger in Paradise. From the hauntingly beautiful opening and first theme, to the final notes, this was another performance filled with animated conducting and playing. Aside from occasional intonation issues, this was a fine performance of which the Hershey Symphony can be proud. One could sense that both Maestra Dockow and the orchestra were having the performance of their lives. One often hears of athletes “being in the zone” when they are performing at an exceptionally high level. The Hershey Symphony was in the zone, and it was wonderful to see Maestra Dockow pump her fist in exaltation at the end of the Borodin. The audience agreed and responded with a raucous standing ovation.

After a small pause, The University of Southern Denmark Symphony Orchestra returned to the stage for the second portion of their program, which was dedicated to the art of the tango. This might seem an odd choice from a Danish orchestra, but one considers that Maestro Zaks was born and raised in Argentina, it all makes sense. Bandoneon player Paolo Russo was the soloist in works by Piazzolla, Eduardo Rovira, Carl Nielsen (in an arrangement Mr. Russo made) and a work from his own pen called Corrientes y Callao. Maestro Zaks has taught his orchestra the art of the tango well in performances that transported the audience to the cafes and clubs of Buenos Aires. Mr. Russo was an engaging soloist, capturing the mood with both his skillful playing and his charismatic stage demeanor. All the stops were pulled out for the last piece of the night, Piazzolla’s popular Libertango, which closed the tango set with a bang. The audience members roared their approval.

 

 

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents The Drop of Dawn in Review

Distinguished Concerts International New York (DCINY) presents The Drop of Dawn in Review

Distinguished Concerts International New York (DCINY) presents The Drop of Dawn
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Jonathan Griffith, Music Director; Christopher Tin, composer-in-residence
Stern Auditorium at Carnegie Hall, New York, NY
April 13, 2014
 

In a concert entitled The Drop of Dawn, Distinguished Concerts International New York (DCINY) presented the music of Christopher Tin. The title makes reference to the two works on the program, Calling All Dawns, and the World Premiere of his latest work, The Drop That Contained the Sea. Featuring eight vocal soloists and chorus members from Georgia, North Carolina, Illinois, Washington, California, Wisconsin, Vermont, Indiana, Pennsylvania, Canada, England, and “individuals around the globe” (the program listed 543 singers!), it was what I have come to expect from DCINY – an extravaganza.

Christopher Tin (b. 1976) is a composer whose works cover diverse genres. Mr. Tin has written for orchestra, electronica, film and television, and video games. Calling All Dawns won two Grammy awards, for Best Crossover Classical Album and Best Instrumental Arrangement Accompanying Vocalists (for Baba Yetu).

The concert opened with Calling All Dawns. This is the second time DCINY has programmed this work, the first time at Avery Fisher Hall on April 7, 2013. I had the privilege of reviewing that performance for New York Concert Review. For information about the background of Calling All Dawns and my impressions of that performance, interested readers can refer to that review by clicking here: Calling All Dawns in Review April 7, 2013. Since that occasion, I have had the opportunity to hear the recording of this work and study parts of the score, and have found my initial reaction to this crowd-pleaser to be mostly unchanged.

What was especially interesting about this performance was that the soloists often took multiple roles (in multiple languages), whereas the prior performance had featured a multitude of soloists in singular roles. This was no mean feat, considering that many of the languages were not ones that one would usually encounter in the concert hall. Tenor soloist Saum Eskandani was at times inaudible in the Baba Yetu and Rassemblons-Nous movements, which I would attribute to excessive exuberance from the orchestra (especially the percussion section) coupled with the failure to quickly correct a microphone level that was too low. When Mr. Eskandani could be heard clearly, he delivered emotionally charged performances. Fadista Nathalie Pires and Mongolian vocalist Nominjin invested every last ounce of passion in their songs, while Anonymous 4 singer Jacqueline Horner-Kwiatek and Indian Classical vocalist Roopa Mahadevan showed everyone why Mr. Tin had selected them for the Calling All Dawns recording. Finally, Jerome Kavanagh delighted the audience when he came on stage in Maori tribal dress, chanting in Maori and dancing in the final movement.

Conductor Jonathan Griffith led the large forces with his customary skill, while the chorus was having the time of their lives swaying to the music as one. It was everything a performance should be – polished technically and delivered with uninhibited joy by individuals who truly love what they are doing.

