presents sounds of a new generation an evening with … · michael mcglynn dulaman ... the director...

Monday Evening, March 21, 2016 at 7:00 Isaac Stern Auditorium / Ronald O. Perelman Stage

Changing Lives through the Power of Performance

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

presents

Sounds of a New GenerationAn Evening with James

Martin High School (Texas)KAY OWENS, Director

MARTIN HIGH SCHOOL CHORALE

BRENT PIERCE Hosanna in Excelsis

Z. RANDALL STROOPE Prelude to Peace Emily Klophaus, Violin

EDWIN FISSINGER By the Waters of Babylon Luke Lowrance, Speaker

Emily Adkins, Jillian Moore, Rachel Rankey

& Gabi Turner, Soloists

MICHAEL MCGLYNN Dulaman Austin Crawford, Julian Duncan & Matt Halom, Soloists

RANDY JORDAN Hope Is...

JOAN SZYMKO It Takes a Village Austin Crawford, Julian Duncan, Landon Hackley,

Matt Halom, Brooks Knapton, & Ryan Russell, Ensemble

Betsy Clark, Michael Rogers & Trevor Street, Percussion

Brief Pause

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES.

(program continued)

03-21 James Martin HS_CH Rental 3/11/16 10:42 AM

BRAD MCCANN, Director MARTIN HIGH SCHOOL WIND SYMPHONY

PAUL HINDEMITH Symphonic Metamorphosis on Themes by Carl Maria von Weber I. Allegro II. Scherzo (Turandot) III. Andantino IV. Marsch

Intermission

MICHAEL STRINGER, Director MARTIN HIGH SCHOOL SYMPHONY ORCHESTRA

ANTONIN DVOřÁK Carnival Overture, Op. 92

GIACOMO PUCCINI Nessun Dorma from “Turandot” arr. STEPHEN HEYDE

SERGEI RACHMANINOFF Symphony No. 1 in D Minor, Op. 13 IV. Allegro con fuoco

JAMES M. MEADERS, DCINY Associate Artstic Director and ConductorMARTIN HIGH SCHOOL CHOIR & STRING ORCHESTRA

OLA GJEILO Sunrise Mass I. The Spheres (Kyrie) II. Sunrise (Gloria)

MARTIN HIGH SCHOOL CHORALE & FULL ORCHESTRA

RANDOL ALAN BASS Gloria

This concert is dedicated to the memory of Taylor Renee Helland. Today we choose joy!

For information about performing on DCINY’s series or about purchasing tickets, [email protected], call (212) 707-8566, or visit our website at www.DCINY.org.

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Notes ON THE PROGRAM

Brent Pierce has written many pieces intried styles and genres, includingchoral, orchestral, jazz and chambermusic. He has nearly three-hundred pub-lished works, which are performed

across the world. He taught music theoryand composition at Fullerton College inSouthern California. In Hosanna InExcelsis, Pierce utilizes repeated text invarious themes which sometimes overlap.

HOSANNA IN EXCELSIS (Hosanna in the Highest)Brent Pierce

Z. Randall Stroope is an active choralconductor and composer of both choraland instrumental works. He is currentlythe Director of Choral and Vocal

Studies at Oklahoma State Universityand the Artistic Director for two sum-mer music festivals in Europe. The textof Prelude to Peace is from SaraTeasdale’s Love Songs, written in 1917.

PRELUDE TO PEACEZ. Randall Stroope

Edwin Fissinger (1920–1990) had asuccessful career as a choral composerand conductor during which he wroteone-hundred and eighty-three choralworks. He taught at American

Conservatory of Music in Chicago,University of Illinois, Chicago Circle,and North Dakota State University. Thetext of By the Waters of Babylon comesfrom Psalm 137, in which the Israelitesremember their Babylonian captivity.

