carnegie hall rental - dciny.org · with a pair of beethovenian chords used ... mother’s death,...

Sunday Evening, May 28, 2017, at 8:30 Isaac Stern Auditorium / Ronald O. Perelman Stage

Iris Derke, Co-Founder and General DirectorJonathan Griffith, Co-Founder and Artistic Director

presents

BRAHMS’ REQUIEMDistinguished Concerts Orchestra

Jonathan Griffith, DCINY Artistic Director and Principal Conductor

JOHANNES BRAHMS Tragische Ouvertüre, Op. 81

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Distinguished Concerts Orchestra Distinguished Concerts Singers International

Jonathan Griffith, DCINY Artistic Director and Principal ConductorClaire Kuttler, Soprano

Andrew McLaughlin, Baritone

JOHANNES BRAHMS Ein deutsches Requiem, Op. 45 I. Selig sind, die da Leid tragen II. Denn alles Fleisch, es ist wie Gras III. Herr, lehre doch mich IV. Wie lieblich sind deine Wohnungen V. Ihr habt nun Traurigkeit VI. Denn wir haben hie keine bleibende Statt VII. Selig sind die Toten

This evening’s performance will run without an intermission.

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Notes ON THE PROGRAM

Brahms composed this work on holidayduring the summer of 1880, and HansRichter led the first performance withthe Vienna Philharmonic on December26 of that year. In two different editionsof Essays in Musical Analysis, Sir Don-ald Francis Tovey pontificated at lengthabout the tragedy Brahms had in mindfor this companion piece to the jollyAcademic Festival Overture. From Ischlin the Austrian Alps the composerwrote to his publisher, “I could notrefuse my melancholy nature the satis-faction of composing an overture for atragedy.” To his friend the conductorCarl Reinecke, he said of the pair that“one of them weeps, the other onelaughs,” as with the comic and tragicmasks in Greek and Roman theater.

Brahms did not, however, give any fur-ther hint of a specific “tragedy,” norhad he suffered any recent private lossor given any indication of uncommon

sadness. He wasn’t, in truth, very fondof the title Tragic, referring to the workat one point as the “Dramatic Over-ture” although a canvass of his friendsfailed to produce an alternative thatanyone liked better. Interestingly, 64measures at the end of the expositionappeared in a sketchbook from the year1869, which was principally concernedwith the working-out of his Alto Rhap-sody and Liebeslieder Waltzes. By then,inward grief over his mother’s deathhad been sublimated in A GermanRequiem, and he had made the pleasantdecision to live permanently in Vienna.

A melancholy streak in Brahms’ person-ality that dated from childhood surfacedregularly in his later music, but “Melan-choly Overture” wouldn’t have soundedhalf so well as Tragic, although it morenearly fits the mood of Op. 81. In theevent, this structurally traditional work(unlike the Academic Festival) opens

JOHANNES BRAHMS (1833–1897) Tragische Ouvertüre, Op. 81(14 minutes)


with a pair of Beethovenian chords usedthematically later on to set up thegloomy and agitated D minor main sub-ject in 2/2 time. This theme is developedconsiderably before we hear a more lyri-cal second subject in F major. A thirdsubject (the one from his 1869 sketch-book, with dotted rhythm and hornpunctuation) adds a further element of

contrast before the development prop-erly begins molto più moderato—muchslower than the exposition tempo. Thisdevelopment is brief, however, afterwhich the three subjects are recapitu-lated in reverse order, as Beethoven’s didin the Coriolan Overture, and Wagner’sin The Flying Dutchman.

Notes by Roger Dettmer

Early in 1865, Johannes Brahms’mother died of a stroke in Hamburg atthe age 76. Notified of her illness, heraced to her bedside but arrived toolate. His years away in Vienna had cre-ated a distance from his parents, whowere of humble, working-class originand whose marriage had disintegrateddespite his attempts to reconcile them.Left with the responsibility for hismother, he nevertheless had alwaysregarded her as a source of strength andsupport. Her death appears to havebeen a catalyst for the finalization of anidea that had been with him for severalyears, probably since the tragic final ill-ness of his friend and mentor, RobertSchumann. In an entry in his diary,Schumann had contemplated the ideaof a Mass for the dead with a more gen-tle, comforting text than that of theCatholic Requiem Mass.