At the start of the second half, Jonathan Griffith and Christopher Tin joined together for an impromptu conversation onstage about The Drop That Contained the Sea. Mr. Tin stated that he had been travelling around the world seeking the specific vocal sounds of different cultures to use for this work. The Drop That Contained the Sea is a ten-movement work. As with Calling All Dawns, each movement is in a different language, those languages being Proto-Indu-European, Turkish, Bulgarian, Xhosa, Mongolian, Portuguese, Sanskrit, Ancient Greek, Old Norse, and Lango. Even though one can say that the blueprint is similar, the end product is reflective of Mr. Tin’s deepening maturity as a composer. While retaining his marked ability for writing music with a wide appeal, he has also formed his own distinct voice without any obvious influences (including from his own Calling All Dawns). The Drop That Contained the Sea is a powerfully dramatic work, well-conceived and skillfully realized. For those persons unable to attend (or for those who want more), a recording of The Drop That Contained the Sea (due for release on May 8, 2014) is available for purchase at www.christophertin.com

The soloists had smaller roles than in Calling All Dawns, but all delivered strong performances. It was especially gratifying that Saum Eskandani’s voice was consistently heard here in its full resonance. Nathalie Pires, Roopa Mahadevan, and Nominjin returned and were joined by Mezzo-soprano Charity Dawson, who proved herself to be a powerhouse. This was a winning combination of talents, and one might hope they appear on the soon-to-be released recording.

The chorus handled the demands of the often complicated writing and the diverse languages with remarkable ability, and the Distinguished Concerts orchestra was very effective in handling the different colors and moods, from the serenity of Devipravaha (Goddess River) to the fierce Viking-like intensity of Haf Gengr Hríðum (The Storm-Driven Sea). Once again, one must praise Jonathan Griffith for leading an excellent first performance of a complex and emotionally charged work.

The final movement Waloyo Yamoni (We Overcome the Wind) ended with all the soloists, the on-stage choir joined by several hundred more singers in the balconies, and the full orchestra in an explosion of sound bringing this fine work to a exultant conclusion. Recalling what I had written in the April 7, 2013 review, “The audience reacted after the final notes with the loudest and longest standing ovation I have ever heard at any concert. Mr. Tin was called to the stage and the ovation became deafening.” The reaction tonight moved the bar up many decibels! It was a fitting end to a wonderful evening, and I eagerly await the next collaboration between Mr. Tin and DCINY.

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents: Defying Gravity: The Music of Stephen Schwartz and Eric Whitacre in Review

Distinguished Concerts International New York (DCINY) presents: Defying Gravity: The Music of Stephen Schwartz and Eric Whitacre in Review

Distinguished Concerts International New York (DCINY) presents: Defying Gravity: The Music of Stephen Schwartz and Eric Whitacre
Distinguished Concerts Singers International; Eric Whitacre, composer /conductor; Stephen Schwartz, special guest artists; Ashley Brown, Sara Jean Ford, special guest performers; Tali Tadmor, piano
Avery Fisher Hall, Lincoln Center; New York, NY
March 30, 2014

 

A concert featuring the music of the legendary Broadway composer Stephen Schwartz paired with the music of the wildly popular and dynamic Eric Whitacre was destined to be a sure-fire winner.  Distinguished Concerts International New York (DCINY) brought this concept to Avery Fisher Hall on March 30, 2014 in a concert entitled “Defying Gravity” (a reference to a song from Stephen Schwartz’s smash Broadway hit Wicked). Eric Whitacre was to conduct his own works and those of Stephen Schwartz, with Tali Tadmor at the piano. Special guests Ashley Brown and Sara Jean Ford were also to have featured roles. The full hall was buzzing with excitement as family members looked for their “star”, hoping to get onstage photographs.  These young (and not so young) performers were ready to be part of something special that each one would treasure forever. I have witnessed this excitement countless times, but it still delights me.  DCINY “defies gravity” each concert they give, lending wings to the musical dreams of countless persons from around the world.

