The Music of Sir Karl Jenkins | New York Concert Review, Inc.

Distinguished Concerts Orchestra; Distinguished Concerts Singers International

Jonathan Griffith, DCINY Artistic Director and Principal Conductor

Sir Karl Jenkins, composer-in-residence

Diana McVey, soprano; Katherine Pracht, mezzo-soprano; Brian Cheney, tenor; Stephen Lancaster, baritone; Imam Chernor Saad Jalloh, Call to Prayer Soloist

Stern Auditorium, Carnegie Hall, New York, NY

January 15, 2018

In what has become a tradition marking the commemoration of Martin Luther King, Jr. Day, Distinguished Concerts International New York (DCINY) presented a concert featuring the music of Sir Karl Jenkins on January 15, 2018. This year’s version included two works, The Armed Man: A Mass for Peace, and the World Premiere of Sing! The Music was Given, commissioned by DCINY in celebration of their tenth anniversary. To add to the excitement, the performance was broadcast live on DCINY’s Facebook page (the live feed of the concert can be seen here: DCINY Facebook page). With singers from Hawaii, North Carolina, Wyoming, Germany, Ireland, Isle of Man, Japan, The Netherlands, Norway Switzerland, United Kingdom, and individual singers from around the globe on hand to give it their all, the stage was set for an extravaganza. The evening was one of profound emotion and unbridled joy.

Maestro Jonathan Griffith took the podium for the first half’s only work, The Armed Man: A Mass for Peace, with the accompanying film of the same name. I have written extensively about this work and its history in past reviews, so those readers who wish to learn more can follow this link: The Sounds of War and Peace -2013. I know this work very well from many hearings, both live and recorded, so I was especially interested in how this performance would differentiate itself from others and whether my somewhat ingrained expectations would be met. It must be stated that Maestro Griffith has complete mastery of this work, including a razor-sharp synchronicity with the film that continues to impress me as if it were the first time.

This performance had some ragged moments, such as cracked notes in the brass throughout, a shaky start in the Save Me From Bloody Men movement, and a Charge! movement that was at times brilliant and at other times lacking cohesion and clear articulation, making it sound muddy. Despite these mishaps, I found this performance to be profoundly moving, no easy feat considering my familiarity with the work. Perhaps these same mishaps knocked me out of my comfort zone and forced me to listen with fresh ears and rediscover the emotional wallop this work delivers. Special mention goes to cellist Elizabeth Mikhael for her ethereal solo in the Benedictus, and to soprano Diana McVey, mezzo-soprano Katherine Pracht, tenor Brian Cheney, baritone Stephen Lancaster, and Imam Chernor Saad Jalloh for their roles.

After intermission, Sir Karl Jenkins and Jonathan Griffith took the stage for a Question and Answer session about Sing! The Music was Given hosted by WQXR Radio personality Jeff Spurgeon. It took the form of light-hearted banter, and Sir Karl’s modest demeanor and droll humor had the audience roaring in laughter. A few instances: Q – When did you get the idea to write this piece? A – When Jonathan asked me to write it! Q – Have you heard the entire work? A – Yes, Today. I think it’s pretty good, actually.

Maestro Griffith said he asked Sir Karl to write a piece that would become as popular as The Armed Man (which now has been performed over 2000 times – an average of two times a week). Time will tell if that hope is fulfilled.

Sing! The Music was Given is a six or eight-movement work (depending on version- we heard eight movements) for orchestra, chorus, and mezzo-soprano soloist. It takes its name from the poem Sing- sing- Music was given, by Thomas Moore (1779-1852), as the opening movement uses this poem for the text. The second movement, M-U-S-I-C, an acrostic poem, and the third, the Music Matters are set to text by the composer’s wife, Carol Barratt. The dual-meaning “Music Matters” refers not only to the importance of music, but to aspects of it, like counter-melodies and pulse. The fourth movement, Waterfall Music, is set to a haiku by Bashō Matsuo (1644-1694). The fifth (That Music Always Round Me) and sixth movements (Tehillim- Psalm 150) are borrowed from the composer’s Gloria, and are optional (although they were included in this performance). The seventh movement, I’ll Make Music uses texts from Deuteronomy 32:2, Psalm 144:9, and I Chronicles 13:8 as adapted by the composer. Finally, the eighth movement Ukukula Umcolo, take its title from the Zulu words for sing (ukukula) and music (umcolo). The texts and Sir Karl’s program notes can be read here: Program Notes.