In response, nearly a decade before hismother’s death, Brahms made sketches(lost with all his other working papers)for a four-movement funeral cantata,which finally came to fruition in theRequiem. The slow movement for a dis-carded Symphony in D minor, whichalso supplied material for the FirstPiano Concerto, provided the basis ofthe Requiem’s second movement

funeral march, Denn alles Fleisch, es istwie Gras (For all flesh is as grass).Amassing all of these earlier musicaland textual ideas, Brahms formallystarted work on Ein deutschesRequiem, finishing it in August 1866except for the fifth movement, Ihr habtnun Traurigkeit (And you now havesorrow), which he added in 1868 afterthe premiere. The Requiem was to behis longest work and the first to garnerhim international recognition.

The Requiem is a personal statement offaith, intentionally distanced from insti-tutional religion. The German of thetitle refers only to the language fromwhich the texts were taken and it ismeant neither to apply to a singlenation nor to a specific religion.Brahms selected a group of Scripturaltexts from Martin Luther’s translationof both the Hebrew and ChristianScriptures, and the Apocrypha, shapingthe work in keeping with his own spir-itual and musical vision.

The Catholic Requiem Mass openswith a prayer for the eternal rest of thedeceased, but by far, the largest portionis dominated by the sequence Dies irae,a poetic depiction of the soul’s terroron the Day of Judgment. In contrast,

JOHANNES BRAHMS Ein deutsches Requiem, Op. 45(68 minutes)


Brahms’ Requiem is a memorial to thedead, a comfort to those left behindand the promise of eternal redemption.But far from soothing sentimentality,the Requiem, addresses the complexi-ties of the meaning of life, death andresurrection.

The work as a whole is a grand arch ofwhich the apex, Movement 4, is thechoral description of the joy of eternallife. Surrounding it are movementsreflecting the pain of death and thesearch for meaning, as well as teachingson God’s cosmic order. The funeralmarch in the second movement is bal-anced by the theme of the resurrectionin the sixth movement. Similarly, thebaritone solo in the third movementbalances the soprano solo in the fifthmovement. Framing the work as awhole are Movements 1 and 7, usingmuch of the same music and offeringpeace and comfort to the living and thedead. At the apex of the arch is a chorusexpanding on the soul’s final restingplace with God.

The opening movement introduces thepremise of the entire work, Selig sind,die da Leid tragen (Blessed are they thatmourn), focusing on the mournersrather than on the deceased. Brahmsalso uses the chorus’s opening three-note motive on the word “Selig” as themortar that fuses the building blocks ofthe arch.

This funeral march is the darkest andlongest section of the work, remindingthe mourners of the inevitability ofdeath—although without the terror ofdamnation. In the middle section, begin-ning as an a cappella chorus, So seit nungeduldig…bis auf die Zukunft desHerrn (Be patient…for the coming ofthe Lord), Brahms presents the finalJudgment as redemptive and switchesthe mode from minor to major accom-

panied by an increase in tempo. A returnto the funeral march is followed by adramatic choral fugue, Aber des HerrnWort bleibet in Ewigkeit (But the Wordof the Lord is eternal), promising eternalsalvation. Brahms’ use of climacticfugues—there are three in theRequiem—has its source in the traditionof fugal movements in Baroque andClassical settings of the mass.

Herr, lehre doch mich (Lord, teach methat I must die) for baritone and chorusis a prayer in which the individualacknowledges his mortality and the van-ity of earthly gratification, and, finally,commends his soul to God. It concludeswith a double fugue, one subject for thechorus, the second subject for theorchestra, portraying the return of allrighteous souls to the Lord in everlastingpeace. Bearing witness to the universalityof this prayer, whose text is from theHebrew Scriptures (Psalm 39), are themany arrangements of this movementsung in Reform synagogues on Yom Kip-pur (the Day of Atonement).

Wie lieblich sind deine Wohnungen(How lovely is Thy dwelling place), isthe central description and promise ofeternal life. It is a simple ABA songform for the chorus, whose middle sec-tion is a passionate outburst of longingfor God.