BY THE WATERS OF BABYLONEdwin Fissinger

Michael McGlynn (b. 1964) was raisedin Dublin and Donegal, Ireland. Heformed the choir Anuna in 1987 as avoice for his compositions. His innova-tive choral compositions are performedworldwide. Dúlamán is a traditional

verse and refrain structure. The texttells of young men who have gatheredseaweed (dulaman) coming back intotown. During the Irish Potato Famine ofthe mid-1800s, many people resorted toedible seaweed as a source of food.

DÚLAMÁN Michael McGlynn

Randy Jordan was the head choraldirector at Martin High School fortwenty-three years (1982–2005). Hebuilt the program from thirty-two stu-dents in Martin’s first year to an virago

of three-hundred and fifty at his retire-ment. He is currently in his teeth yearas the director of the Arlington MasterChorale. Jordan dedicated Hope Is…to his wife, Debbie Duncan.

HOPE IS…Randy Jordan


The composer adapted a West Africansaying, “It takes a village to raise achild” for the text of this piece. Theunique vocal rhythms of each voicepart overlap and work together to mir-ror the text’s message that all of the

individual parts sustain the whole. JoanSzymko is an active composer withmore than one-hundred publishedworks. She is the director of AuroraChorus in Portland, Oregon and thedirector of Vox Femina women’s cho-rus at Portland State University.

IT TAKES A VILLAGEJoan Szymko

Paul Hindemith was born November16, 1895 just outside of Frankfurt,Germany. He had a strong music educa-tion in his early years, focusing on vio-lin performance. At the age of nineteen,he was named the deputy leader of theFrankfurt Opera Orchestra. However,he was drafted into the German Armyat the onset of WWI where he playedbass drum in the regiment band. AfterWWI, he went back to the FrankfurtOpera Orchestra and began focusinghis efforts into composition. Hindemith’s time in Germany wouldbe short-lived as the Nazi regime didnot condone his compositions. JosephGoebbels, Germany’s Minster ofPropaganda, decried Hindemith’smusic as a “degenerate, atonal noise-maker.” Hindemith fled Germany in1938 to Switzerland but ultimatelyended up in the United States in 1940.During his time in the US, he workedmostly at Yale University as a composi-tion professor. He returned back toEurope in 1953 to live in Zurich wherehe would compose, conduct, andrecord his music until his death onDecember 28, 1963.

Symphonic Metamorphosis ofThemes by Carl Maria Von Weber is afour movement, twenty-two minutepiece originally scored for full orches-tra. The piece began life in early 1940,when Hindemith first took up residence

in the United States. The wind bandtranscription was completed seventeenyears later in 1961 by a colleague ofHindemith’s at Yale University,Director of Bands Keith Wilson. Hindemith sketched a series of move-ments based on themes by Weber, to beused in a ballet for a dance companyrun by the famous Russian choreogra-pher Léonide Massine. The projectcame to an end when Hindemith andMassine had one too many artistic dif-ferences. In 1943 Hindemith redid themusic into the Metamorphosis, in theprocess turning it into a splashy, color-ful orchestral piece of the sort thatAmerican audiences in particularseemed to like. It was an immediatesuccess when it was premiered by ArturRodzinski and the New YorkPhilharmonic in Carnegie Hall inJanuary 1944. The wind band tran-scription was completed seventeenyears later in 1961 by a colleague ofHindemith’s at Yale University,Director of Bands Keith Wilson. The themes Hindemith used are fromsome of Weber’s most obscure works,and came to Hindemith’s attention

because they could all be found in onevolume of piano duets that he owned.Hindemith not only retained all butone of the themes almost exactly asWeber wrote them, but also preserved