One familiar with Jenkins’s works would recognize strong influences from earlier compositions throughout. While not identifying direct quotes, this listener was strongly reminded of parts of The Armed Man, The Peacemakers, Cantata Memoria, Stella Natalis, Adiemus, and the River Queen soundtrack. Of course, Gloria must be included as being directly quoted. In Sing! The Music was Given, Jenkins is the musical equivalent of a master chef using his favorite ingredients to prepare a magnificent feast.

I thoroughly enjoyed Sing! The Music was Given. It is a forty-minute sonic love letter to the listener about the power of music. Highlights were the whimsical Music Matters, with the secondary choir of ten attending to the matters of music, the enchanting Waterfall Music, and the ebullient Ukukula Umcolo.

Maestro Griffith once again proved his unparalleled skill with large forces as he led with a sure hand. Kudos to concertmaster Jorge Ávila for his solos and mezzo-soprano soloist Katherine Pracht. I’ll Make Music, which was simply beautiful, was the highlight of her solos. Congratulations to the chorus, both for being a part of this important occasion and for their fine work.

Sir Karl came to the stage to acknowledge the cheers of the audience. The cheers then erupted into a loud, extended ovation. One can imagine in the future a two-thousandth performance of Sing! The Music was Given and saying, “I was there for the very first.”

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

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

Jonathan Griffith, DCINY Artist Director/Principal Conductor

Sir Karl Jenkins, DCINY Compose-in-Residence

Joanie Brittingham, soprano; Holly Sorensen, mezzo-soprano; James Nyoraku Schlefer, shakuhachi; Catrin Finch, harp; Mark Walters, baritone; Jorge Ávila, violin; David Childs, euphonium

Distinguished Concerts Orchestra

Distinguished Concerts Singers International

Stern Auditorium at Carnegie Hall, New York, NY

January 15, 2017

On what has become an annual event, Distinguished Concerts International New York (DCINY) presented a concert featuring the music of Karl Jenkins in commemoration of Martin Luther King Jr. Day. In a January 15, 2017 concert entitled simply “The Music of Sir Karl Jenkins” (as he is styled after his 2015 knighting), two works were offered, the Requiem, and the North American premiere (and only 2^nd performance anywhere) of Cantata Memoria: For the Children. Both works also featured a film to go along with the music. Fans of Sir Karl had the opportunity to meet and greet him after the concert and to have the recent CD of Cantata Memoria signed.

The hall was abuzz long before the concert began, even more so than usual for a DCINY event. Friends and family in the audience shouted out to their stars and one could feel the electricity in the air. With singers from Mississippi, New Jersey, New York, Washington, Australia, Finland Germany, New Zealand, Spain, Switzerland, United Kingdom, and “individual singers around the globe,” the stage was set for a memorable night.

The concert opened with the Requiem. Dedicated to the composer’s late father, the Requiem combines elements of the traditional mass with five Japanese haiku “death” poems. The shakuhachi, an ancient wind instrument, figured prominently in the haiku sections.

Before anything else, I want to express my feelings regarding the accompanying film for this work. Usually I would expect some strong correlation to the text/music, but this was not the case. Furthermore, in some sections, the same montage recycled several times (at least three in the Dies Irae) to the point where one felt exasperated. As the film adds nothing, I would strongly suggest removing it from any future performance. The music is strong enough and meaningful enough to stand on its own without any artificial support.

Now that I have dispensed with that quibble, it is time to commend all for a wonderful performance of a moving work. Highlights for this listener were the Dies Irae (film notwithstanding), and the Lux aeterna. Special mention to harpist Catrin Finch, James Nyoraku Schlefer for his fine playing of the shakuhachi, and the lovely voices of soprano Joanie Brittingham and mezzo-soprano Holly Sorensen. The large chorus was well-prepared, with some very strong bass singers especially rising to the occasion. The audience rewarded all with the standing ovation that one usually hears at the end of a concert. It was a testament to a very successful first half.