The soprano soloist, echoed by the cho-rus, promises comfort and eternal joyfor those in mourning as well as for thedead. Musically as well, it is a counter-weight to the baritone’s somber mus-ings on the vanities of this world in thethird movement.

Denn wir haben hie keine bleibendeStatt (Here on earth we have no contin-uing place) celebrates the eternal king-dom of God. Brahms wrote a great dealof choral music and knew intimately


the cantatas of Johann Sebastian Bachand the oratorios of Handel, who usedthe same text in Part III of Messiah.Like his predecessors, Brahms madeextensive use of tone painting in keep-ing with the text.

The final movement returns to themes—both textual and musical—from thebeginning of the Requiem; this time,however, it is the dead, rather than themourners, who are blessed. The music,however, is more passionate as it sums upthe message of eternal life that has been

the principal focus of the entire work.Despite a lukewarm reception inVienna of the first three movements ofthe Requiem in 1867, the entire work—minus what is now the fifth move-ment—was premiered on Good Friday1868 in the cathedral of Bremen togreat acclaim. Brahms later added thefifth movement, dedicated specificallyto his mother, and the entire work wasperformed in February of 1869.

Notes by Joseph & Elizabeth Kahn


Texts & TRANSLATIONSEin deutsches RequiemJOHANNES BRAHMS

I. Selig sind, die da Leid tragen

Selig sind, die da Leid tragen,denn sie sollen getröstet werden.Die mit Tränen säen,werden mit Freuden ernten.Sie gehen hin und weinenund tragen edlen Samen,und kommen mit Freudenund bringen ihre Garben

II. Denn alles Fleisch, es ist wie Gras

Denn alles Fleisch ist wie Grasund alle Herrlichkeit des Menschenwie des Grases Blumen.Das Gras ist verdorretund die Blume abgefallen.

So seid nun geduldig, lieben Brüder,bis auf die Zukunft des Herrn.Siehe, ein Ackermann wartetauf die köstliche Frucht der Erdeund ist geduldig darüber, bis er empfaheden Morgenregen und Abendregen.

Aber des Herrn Wort bleibet inEwigkeit.

Die Erlöseten des Herrn werdenwieder kommen,und gen Zion kommen mit Jauchzen;ewige Freude wird über ihrem Hauptesein;Freude und Wonne werden sie ergreifenund Schmerz und Seufzen wird wegmüssen

III. Herr, lehre doch mich

Herr, lehre doch mich,daß ein Ende mit mir haben muß,und mein Leben ein Ziel hat,und ich davon muß.

Blessed are they that mourn,for they shall be comforted.They who sow in tears,shall reap in joy.Go forth and cry,bearing precious seed,and come with joybearing their sheaves

For all flesh is as grass,and the glory of manlike flowers.The grass withersand the flower falls.

Therefore be patient, dear brothers,for the coming of the Lord.Behold, the husbandman waitsfor the delicious fruits of the earthand is patient for it, until he receivesthe morning rain and evening rain.

But the word of the Lord endures foreternity.

The redeemed of the Lord will comeagain,and come to Zion with a shout;eternal joy shall be upon her head;

They shall take joy and gladness,and sorrow and sighing must depart

Lord, teach meThat I must have an end,And my life has a purpose,and I must accept this.


Siehe, meine Tage sindeiner Hand breit vor dir,und mein Leben ist wie nichts vor dir.Ach wie gar nichts sind alle Menschen,die doch so sicher leben.

Sie gehen daher wie ein Schemen,und machen ihnen viel vergeblicheUnruhe;sie sammeln und wissen nichtwer es kriegen wird.Nun Herr, wess soll ich mich trösten?Ich hoffe auf dich.

Der Gerechten Seelen sind in GottesHandund keine Qual rühret sie an

IV. Wie lieblich sind deine Wohnungen

Wie lieblich sind deine Wohnungen,Herr Zebaoth!Meine Seele verlanget und sehnet sichnach den Vorhöfen des Herrn;mein Leib und Seele freuen sichin dem lebendigen Gott.