SYMPHONIC METAMORPHOSIS OF THEMES BY CARLMARIA VON WEBERPaul Hindemith


Antonin Dvořák (1841–1904) wrotethis overture as the second in a trilogy ofconcert overtures, originally titledNature, Life and Love. Later he changedthe names to In Nature’s Realm,Carnival and Othello and gave each itsown opus number. Dvořák used thesame theme in all three overtures andintended them to be performed together,which is how he conducted them at thepremiere. Today, however, only theCarnival Overture remains part of thestandard orchestral repertoire. In Dvořák’s own program notes for

the Carnival Overture, he wrote: “A wanderer reaches the city at night-fall, where a carnival of pleasure

reigns supreme. On every side isheard the clangor of instruments,mingled with shouts of joy and theunrestrained hilarity of people givingvent to their feelings in the songs anddance tunes.”From the opening bars, the Overture

explodes with sound, featuring theclanging of the triangle and the rattlingtambourine, which captures the fren-zied energy of the carnival. This is offsetby a slower section, signaled by a blar-ing French horn, which then subsidesinto a quiet duet for flute and oboe.Without warning, the mad dash of theopening music returns to conclude theoverture with a jubilant shout.

CARNIVAL OVERTURE, OP. 92 Antonin Dvořák

Giacomo Puccini (1858–1924) is hailedas the greatest composer of Italianopera of his time. One of nine childrenof Michele Puccini and Albina Magi, hewas born into a local musical dynastyin Lucca, where his family held a legacyof maestro di cappella for one-hundredtwenty-four years. In 1880, he earned adiploma from the Pacini School ofMusic; a grant from Italian QueenMargherita allowed Puccini to continuehis studies at the Milan Conservatory.Here, he wrote the orchestra pieceCapriccio symphonic as a thesis com-position, launching his reputation as apromising young composer. Over thecourse of his life he wrote five chamber

pieces, several piano compositions,four orchestra works, over a dozenworks for vocals, and ten operas,including Turandot, his final opera.Puccini never finished Turandot, how-ever, dying on November 29, 1924,from complications after his radiationtherapy for throat cancer. He leftbehind a wife and son.

Nessun dorma, (translated as “Noneshall sleep”) is an aria from the final actof Turandot and is one of the best-known tenor arias in opera; it is alsoone of the last pieces Puccini personallycomposes for the opera before hisdeath. In this piece, as his subjectslament their fate if they cannot discover

NESSUN DORMA FROM “TURANDOT”Giacomo Pucciniarr. Stephen Heyde

much of the formal structure of thepieces as well, so that it is possible tofollow the general outlines ofHindemith’s score while listening toWeber’s music, or vice versa, and havea pretty good idea of what’s going on.

Hindemith alters nearly everything else,making radical changes to the harmonyand adding to the music both vertically(with different harmonies and newcountermelodies) and horizontally(extending phrases or entire sections).


his name, the Prince echoes their criesof the upcoming sleepless night andreflects on Turandot. As the aria cli-maxes, the piece swells into a boastfuldeclaration as the Prince sings of hisimminent victory.

The arranger Stephen Heyde is theMary Franks Thompson Professor ofOrchestral Studies and Conductor-in-Residence at Baylor University as wellas the Music Director/Conductor of theWaco Symphony. Hyde served asPresident of the College OrchestraDirectors Association and currentlyserves on the Board of Directors ofProMus International. Starting his

career with a masters in violin perform-ance, he had since pursued his passionfor conducting, taking his expertise andexperience around the world as a guestconductor to work with musicians ofall levels, from student to professional.Under his guidance, the BaylorSymphony has performed eight times atthe TMEA Convention, appeared in anational PBS Special, Christmas atBaylor, performed at the PiccoloSpoleto Festival and at national con-ventions of the American StringTeachers Association and the CollegeOrchestra Directors Association, andhas toured internationally in CostaRica and Belgium.

Sergei Rachmaninoff’s first symphonywas not his first foray into symphonicform. He wrote a scherzo for orchestrawhen he was thirteen, and as a studentwrote the first movement of a sympho-ny. His official first symphony wascomposed between January andOctober of 1895 when he was twenty-two years old. Rachmaninoff was typi-cally a composer that worked very rap-idly, but the first symphony caused himmuch effort and work. He finally dedi-cated ten-hour workdays to see thework through to completion. It did not have its premiere until nearlytwo years later. Rachmaninoff playedthe work in a version for piano for thecomposer and teacher Sergei Taneyev in1896. Taneyev’s negativity towards thework led Rachmaninoff to makechanges in the symphony, and he wasfinally granted a performance of thework in March of 1897 in St. Petersburgwith Alexander Galzunov conducting. Rimsky-Korsakov attended therehearsals of the symphony and was notoverly impressed, and neither was theconductor Glazunov. Glazunov was nota very good conductor to begin with