The first half chorus consisted of High School ensembles from China, Georgia, New Jersey, California, Pennsylvania, Colorado, “and individuals from around the globe,” as the program notes state. Eric Whitacre bounded onto the stage to launch the afternoon by leading an energetic and engaging performance of Mr. Schwartz’s Defying Gravity. One could see joy in the faces of so many of these young performers, setting the tone for the rest of the concert.  Next up was Mr. Whitacre’s Lux Aurumque, one of his earlier works (used for the initial “performance” of Whitacre’s famous Virtual Choir: Eric Whitacre’s Virtual Choir- Lux Aurumque).  The chorus handled well the challenges of the close harmonies and the divisions of voices.  It was a bit top-heavy at times, not at all surprising considering the young women outnumbered the young men in a ratio of about three to one, but was the net effect was still beautiful. The next work, Mr. Whitacre’s the city and the sea, part of the DCINY Premiere Project, uses the texts of five poems by E.E. Cummings. Three selections, the jaunty No.1 i walked the boulevard, the nostalgia-tinged No. 3 maggie and milly and molly and may, and the furiously hectic No.5, little man in a hurry were given strong characterizations. Mr. Whitacre told the humorous story behind the next work, Seal Lullaby, with text from Rudyard Kipling, originally intended for a DreamWorks project that was abandoned in favor of Kung Fu Panda. Mr. Whitacre’s setting would have been DreamWorks gold if the project moved forward. The tune is simple, yet very moving, and the timbre of young voices was simply perfect in a touching performance. What If, from Mr. Whitacre’s upcoming musical (on which he has been working on for more than a decade) Paradise Lost: Shadows and Wings, followed. My enjoyment of this work was affected by both the missing lyrics in the program and the accompanying pre-recorded track, which overwhelmed the chorus. If over two hundred singers were not able to overcome this track, then it was WAY too loud, and it should have been dialed back a notch or four.

After this, Mr. Whitacre introduced Stephen Schwartz, who took over at the piano for his own works.  The first song, Testimony, was inspired by the “It Gets Better” project, which was created by Dan Savage to give hope to bullied LGBT youth around the world. Testimony takes words from actual interviews of those who lived through the pain and the horrors of being bullied. Moving from despair to hope to acceptance to celebration, the message is clear: hang on, it will get better, and life is full of wonders waiting to be found.  It is a powerful message, and the music reflected this in an inspired performance that had many audience members in tears.  For the last two songs of the first half, Spark of Creation and Ain’t It Good, from Children of Eden, Broadway superstar Ashley Brown unleashed a passion-filled performance that closed the half with a bang, bringing the audience to its feet.

After intermission singers from Michigan, Connecticut, Canada, Italy, “and individuals from around the globe” took the stage. With the exception of a few very young performers, this chorus was composed of college-age and older singers. Mr. Whitacre returned to the stage and told the story behind his Sleep, which opened the second half. Originally written using Robert Frost’s Stopping by Woods on a Snowy Evening, Mr. Whitacre was denied permission by the Frost estate to use the text in any form, including performance, until 2038 (when the work would enter the public domain), and was threatened with legal action.  Luckily for Mr. Whitacre, his friend Charles Silvestri was able to provide him with a metrically identical poem, for which Mr. Whitacre was able to use the already written music. It was a given a winning performance.

Mr. Whitacre’s Animal Crackers, Vols. 1 and 2, followed, and had the audience howling with laughter. The composer used Ogden Nash’s hilarious animal poems (Volume 1- The Panther, The Cow, and The Firefly: Volume 2- The Canary, The Eel, and The Kangaroo) in ways that were every bit as witty as Nash himself. Mr. Whitacre read each poem before it was performed by the chorus. The “mooooooo” in a slow yodel during The Cow, the “ew!” building in intensity to a soft, staccato “yuck! for The Eel, the incessant repetition of “never varies” in The Canary, and the Tchaikovsky B-flat minor Piano Concerto/ O Christmas tree mashup in The Kangaroo, had this listener laughing every bit as loudly as the audience.  These five or six minutes were the highlight of the afternoon to this listener.  A Boy and Girl, with text from Octavio Paz followed this merriment, and the shift of gears was handled seamlessly in another satisfying performance. It is always amazing that these ensembles are able to put forth such polished readings with such short rehearsal time. Sara Jean Ford, Broadway star and no stranger to DCINY events, came to the stage to sing Fly to Paradise, which was the selection for the fourth performance of the Virtual Choir.  Her voice truly soared in a dynamic performance.  Once again, a pre-recorded electronic track was added to the mix, and once again it was too loud. Ms. Ford was able to triumph over the decibel levels by virtue of her strong voice and the use of a microphone. The chorus was more audible as well.  Even Mr. Whitacre made a joke about the volume, saying, “Choral music is LOUD!”