Wohl denen, die in deinem Hausewohnen,die loben dich immerdar

V. Ihr habt nun Traurigkeit

Ihr habt nun Traurigkeit;aber ich will euch wieder sehenund euer Herz soll sich freuenund eure Freude soll niemand voneuch nehmen.

Sehet mich an:Ich habe eine kleine Zeit Mühe undArbeit gehabtund habe großen Trost funden.

Ich will euch trösten,wie Einen seine Mutter tröstet

Behold, my days areas a handbreadth before Thee,and my life is as nothing before Thee.Alas, as nothing are all men,but so sure the living.

They are therefore like a shadow,and go about vainly in disquiet;

they collect riches, and do not knowwho will receive them.Now, Lord, how can I console myself?My hope is in Thee.

The righteous souls are in God’s hand

and no torment shall stir them

How lovely are thy dwelling places,O Lord of Hosts!My soul requires and yearns forthe courts of the Lord;My body and soul rejoicein the living God.

Blessed are they that dwell in thyhouse;they praise you forever

You now have sorrow;but I shall see you againand your heart shall rejoiceand your joy no one shall take fromyou.

Behold me:I have had for a little time toil and torment,and now have found great consolation.

I will console you,as one is consoled by his mother

(Please turn the page quietly.)


Denn wir haben hie keine bleibende Statt,sondern die zukünftige suchen wir.

Siehe, ich sage euch ein Geheimnis:Wir werden nicht alle entschlafen,wir werden aber alle verwandelt werden;und dasselbige plötzlich, in einemAugenblick,zu der Zeit der letzten Posaune.Denn es wird die Posaune schallen,und die Toten werden auferstehenunverweslich,und wir werden verwandelt werden.Dann wird erfüllet werdendas Wort, das geschrieben steht:Der Tod ist verschlungen in den Sieg.Tod, wo ist dein Stachel?Hölle, wo ist dein Sieg?

Herr, du bist würdig zu nehmenPreis und Ehre und Kraft,denn du hast alle Dinge geschaffen,und durch deinen Willen haben siedas Wesen und sind geschaffen

VII. Selig sind die Toten

Selig sind die Toten,die in dem Herrn sterben,von nun an

Ja der Geist spricht,daß sie ruhen von ihrer Arbeit;denn ihre Werke folgen ihnen nach

For we have here no continuing city,but we seek the future.

Behold, I show you a mystery:We shall not all sleep,but we all shall be changedand suddenly, in a moment,

at the sound of the last trombone.For the trombone shall sound,and the dead shall be raised incorruptible,and we shall be changed.Then shall be fulfilledThe word that is written:Death is swallowed up in victory.O Death, where is thy sting?O Hell, where is thy victory?

Lord, Thou art worthy to receive allpraise, honor, and glory,for Thou hast created all things,and through Thy willthey have been and are created

Blessed are the deadthat die in the Lordfrom henceforth

Yea, saith the spirit,that they rest from their labors,and their works shall follow them

VI. Denn wir haben hie keine bleibende Statt


An acclaimed conductor, educator, andlecturer, Jonathan Griffith has led per-formances across North America,Europe, and Asia. Maestro Griffith isco-founder and artistic director of Dis-tinguished Concerts International NewYork (DCINY), which has broughttogether, under his artistic leadership,thousands of musicians and choralsingers in concert at prestigious venuesacross the United States, includingCarnegie Hall, Lincoln Center, and Dis-ney Hall. The founder and music direc-tor of the Distinguished ConcertsOrchestra, Maestro Griffith also over-sees DCINY’s mentoring program forconductors. He made his Carnegie Hallconducting debut in 1989 and has con-ducted well over 100 performances atCarnegie Hall and Lincoln Center com-bined. In addition to the major worksof the classical repertoire, conductinghighlights includes the U.S. premieres ofKarl Jenkins’ Stabat Mater, The ArmedMan, and Te Deum, Sergei Taneyev’sUpon Reading a Psalm, Miloš Bok’sMissa Solemnis, Luigi Boccherini’s Vil-lancicos, and Eugene Goossens’ re-orchestration of Handel’s Messiah,along with world premieres by EricFunk, Seymour Bernstein, and RobertConvery. His additional conductingcredits include the Mormon TabernacleChoir in Salt Lake City; ManhattanPhilharmonic and New England Sym-phonic Ensemble, both at CarnegieHall; The European Symphony Orches-tra in Spain; Bohuslava Martin Philhar-monia and Philharmonia Chorus, Vir-tuosi Pragensis Chamber Orchestra,Karlovy Vary Symphony Orchestra,and Dvorák Chamber Orchestra in theCzech Republic; and the Bialystok State

Philharmonic in Poland, as well asnumerous regional orchestras and cho-ruses across the United States.