and his control of the orchestra was notstrong. Rachmaninoff tried to makesuggestions to the conductor butGlazunov ignored him. Glazunov evenhad the nerve to make some cuts in thework and change some of the orchestra-tion, with neither action benefiting thesymphony. The effect on Rachmaninoffwas devastating. He left the hall beforethe work ended. Critics were brutal,especially one of The Five composersCesar Cui who in part wrote:

“If there were a conservatory in Hell,and if one of its talented studentswere to compose a program sympho-ny based on the story of the TenPlagues of Egypt, and if he were tocompose a symphony like Mr.Rachmaninoff’s, then he would havefulfilled his task brilliantly and woulddelight the inhabitants of Hell.”

As for Rachmaninoff, his initial reac-tion was calm, but with the passion oftime the negative reception of his sym-phony caused him to lose his self-confi-dence and he gave up composing until1899. He did not destroy the work, but

SYMPHONY NO. 1 IN D MINOR, OP. 13Sergei Rachmaninoff


it was not performed again in his lifetime.Rachmaninoff put the score in his writ-ing desk and it was left in Russia afterRachmaninoff fled the country in 1917.In 1944 the instrumental parts and atwo-piano reduction done by the com-poser were found in the archives of theLeningrad Conservatory Library. Themanuscript score has never been found.Using the available parts and piano ver-sion, the symphony was reconstructedand given its second performance at theMoscow Conservatory in 1945.

IV. Allegro con fuoco—The finalebegins with martial music in a variant

of the Dies Irae theme. The musicgrows in lushness before it resumes itsmarch-like quality. The music remainstuneful with brass added for emphasis.Rachmaninoff keeps everything movingwith energy as snippets of motifs some-what familiar make their appearance.The tension builds, syncopations areheard. The bass drum and percussionadd texture to the music that growsuntil a tam tam signals the beginning ofthe end. The opening motif insistentlyreappears and guides the brass andorchestra to the final chords.

Born in Norway in 1978, Ola Gjeilobegan developing his distinct musicalvoice at an early age, starting his musi-cal studies, including jazz classicalpiano, and composition, at the age ofseven. After furthering his education byattending the Norwegian Academy ofMusic and earning a compositiondegree from the Royal College of Musicin London, Gjeilo moved to the UnitedStates and completed his Master’sDegree in composition at The JulliardSchool of Music in 2006. The next year,Gjeilo composed Sunrise Mass whichwas premiered on November 2, 2008,and is now being performed across theworld to great acclamation.

The Spheres is the first movement ofthis four movement Mass. In this

movement, a nebulous amalgamationof melodies is created as a set of voicespresents a chord which is answered bya second set of different chords, creat-ing an overlap of textures with rich dis-sonances and warm resolutions. Thismovement concludes with a powerfulmelody that thematically ties the entireMass together. In contrast to the still and mysteriousnature of the first movement, the secondmovement, Sunrise, immediately con-tributes a character of fluidity and move-ment to the Mass as the string transitionfrom a style of lyrical half notes to shim-mering sequences of sixteenth notes,reflective on nature’s awaking of life withthe coming of sunrise.

SUNRISE MASSOla Gjeilo

The American composer Randol AlanBass was born February 12, 1953 inFort Worth, Texas. His childhood wasspent in Midland, Texas, where he stud-ied piano and other various instru-ments. He avidly participated in com-munity theater and sang for localchoral ensembles, such as the Midland-Odessa Symphony. Bass completed a

broad range of educational accomplish-ments: he earned a Bachelors degreefrom the University of Texas at Austinin 1976, a Masters of Music in ChoralConducting from the CincinnatiCollege-Conservatory of Music in1980, and actively strived towardDoctoral studies in choral and windconducting from both Ohio State

GLORIARandol Alan Bass


By the Waters of BabylonEDWIN FISSINGER

By the waters of Babylon, there we sat down and wept, Yea, we wept when we remembered thee, O Sion. We hanged our harps upon the willows in the midst thereof. For they that led us away captive required of us a song in our heaviness; saying, “Sing us one of the songs of Sion.” How can we sing the Lord’s song in a strange land?