Stephen Schwartz returned to the stage and took the piano again to close the half and the concert with three of his works. The first, Keramos, is a setting of a portion of Henry Wadsworth Longfellow’s poem of the same name.  The chorus took the audience on a moving life journey through Mr. Schwartz’s musically adept setting. The second song, Forgiveness’ Embrace, was sung and played by Mr. Schwartz himself as if he were telling the story of his own life journey. The last selection, For Good (from Wicked) combined the vocal talents of Ashley Brown, Mr. Schwartz, and the chorus. Ms. Brown, as the professional that she is, deftly handled a microphone malfunction by grabbing another microphone without missing a beat. The energy was electrifying in a terrific performance that brought this highly enjoyable concert to a close. The audience responded with an extended ovation. Congratulations to all!

While all the performers are to be congratulated, it was Eric Whitacre who was the star of the day. Mr. Whitacre is a one-of-a-kind talent. His music has mass appeal to an audience that normally would shun “classical” music. He is young and energetic, an ideal ambassador for the “cause”, and is one of the most charismatic individuals I have seen or heard in any field. He is a “rock star” in a decidedly non-rock world!  One could go on and on, but I will limit myself to a comment I overheard in the hall- “I would listen to Eric Whitacre read the phone book.” Any further comments would be superfluous.

 

 

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents Lust & La Femme Mystique: Carmina Burana and Music in Celebration of International Women’s Day in Review

Distinguished Concerts International New York (DCINY) presents Lust & La Femme Mystique: Carmina Burana and Music in Celebration of International Women’s Day in Review

Lust & La Femme Mystique: Carmina Burana and Music in Celebration of International Women’s Day
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Hilary Apfelstadt, conductor; Vance George, Conductor Laureate
Penelope Shumate, soprano; Dillon McCartney; tenor; Keith Harris, baritone
Avery Fisher Hall, Lincoln Center; New York, NY
March 10, 2014
 

International Women’s Day was celebrated by Distinguished Concerts International New York (DCINY) with a concert in Avery Fisher Hall employing four hundred sixty-nine choral singers, sixty-three instrumentalists, and three vocal soloists. The first half was a pleasing selection of contemporary pieces for and about women sung by the combined forces of ten choirs from all over the world. And what fine choirs they were! Beautiful sounds, with excellent diction, and near perfect intonation. Clearly these women and their conductors were dedicated to this music, and the music was worthy of their labors. The first piece was Guy Forbesʼ gorgeous Ave Maria. Written for a cappella women’s chorus, this piece should become a classic. It is immediately accessible without being in any way predictable or saccharine. It was followed by another lovely song praising the Virgin Mary, Eleanor Daley’s I Sing of a Maiden, also an a cappella composition. Like all the music on the first half, it was tonal but contained interesting harmonic twists and turns. For the next two songs we were transported south of the border. The Brazilian composer Eduardo Lakschevitzʼs jaunty Travessura was followed by Cancion de los Tsáchilas which is a compilation of four folk songs, cleverly arranged by Michael Sample. The energetic performances of these two works were, unfortunately marred by the loud footsteps of a very large group of audience members who incomprehensibly were allowed to enter while the music was going on. A violin and a cello joined the singers and pianist for two pieces depicting women in moments of reflection, Joan Szymkoʼs Always Coming Home and Jocelyn Hagen’s In the Lavender Stillness of Dawn. Nancy Telferʼs The Blue Eye of God employed breath sounds and whispers. Joy by John Muehleisen brought the first half to a happy conclusion. The ten choir directors are to be applauded for their fine work in preparing their choirs, and kudos to conductor Hilary Apfelstadt for pulling it all together in what must have been a short rehearsal time.