The Jonathan Griffith Singers, anensemble drawn from singers acrossNorth America and founded in 1987,has made its mark internationally. Inrecent years, Dr. Griffith has led theSingers on highly acclaimed tours toUruguay and Argentina, to the People’sRepublic of China, premiering KarlJenkins’ The Armed Man: A Mass forPeace in Beijing and Shanghai, and toPisa, Italy. He and the Jonathan GriffithSingers toured Turkey in June of 2013performing the acclaimed Turkish ora-torio, Yunus Emre, by A. Adnan Say-gun in Istanbul with the Cemal ResitRey Orchestra, and in Ankara and Esk-inehir with the Presidential Orchestra atthe invitation of the TURKSOY govern-mental agency. Dr. Griffith, along withthe Distinguished Concerts Orchestra, isthe 2014 winner of the American Prizein Conducting, professional orchestradivision, and a semi-finalist in the 2015and 2016 competitions. Dr. Griffith

THE ArtistsJONATHAN GRIFFITH, DCINY Artistic Director and PrincipalConductor


Praised for her “glistening torrents ofsound” (Opera News), American lyricsoprano Claire Kuttler is a versatilesinging actress, performing operatic,concert, and golden age musical theaterrepertoire throughout the United States.Ms. Kuttler began 2017 with her com-pany and role debuts as Bea in JakeHeggie’s Three Decembers with OperaBirmingham, followed by recitals inBurtonsville, MD and Davenport, IAthroughout the spring. Her upcomingengagements include Alexis in Offen-bach’s The Island of Tulipatan (L’ile de

Tulipatan) with the Light Opera of NewYork (cast recording to be released byAlbany Records), and Hanna Glawari inThe Merry Widow with New RochelleOpera. Other credits include perfor-mances with Palm Beach Opera, CentralCity Opera, Bel Canto at Caramoor,Southold Opera, Fargo MoorheadOpera, the Green Mountain Opera Fes-tival, Crested Butte Music Festival,Opera LaFayette, the Santa BarbaraCham ber Orchestra, and New JerseyFestival Orchestra. Her operatic reper-toire includes Mimì/La bohème, Antonia/Les Contes D’Hoffmann, Female Chorus/The Rape of Lucretia, Gov-erness/ The Turn of the Screw, ElaineO’Neill/Later the Same Evening(Musto–world premiere cast), DonnaElvira/Don Giovanni, La Contessa/Lenozze di Figaro, Fiordiligi/Così fantutte, Arabella/Arabella, Marguerite/Faust, Desdemona/Otello, and HannaGlawari/The Merry Widow. Ms. Kuttlerresides in New York City and holdsdegrees from the Mannes College ofMusic, the University of Maryland, Col-lege Park and Concordia College, Moor-head, MN. For further information,please visit www.clairekuttler.com.

CLAIRE KUTTLER, Soprano

received his DMA in conducting fromthe Conservatory of Music/ Universityof Missouri-Kansas City, a master’s in

music education from Wich ita StateUniversity, and bachelor of music edu-cation from the University of Kansas.


Baritone Andrew McLaughlin ispraised for his artful interpretations ofopera, oratorio, and art song repertoire.A frequent performer with WashingtonNational Opera, he appeared in rolessuch as Brian Young in An AmericanSoldier, Rex in An American Man, theSpanish Sailor in Moby Dick, and intheir production of Carmen. As a cham-pion of new works, Mr. McLaughlinperformed roles in the premières ofRobert Patterson and Mark Campbells’The Whole Truth with UrbanArias,Janice Hamer’s Lost Childhood withNational Philharmonic Orchestra,Claude Debussy/Robert Orledge’s LaSaulaie with University of MarylandRepertory Orchestra, and Frank Proto’sShadowboxer with Maryland OperaStudio. This season Mr. McLaughlin, asa recipient of the Marc and Eva SternFellowship, performs multiple concertsat SongFest, including the baritone soloin Jake Heggie’s Thoughts Unspoken,William Bolcom’s Gettysburg: July 1,1863, and Gabriel Fauré’s Cinqmélodies “De Venise.” He will also be