Prelude to Peace Z. RANDALL STROOPE

When I think of you, I am at rest. My thoughts seek you,as waves that seek shore. Lover of beauty, knightliest and best; When I think of you, I am at rest.

I have remember’d, beauty in the night, And music in the dark, And running water singing on rocks, In English wood I once heard a lark.

But all remeber’d, beauty is no more than A vague prelude to the thought of you. When I think of you, I am at rest.

Texts and TranslationsHosanna In ExcelsisBRENT PIERCE

Hosanna in excelsis. Hosanna in the highest.

University and the University of Texasat Austin. He also studied under theacclaimed choral conductor RobertShaw. Although now Bass prioritizes originalcomposition, he is a masterful per-former. He sang for the DallasSymphony Chorus for a number ofyears, and in 1997, he was a part of theDallas Symphony’s Israeli tour, wherethey performed Mahler’s SymphonyNo. 8 several times under the directionof Zubin Mehta. He performed as asolo pianist with groups like the CoastGuard Academy Band and the Maîtrise

de Saint Léonard Orchestra.Gloria was completed in 1990 for theNew York Pops Orchestra and was pre-miered on December 7 of that sameyear in Carnegie Hall. Bass uses theliturgical Latin text Gloria in ExcelsisDeo, which translates to “Glory toGod in the highest”, as the setting. Thework is often used in both secular andsacred programs, but is performed in amultitude of venues regardless. It offersmultiple steady, rhythmic sections con-trasted with strong, sweeping lyricalpassages that bring emphasis to thepowerful Latin text.


Dúlamán MICHAEL MCGLYNN

Dúlamán na binne buí, dúlamán Gaelach,

Dúlamán na farraige,dúlamán Gaelach.

A ‘níon mhín ó! Sin anall na fir shuirí

A mháthair mhín ó! Cuir na roithleán go dtí mé!

Rachaidh me chun ‘lúir leis a’dúlamán Gaelach

“Ceannódh bróga daor’,” arsa’ dúlamánGaelach.

Bróga breátha dubha ar a’ dúlamán Gaelach.

‘Bairéad agus triús ar a’ dúlamán Gaelach

Tá ceann buí óir ara’dúlamán Gaelach.

Tá dhá chluais mhaol’ar a’ dúlamán Maorach.

Seaweed, seaweed, seaweed from the yellow cliff, Seaweed from Ireland

Seaweed, from the ocean, Seaweed from Ireland.

Oh, gentle daughter, here come the wooing men

Oh, gentle mother, put the wheels in motion for me!

I would go to Niúir with the Irish seaweed,

“I would buy expensive shoes,” said theIrish seaweed.

The Irish seaweed has beautifulblack shoes

The stately seaweed has a beret and trousers.

There is a yellow gold head on the Gaelic seaweed

There are two blunt ears on the statelyseaweed.

Hope Is… RANDY JORDAN

Hope is the thing with feathers that sings the tune without the words. Hope is the thing with feathers that perches in the soul,And sings the tune without the words. And sweetest in the gale is heard, and sore must be the storm that could abash the little bird that kept so many warm. I’ve heard it in the chillest land and on the strangest sea, yet never in extremity it asked a crumb of me! Hope is the thing with feathers that perches in the soul, and sings the tune without the words, and never stops at all.

It Takes a Village JOAN SZYMKO

It takes a whole village to raise our children. It takes a whole village to raise one child. We all ev’ryone must share the burden.We all ev’ryone will share the joy.