 
DCINY Carmina Burana

DCINY Carmina Burana

 

The second half was devoted to one of the biggest crowd-pleasers in the choral repertoire, Carl Orff’s Carmina Burana. Once more the large chorus was the star. It was comprised of two hundred seventy-two singers from seven international choruses, none of whom sang on the first half. The biggest challenge in singing this music is learning the words, which are in Latin and an ancient form of German, and which often must be articulated in rapid fire manner. It takes hours of drill. It was obvious that these choruses and their directors had done their job well. They performed with commitment, confidence, tonal beauty and fine intonation. The large group was alternatively sensitive and powerful. The difficult men’s sextet “Si, Puer cum Puella,” written for solo voices, was wisely performed by all the men. This resolved the intonation and tessitura problems so often encountered in this piece. The women sang the lovely, tender middle section of “Floret silva nobilis” with delicacy and perfect ensemble. I was especially impressed by the splendid Brooklyn Youth Chorus. They sang as one, in perfect tune with beautiful sound. Undaunted by language difficulties, they performed by memory. How wonderful it is to hear the young people of our city demonstrate such musical accomplishment! Their conductor, Dianne Berkun, is surely one of our city’s treasures.

Unfortunately the soloists did not attain the high level set by the choruses. Baritone Keith Harris has a very beautiful voice, but often it wasn’t loud enough to cut through the orchestra. He also tended to sing flat in the soft passages. Soprano Penelope Shumate looked stunning in her strapless red gown as she sauntered provocatively across the stage. However, her high soprano voice was not ideally suited for “In Trutina.” This beautiful, simple, expressive song lies in the low register where her voice isn’t at its best. She was better suited for the high “Dulcissime,” where her tones rang out loud and clear. Before the concert began an announcement was made that the tenor soloist was sick but would nevertheless do his best. As New York City is full of singers, one would think that a healthy high tenor could have been found to serve as his replacement. Fortunately he has only one song, “Cignus ustus cantat” (“The roast swan”) He attempted to compensate for his vocal problems by hamming it up, pretending to conduct, and interacting with the chorus, When his singing voice gave out, he spoke his lines. He did manage to get out a few notes which showed what a lovely instrument is at his disposal on a better day. The forgiving audience applauded his effort.

The conductor, George Vance, held his huge forces together admirably, and the orchestra supported the singers with conviction and fine ensemble. This was a well-paced and exciting performance, which the large audience obviously loved. They leapt to their feet as soon as the lasts notes of the final “O Fortuna” had finished resounding.

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by Barrett Cobb  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents Shawnee Press: Celebrating 75 Years in Music in Review

Distinguished Concerts International New York (DCINY) presents Shawnee Press: Celebrating 75 Years in Music in Review

Distinguished Concerts International New York (DCINY) Presents Shawnee Press: Celebrating 75 Years in Music
Distinguished Concerts Orchestra, Distinguished Concert Singers International
Tim Seelig, Conductor Laureate; Greg Gilpin, composer/conductor; Mark Hayes, composer/conductor; Joseph M. Martin, composer/conductor; Sean Berry, Ben Cohen, Heather Sorenson, accompanists
Stern Auditorium, Carnegie Hall, New York, NY
February 17, 2014

For seventy-five years, the Shawnee Press has published music which has become part of the core repertoire of choral groups all over the United States and in many foreign countries. What better way to celebrate this anniversary  than by presenting a sampling of this music performed by fourteen choral groups from twelve states (Ohio and Pennsylvania each sent two groups), a contingent of individual singers from around the globe, vocal soloists, three piano accompanists, and a large orchestra led by four different conductors, all brought to Carnegie Hall by Distinguished Concerts International New York?

First a little history, adapted from the concert’s program notes: “In the late 1930s Fred Waring, renowned bandleader and choral master, and some of his friends formed a music publishing company called WORDS AND MUSIC, INC. As he and his famous singing group, “The Pennsylvanians,” grew in stature and popularity, school choral and church choir directors began requesting copies of his unique arrangements. In 1939, the first choral arrangement became available, and in 1947 Mr. Waring changed the name of the company to Shawnee Press.”

Each of the two halves of the concert featured seven of the above mentioned choruses and was divided into two sets, each set directed by a different conductor. First on the podium was Conductor Laureate Tim Seelig, who led the assembled singers and instrumentalists in an arrangement of “America the Beautiful” by Marvin Gaspard. This lush, technicolor arrangement set a pattern for the concert which, for this listener, contained too many works which would have served as perfect concert finales. It sounded great – the DCINY Orchestra played at its usual high level (although the timpanist did get a little overexcited at times), and who isn’t thrilled by the sound of a huge chorus of avocational singers? The audience loved it, and loved all of the concert’s finale-like works, but did these works give a clear idea of the breadth of the massive Shawnee Press catalogue? This catalogue contains fourteen other arrangements of “America the Beautiful,” and multiple arrangements of many of the nineteen other works on the program. It would have been good to hear some of the more simple arrangements and some of the versions of works with just a piano accompaniment. The audience didn’t mind at all, and reveled all evening in the massed sound.