performing in Champion, as well as asoloist in the American Opera Initia-tives Festival with Washington NationalOpera. In recent seasons, he performedthe roles of Judge/Captain/Crook inBernstein’s Candide with the BaltimoreSymphony Orchestra, Schaunard inPuccini’s La Bohème with VirginiaOpera, and Gregorio in an exciting co-production of Roméo et Juliette withOpera Carolina, Virginia Opera, LyricOpera Baltimore, and Toledo Opera.

ANDREW MCLAUGHLIN, Baritone

Founded in 2008 by esteemed choraland orchestral conductor, JonathanGriffith, Distinguished ConcertsOrchestra (DCO) is the resident orches-tra for Distinguished Concerts Interna-tional New York (DCINY), the city’spreeminent producer of choral andorchestral concerts in New York’s mostprestigious concert venues. The DCO iscomprised of some of the top orchestralmusicians in the area, including numer-ous graduates of Juilliard, The Manhat-tan School of Music, The New EnglandConservatory, and Boston Conserva-tory. While the vast majority of theseplayers have performed in every DCINYproduction since its inception, thoseplayers who have left the New York

area have gone on to permanent postsin orchestras such as the Boston Sym-phony, Los Angeles Philharmonic, andthe London Philharmonic.

Under the direction of Jonathan Grif-fith and DCINY’s roster of notableguest conductors, the DCO performs atCarnegie Hall and Lincoln CenterWhether performing choral/orchestralmasterworks or premiering adventure-some new compositions, the DCO hasbeen lauded by conductors and review-ers alike for its fresh interpretations,musical subtlety and virtuosic ensembleplaying. Griffith and the DCO are pastwinners of the prestigious AmericanPrize in the professional orchestra

DISTINGUISHED CONCERTS ORCHESTRA


Distinguished Concerts Singers Interna-tional (DCSI) forms the backbone ofDistinguished Concerts InternationalNew York (DCINY), the city’s preemi-nent producer of choral and orchestralconcerts in New York’s most presti-gious concert venues. DCSI is com-prised of singers and chorus membersfrom around the world. Between30–40 % of the singers are alumni ofDCSI and have sung in two or more ofthe DCINY concert series over theyears. The DCSI has drawn members

from 43 countries and 6 continents.While the majority of singers are dedi-cated amateur musicians, many profes-sional and semi-professional ensembles,as well as individual professionalsingers, have also participated in theDCSI. All singers and/or ensembles gothrough an audition process reviewedby the DCINY Artistic team in order toreceive an invitation to appear on theDCINY concert series. The DCSI canvary in size from between 100 to 500singers, depending upon the repertoire.

DISTINGUISHED CONCERTS SINGERS INTERNATIONAL

Distinguished Concerts Singers InternationalAlexandria Choral Society (VA), Brian Gendron, Director*Arcadian Chorale (NJ), Marina Alexander, DirectorBach-Chor Darmstadt (Germany), Angela Gehann Dernbach, Director*Brookdale Concordia Chorale (NJ), John & Cynthia Balme, Co-Directors*ChoralArt Masterworks (ME), Robert Russell, Director*Christchurch City Choir (New Zealand), John Linker, Director*Classic Choral Society (NY), Janiece Kohler, DirectorManly Warringah Choir (Australia), Carlos Alvarado, Director*New Dominion Choraliers of Prince William County (VA), Katherine Nelson-Tracey, Director

*The Peter Dent Singers (Canada), Peter Vincent Dent, Director*Richmond Choral Society (NY), Marina Alexander, DirectorWest Valley Chorale (AZ), Ken Goodenberger, DirectorWymondham Choral Society (United Kingdom), Claire Dixon, DirectorAnd Individual Singers from around the globe

*Denotes DCINY Alumni

Performing Arts PartnersDCINY would like to thank our Performing Arts Partners, who, with their finan-cial support, have made this performance possible.

category, awarded in 2015, and semi-finalists for the 2015 and 2016 competi-tions. Distinguished Concerts Orchestrais driven by passion, innovative vision,

a total belief in its artists, and an unwa-vering commitment to bring forth anunforgettable musical experience forperformer and public alike.