THE Artists

Kay Owens has taught secondarychoral music in public schools for thir-ty-three years. Prior to joining theArlington Independent School District,in 1993, she taught elementary, juniorhigh and high school choirs in NatchezPublic Schools, Natchez, Mississippiand Tupelo Public Schools, Tupelo,Mississippi. She received a BME degreewith emphasis in piano and voice fromMississippi State University in 1983,and a Masters of Music in ChoralConducting from Mississippi College in2000. Presently Ms. Owens is in hereighteenth year at Martin High School.During her tenure as the assistant direc-tor, Chamber Singers performed at the1999 Fringe Festival in AberdeenScotland, TMEA and ACDA in 2005.Under Owens’ leadership, MartinChorale debuted at Carnegie Hall in2006, Varsity Women performed atTMEA in 2008, Chamber Singers per-formed at the National ACDA conven-tion in 2013 and has been chosen toperform at the 2016 TMEA conventionin San Antonio. Also at Martin, Owensserves as the Fine Arts DepartmentChair. Kay serves as organist at FBCArlington and resides in Arlington. The Martin Chorale is comprised ofthe top students in the Martin choralprogram. The program has a total ofthree-hundred ninety-five students

involved in ten performing organiza-tions. Among the one-hundred voicechoir, the students are involved in the-atre, band, orchestra, athletics, and stu-dent council and may different clubs oncampus. Seventy-five percent of the stu-dents in Chorale take advanced place-ment courses. Martin Choirs have per-formed at four TMEA conventions(1995, 2005, 2008, 2016) and threeNational ACDA conventions (1997,2005, 2013). In 2006, Martin Choralewas selected by Carnegie Hall as one ofthree high school choirs to perform atthe National Youth Festival at CarnegieHall. Martin Choirs consistently earnUIL sweepstakes each year and have anaverage of eight to ten students per yearnamed to the prestigious Texas All-State Choirs.

KAY OWENS, Choral Director


Brad McCann is the Director of Bandsat James Martin High School. This isMr. McCann’s fifth year teaching atMartin; this is his first year as Directorof Bands. He spent three years as adirector and one as a private lesson

teacher. An Arizona native, Mr.McCann holds a Master of Musicdegree in Instrumental Conducting anda Bachelor of Music Education degree,both from Northern Arizona University. The Martin Wind Symphony is select-ed from the most experienced and out-standing musicians in the total band pro-gram at MHS. Musicians in the ensem-ble continue the development ofadvanced performance techniques whilecultivating superior musicianship. TheWind Symphony performs on and off-campus concerts, travels to regional andstatewide concert festivals, as well asother music festivals nation wide.Holistically, the 230-member MartinBand program has a rich history of suc-cess, earning division I ratings at 33 con-secutive UIL Marching and UIL Concertand Sightreading contests.

BRAD MCCANN, Director of Bands

Michael Stringer is the Director ofOrchestras at Martin High School inArlington, Texas. Stringer graduated in2000 from UT Arlington with a Bachelorof Music degree. Having taught at MartinHS since 2006, his orchestras have consis-tently won UIL Sweepstakes Awards andhave been presented numerous awards byfestivals across the nation. Under his direc-

tion, the Martin Symphony has been afinalist of the TMEA Honor OrchestraCompetition eleven times, and in 2015 theMartin Symphony was named the TMEAHS String Honor Orchestra. In 2014Stringer was awarded the AWARE Awardfor Educational Excellence by theArlington AWARE Foundation.The Martin Orchestra program servicestwo-hundred and eighty-six students thatare placed in six orchestras. The MartinSymphony has achieved thirty-one consec-utive Sweepstakes Awards at UIL Contestand numerous Best in Festival awards atnational music competitions. The MartinSymphony also has been chosen as a final-ist in the TMEA Honor OrchestraCompetition eleven times and was mostrecently chosen as the 2015 HS StringHonor Orchestra. These awards and hon-ors are a culmination of the teaching andlearning that happen in the MHS clusterfeeder schools, where over 1000 studentsare enrolled in orchestra this year.