Before the second half began, in what is also becoming a tradition, conductor Jonathan Griffith joined Karl Jenkins on stage for an impromptu conversation about the Cantata Memoria. Mr. Jenkins talked about of the history of the October 21, 1966 tragedy in Aberfan, Wales, when the collapse of a coal spoil tip killed 116 children and 28 adults. Mr. Jenkins said the memory as a Welshman was like “knowing where you were when President Kennedy was assassinated” to an American (and Maestro Griffith mentioned the Twin Towers as a reference point for younger persons). It was made clear that this tragedy is deeply entrenched in the hearts and minds of Welsh people. On a more upbeat note, Maestro Griffith mentioned that DCINY has commissioned Mr. Jenkins to write a new work commemorating the 10^th anniversary of DCINY for a performance in January 2018.

Going into detail about the Aberfan tragedy is well beyond the scope of this review, but I highly recommend the well-written and comprehensive article on Wikipedia. Click the following link to access – Wikipedia- Aberfan Tragedy

Quoting the composer- “The work is in two distinct sections but performed continuously. The first deals with the tragedy and the immediate aftermath, and the second moves from darkness to light, reliving memories and celebrating childhood, ending with the Lux aeterna.” He also states that it “is not a documentary, nor even a dramatization, but it does include ideas and facts that were relevant and by now part of the legacy.”

This reviewer had seen the broadcast of the World Premiere in Wales, and also has the recording recently released by Deutsche Grammophon, so I was especially interested to see how an actual live performance would compare. It exceeded all my expectations.

The accompanying film, in this case, lent additional meaning and deepened the effect of the music, especially in the actual footage of the immediate aftermath of the tragedy. While the music certainly does not require the film, the film itself does not in any way distract or lessen the meaning or power of the music itself.

The music may not be a dramatization (as per the composer), but there are musical “suggestions” of events, i.e. the rumbling in the opening movement Pitran, patran foreshadowing the collapse of the coal spoil tip.

The names of all the victims were recited in the third movement Cortège (in a chant-like manner on a B-flat throughout), with those same names appearing on the film until the screen was literally filled with names. It was a reminder that this tragedy was not just about the numbers lost, but the very real lives snuffed out, the majority of them just beginning. Combined with the footage of the funerals, with countless tiny coffins, it was heartbreaking (and even though I knew the content and what was coming, it still had me in tears). Cortège ended with the baritone soloist Mark Walters quoting the denunciation by a victim’s father, “Buried alive by the National Coal Board.”

Lament to the Valley which followed was hauntingly beautiful. I suspect it will have many a performance independent of the entire work. DCINY concertmaster Jorge Ávila was superb as he played the lyrical sections with emotion without ever making them maudlin, and he handled the virtuosic sections with an understated flair that was perfect. The Lament was the highlight of the Cantata for this listener.

The bird-like singing of soprano Joanie Brittingham in Did I hear a bird? was delightful – the highlight of her outstanding solo work. Baritone Mark Walters was a force as well, with his powerful voice projecting well into the auditorium.

Of the remaining sections, I would like to single out And-a half as a favorite, with the child-like “one-upmanship” the theme which only could make one laugh and smile.

The final movement, Lux aeterna, is “borrowed” from the Requiem. Ending with the soprano soloist singing the word “Light,” the circle from darkness to light was closed.

Maestro Griffith led the large forces with his customary steady hand, maintaining complete control in a way that always appears to be effortless, which it is certainly not! The chorus is to be congratulated on a very polished performance which suggested a high level of preparation. This review would not be complete without the mention of harpist Catrin Finch and euphonium virtuoso David Childs, both of whom were featured in the world premiere and lent their unmatched talents to this performance.

Cantata Memoria is a work that takes the listener to the depths of despair and heartache, then lifts them back out with a message of hope and light. It was an incredibly moving experience.

Audience members sprung to their feet with a standing ovation that became a roar when Mr. Jenkins came to the stage. I am already looking forward to January 2018. Bravo to all!