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DISTINGUISHED CONCERTS SINGERS INTERNATIONAL

(continued)


Iris Derke, Co-Founder and General DirectorJonathan Griffith, Co-Founder, ArtisticDirector & Principal ConductorDanuta Gross, Director of Finance & AdministrationKevin Taylor, Director of Program DevelopmentJames M. Meaders, Associate Artistic Director & ConductorJason Mlynek, Associate Director of ProgramDevelopmentMark Riddles, Program DevelopmentKatie Sims Silvestre, Program DevelopmentJulia Falkenburg, Program DevelopmentMaria Braginsky, Program DevelopmentAssistant

Kimberly Wetzel, Program DevelopmentAssistantJeff Binner, Program Development AssistantJason Arnold, Program Development AssistantTabitha Glista, Production ManagerAndrea Niederman, Associate Director ofMarketing, Box Office & PromotionsKatherine Shen, Box Office & MarketingAssistantDeAnna Choi, Office Operations Manager,Accounting & BillingMarisa Tornello, Concert Operations AssociateMorgan Yachinich, Concert Operations/ProductionGary Crowley, Graphic Design & Website

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Udo NieperMary NocerinoMarybeth O’HaraNeil OkesonJon OlafssonMary OliarnykMargarita OstergaardDonald PapeMeike PaulsenRegina PeggMarny PeirsonMartina PeladeauJudy PenickPete PenickBeverly PerskySylvia PintoTeresa PohlmanSeth PollackJonathan PollockRobert PollsenLorna PophamRoger PrattBob PritchardEleanor ReemeyerGerri RegazziSigne RichardsonDave RippleSusan RobbinsSydney RoosaJesse RosenNaomi RosethKurt RottCheryl SacherChristian SacherGisela SacherKristiane SarmaPauline Saydeh

Christine ScanlonPatricia ScarangelloNis SchmidtJohanna Schmidt RiceBrigitte Schneller-ReindellBarbara SchoenBill SchroeterTina SchrubaWill SchrubaIlse SchüllAnne ScollenDeb ScottJohn SeaseIrmgard SeidelKarl SeidelVeronika SeippEdward SemmenceVivien SeyhanMary Grace SheetsMarienne ShortSara SimasVera SleumerGillian SmethurstLinda SmithMary SmithRobert SmithAlan SmitheeKathy SneddonRick SnyderAJ SolomonHolly SorensonSuzanne SparlingMeryl SpielmanJudith StaffPaulina StanczykAndrea SteinackerSue Steineke-Aiello

Leslie SteupMichael SteupKristina StevensPat SturmanSamantha TalmageAlexandra TannerBrian TaplinLouise TaylorArun ThangarajBeverley ThirkellMarcia ThompsonJonathan TieriCarolyn TopliffRoss TopliffMarisa TornelloJohn TuohyDoris TürckMichael TürckTom UttaroBecky Van MeterRheta Van WinkleLaura VedderOlga VolkhoffBarbara WatersRobert WatersLinnet WesterwickJudy WilliamsMonica WilliamsAlison WillisAdela WilsonGordon WuHui-Ling WuYJ YangLynne ZachariasAlice ZalaCedric ZalaAime Zimel

The Performing Arts Partners list includes names supplied by directors. Any questions regardingmissing or misspelled names should be addressed to the individual directors.