Next on the podium was Mark Hayes, who led performances of his own compositions and arrangements. The accompanist was Shawn Berry, who also accompanied the first set. I do wish he and the other accompanists, Ben Cohen and Heather Sorenson, had more to do.

A different, even larger chorus took the stage for concert’s second half. Although both choruses produced a pleasant sound, the men were sometimes overpowered by the more numerous women, and both by the sometimes too loud orchestra. Crisper consonants would have also improved the diction. Conductors Greg Gilpin and Joseph M. Martin each led performances of their own compositions and arrangements. As with most of the evening’s arrangements, I found these and those on the first half by Mr. Hayes “too much of a muchness,” often obliterating the simplicity and beauty of the original material. I suspect that these “over the top” works were chosen to make a big impression for this celebratory concert, but to continue with my series of clichés, “less would have been more,” if a more varied repertoire had been offered.

I remember with great pleasure the music in Shawnee Press editions I sang many years ago with the Midwood High School Mixed Chorus. I am sure, thanks to the continued success of Shawnee Press, many thousands of people are now creating, and will in the future create, similar memories.

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by Harry Saltzman  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents: The Music of Karl Jenkins 70th Birthday Celebration

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

Distinguished Concerts International New York (DCINY) presents: The Music of Karl Jenkins 70th Birthday Celebration
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Jonathan Griffith, conductor; Rhys Meirion, tenor; Darik Knutsen, baritone; Charlotte Daw Paulsen mezzo-soprano; Samuel Smith, bass-baritone; Belinda Sykes, ethnic vocals and mey; Karl Jenkins, composer-in-residence/conductor
Stern Auditorium, Carnegie Hall, New York, NY
January 20, 2014

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

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

 

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

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

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

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

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

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

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

 

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

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

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by Jeffrey Williams  for New York Concert Review; New York, NY
Distinguished Concerts International New York (DCINY) presents: Of Life and Liberty in Review

Distinguished Concerts International New York (DCINY) presents: Of Life and Liberty in Review

Distinguished Concerts International New York (DCINY) presents: Of Life and Liberty
Distinguished Concerts Orchestra, Distinguished Concerts Singers International
Matt Oltman, conductor; James M. Meaders, conductor; Viola Dacus, mezzo-soprano
Stern Auditorium, Carnegie Hall, New York, NY
January 19, 2014

A Distinguished Concerts International New York (DCINY) concert is always a memorable experience. As I ran the gauntlet of massed chorus members from Mississippi assembled in the back area as I went to pick up my tickets, I was reminded of what the DCINY experience is all about. The excitement and nervousness of men and women of all ages in what was likely the thrill of a lifetime filled that very cramped space in such a way as to overwhelm me with a similar feeling. Any irritation I might have felt at that moment washed away when a smiling chorus member offered to sing the program if I were unable to retrieve my tickets! At last, the way was cleared, and I wished them all the best of luck.

The World Premiere of The Gettysburg Address in a new arrangement for men’s voices from Mark Hayes (b. 1953) opened the concert.  In my review in this journal from May 27, 2013 (“Requiems for the Brave”), when this work was performed in its original version for mixed voices and orchestra, I wrote the following:

“About The Gettysburg Address [the music], Mr. Hayes in his program notes writes, ‘…the challenge of creating something musically profound was overwhelming.’ These ten sentences [the address itself] are filled with sadness, hope, challenge, and triumph in what is probably the most famous speech in American History. Mr. Hayes’ conception captures all of these elements, from the bold opening, played with a brash exuberance, to the somber colors of the sorrows of war, to the final build-up in a martial style culminating with repeated declarations of “for the people” from the chorus.  It is a powerful work that does justice to Lincoln’s immortal words.”