DCINY 2017 Concert SeriesPlease join us for one of our upcoming events:

Monday Evening, May 29, 2017, at 7:00David Geffen Hall, Lincoln CenterWith Strength & JoyAntonio Vivaldi: GloriaWilliam C. Powell, Guest ConductorPepper Choplin: Psalm 23: A Journey with the Shepherd Pepper Choplin, Composer/ConductorDistinguished Concerts Orchestra and Distinguished Concerts Singers International

Tuesday Evening, May 30, 2017, at 7:00Weill Recital Hall, Carnegie HallIan Gindes, Pianist

Sunday Afternoon, June 4, 2017, at 2:00David Geffen Hall, Lincoln CenterPortraits of HealingTyler’s SuiteTimothy G. Seelig, Conductor LaureateStephen Schwartz, DCINY Composer-in-ResidenceNancy Nail, Special Guest ArtistMichael McCorry Rose, Special Guest ArtistThe Music of Ola GjeiloJames M. Meaders, DCINY Associate Artistic Director and ConductorOla Gjeilo, DCINY Composer-in-ResidenceDistinguished Concerts Orchestra and Distinguished Concerts Singers International

Sunday Afternoon, June 11, 2017, at 2:00Stern Auditorium/Perelman Stage, Carnegie HallThe Music of Vaughan WilliamsRalph Vaughan Williams: Sancta CivitasCraig Jessop, Conductor LaureateRalph Vaughan Williams: Dona Nobis PacemNina Nash-Robertson, Guest ConductorDistinguished Concerts Orchestra and Distinguished Concerts Singers International

Saturday Evening, June 17, 2017, at 7:00Stern Auditorium/Perelman Stage, Carnegie HallSong/PlayAlberto Grau: La DoncellaCristian Grases, Guest ConductorAlberto Grau: La Avispa Brava (World Premiere)María Guinand, Guest ConductorAlberto Grau, DCINY Composer-in-ResidenceDistinguished Concerts Orchestra and Distinguished Concerts Singers InternationalCharlotte Symphony Youth Orchestra (NC)Ernest Pereira, Director


Monday Evening, June 26, 2017, at 7:00Stern Auditorium/Perelman Stage, Carnegie HallCanta! Canta! Canta!The Music of Francisco NúñezFrancisco Núñez, Composer/ConductorDistinguished Concerts Singers InternationalEnsemble Monterey Chamber Orchestra & Cabrillo Symphonic and Youth Choirs (CA)John D. Anderson, DirectorCheryl M. Anderson, Director

Sunday Evening, October 1, 2017, at 7:30Weill Recital Hall, Carnegie HallThe Music of Dinos ConstantinidesDinos Constantinides, Composer

Sunday Evening, November 19, 2017, at 8:30Stern Auditorium/Perelman Stage, Carnegie HallThe Music of Mark Hayes and Randol BassMark Hayes: International Carol Suite (New York Premiere)Mark Hayes, Composer/ConductorThe Music of Randol BassJonathan Griffith, DCINY Artistic Director and Principal ConductorRandol Bass, DCINY Composer-in-ResidenceDistinguished Concerts Orchestra and Distinguished Concerts Singers International

Sunday Afternoon, November 26, 2017, at 2:00Stern Auditorium/Perelman Stage, Carnegie HallMessiah…Refreshed!George Frideric Handel: Messiah (Goossens’ Edition)Jonathan Griffith, DCINY Artistic Director and Principal ConductorDistinguished Concerts Orchestra and Distinguished Concerts Singers International

Monday Evening, November 27, 2017, at 7:00Stern Auditorium/Perelman Stage, Carnegie HallThe Music of Joseph Martin featuring Dailey & VincentJoseph Martin: Appalachian WinterJoseph Martin: Rhapsody in Bluegrass (World Premiere)Joseph Martin, Composer/ConductorGrammy Award–winning Bluegrass ensemble, Dailey & VincentDistinguished Concerts Singers International

Celebrating DCINY’s 10th Anniversary Season:Monday Evening, January 15, 2018, at 7:00Stern Auditorium/Perelman Stage, Carnegie HallThe Music of Sir Karl JenkinsJenkins: The Armed Man: A Mass for PeaceJenkins: Sing! The Music Was Given (World Premiere, Courtesy of the DCINY Premiere Project)Jonathan Griffith, DCINY Artistic Director and Principal ConductorSir Karl Jenkins, DCINY Composer-in-ResidenceDistinguished Concerts Orchestra and Distinguished Concerts Singers International

For DCINY’s full season listing, visit www.DCINY.orgDistinguished Concerts International New York

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