In this revised version I find my initial thoughts to be unchanged. If anything, the effect is deepened by the use of men’s voices alone.  The Testament of Freedom, from underappreciated composer Randall Thompson (1899-1984), followed. Commissioned in 1943 to celebrate the bicentennial of the birth of Thomas Jefferson, this work has become a favorite for men’s choruses. When one hears the work, it is easy to see why this is the case: hymn-like melodies, stirring text, and expert vocal writing.  Thompson used the writings of Jefferson for the text of the four movements, with a strong focus on Jefferson’s unwavering belief in the unalienable rights of man. The chorus, consisting of members from Minnesota, Illinois, Idaho, Indiana, South Carolina, Florida, Massachusetts, and Alberta, Canada sang with strength, clear diction, and fine balance throughout. The third movement, “We fight not for glory,” was the highlight to this listener, but the whole performance was excellent. The animated Matt Oltman was a dynamic conductor who coaxed every last ounce of dramatic energy from both the chorus and the Distinguished Concerts Orchestra in both works.

The second half consisted of the New York premiere of Requiem for the Living from composer Dan Forrest (b. 1978). About the title Mr. Forrest writes, “the five movements form a narrative just as much for the living, and their own struggle with pain and sorrow, as for the dead.” Mr. Forrest freely used the standard mass as a model, with the substitution of a movement he entitled Vanitas Vanitatum (quoting from the Book of Job and Ecclesiastes) in place of the Dies Irae. This work is by no means complex in the vocal writing or the harmonic language, but the net effect is one of great import. Requiem for the Living is one of the most moving works I have heard in a very long while. It is truly a case of the maximum effect from the minimum of means, the mark of a highly skilled composer. It was a performance to remember, from the quiet opening of the Introit and Kyrie, the driving energy of the sinister Vanitas Vanitatum, and the serene Agnus Dei, to the celestial influenced magic of the Sanctus and hauntingly beautiful Lux Aeterna, which slowly faded away to nothing. In the Agnus Dei and Lux Aeterna, Mezzo-soprano soloist Viola Dacus sang with a pure, radiant voice that captured the essence of child-like innocence. Conductor James M. Meaders led the Distinguished Concerts Orchestra and the chorus with meticulous restraint and close attention to detail. When he lowered his baton after the sound died away, the audience erupted into a prolonged ovation. Congratulations, my new friends from Mississippi, you were all stars today.

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

The Music of Dinos Constantinides in Review

The Music of Dinos Constantinides
Louisiana State University Soloists
Weill Recital Hall at Carnegie Hall
Presented by DCINY
November 30, 2012

 

The music of the Greek-American composer Dinos Constantinides is outstanding. He is truly original, in that he combines a Greek folk music or tradition with 20th century influences. “Theme and Variations for Piano on a Greek Tune” is one such example. Michael Gurt, pianist, played with both precision and affection. “Fantasia for Stelios and Yiannis” for violin and viola, LRC 244 was also lovingly played—and with real virtuosity by Renata Arado, violinist, and Espen Lilleslatten, violist. “Delphic Hymn” made for another wonderful contrast by Constantinides. The sound of the saxophone and guitar was a unique combination to begin with, but the writing was unusually colorful and expressive. Griffin Campbell on saxophone and Ronaldo Cadeu on guitar were a remarkable pairing. The percussive knocks on the guitar added a unique flavor—almost like a third instrument—and the saxophone’s soaring melodies made for an impressive contrast.

 Other notable listings on the program were “Mutability Fantasy” –this time scored for alto saxophone and piano, and “Hellenic Musings” for violin, soprano sax and piano. “Sappho Songs” were unique in the way Sappho’s poetry was set to music. It is simply amazing that the Greek poetess, Sappho, was born so many years ago–on the island of Lesbos in the 7th century BC. She is often considered the greatest lyric poet of antiquity, writing on such subjects as love, nature and friendship. Her work survives in fragments, yet Constantinides found a way to make it work.

Constantinides’ compositions have been performed throughout the US, Europe and Asia by prestigious ensembles including the American Symphony Orchestra in New York, the Memphis and New Orleans Symphony, the English Chamber Orchestra, the Bohuslav Martinu Philharmonic and the Athens State Orchestra. He has been the recipient of numerous awards including several Meet the Composer grants, as well as yearly ASCAP Standard Awards. In 1994, the White House Commission on Presidential Scholars honored him with a Distinguished Teacher Award. He has written over 250 compositions, most of them published. He has been the Director of the Louisiana State University Festival of Contemporary Music for 22 years, and he earned Artist of the Year Award of Louisiana. He is presently Boyd Professor, the highest academic rank at Louisiana State University, head of the Composition area, and Music Director of the Louisiana Sinfonietta. His music deserves to be heard often—and in important cities and arenas.

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