MICHAEL STRINGER, Director of Orchestras


Dr. James M. Meaders moved to NewYork in July 2014 to accept a positionwith Distinguished ConcertsInternational New York (DCINY),where he is Associate Artistic Directorand Conductor. Prior to his appoint-ment at DCINY, he spent sixteen yearsof faculty at Mississippi College, wherehe was Professor and Director ofChoral Activities in the Department ofMusic. Dr. Meaders’ choirs performedmultiple invitational performances forconventions of the American ChoralDirectors Association at the state, divi-sional, and national level. He led theMississippi College Singers on fourinternational tours and concerts in suchvenerable venues as WashingtonNational Cathedral, Disney Hall,Lincoln Center, St. Peter’s Vienna, andCarnegie Hall. He has also presentedmultiple sessions on varied choral top-ics to state and divisional ACDA con-ventions. In February 2015 andOctober 2015, Meaders, with col-league, Dr. Alicia Walker from theUniversity of South Carolina, presentedsessions on the integration of servicelearning and music education for thenational conventions of ACDA andNAfME in Salt Lake City, Utah andNashville, Tennessee respectively. Dr. Meaders has taught undergradu-ate and graduate conducting, appliedvoice, and chaired a university depart-ment of music. He has been a practicingchurch musician for more than twenty-five years and has conducted communi-ty choirs, numerous honor choirs andmany festivals. Meaders, in partnershipwith South African choral conductor,

Michael Dingaan, and several conduc-tors based in the United States, createdThe International Partnership forChoral Music Education, a servicelearning-based symposium promotingthe development of the choral arts ofSouth Africa. He is Past-President ofMississippi ACDA and has served asCollege and University R&S Chair forSouthern Division ACDA. Meaders has appeared as a guest con-ductor with DCINY on multiple occa-sions, including the New York premiereof Requiem for the Living by DanForrest, on January 19, 2014, with theDistinguished Concerts SingersInternational at Carnegie Hall. He isconducting two Carnegie Hall perform-ances on DCINY’s 2016 season, includ-ing a reprise of Forrest’s Requiem forthe Living in January and Ola Gjeilo’sSunrise Mass in March. Professional memberships includeAmerican Choral Directors Associationand the National Association ofTeachers of Singing.

JAMES M. MEADERS, DCINY Associate Artistic Director & Conductor


PERFORMING ARTS PARTNERS

DCINY would like to thank our Performing Arts Partners, who, with their financial support,have made this performance possible.

Martin High School Chorale

Emily AdkinsReaghan AlexanderBekah AlversonRajiv AwasthiJason BairdKailey BalkeMatt BanisterAlyssa BarnesMartick BaroghSamantha BaxterKatherine BelangerLeah BennPatrick BrowderCameron BurkettDaniel CarmonaMarcelo CarrejoJohn ChambersCameron ChurkeyKyla CliftAustin CrawfordZander CurtisAdam DaileyKendall DarrLauren DarrJacob DavidsonKylee DedmonBrittney DolanCaroline DunnBrad FranklinAlex FrattoJulian DuncanMadalyn GerzsenyiMady GomezKatherine GriffithMcKenzie GarrardAlex GrissettLandon HackleyElise HallMatthew HalomRose HavenerCameron HayesKendall HendrixJordan HillSarah HodnettTaylor HoltSarah HooverJohnathon HusbandAvery JackAlana JohnsonLaura Keefe

Ryan KerezmanJade KlineBrooks KnaptonCameron KurtzAvery LawMandy LokKatie LongLuke LowranceKesi MadukaChris MaloneShannon MayMacy MayoGrace McVeaElissa MentesanaShelby MilhoanKate McGuireBrock MooreJillian MooreCally NashCharles NollKristin NorrisRyan OktayTommy OtnessJessica OvertonDaniel PowellRachel RankeyKatya RasmussenPeyton ReineMalorie ReynoldsAugust RiehleMolly RobertsRyan RussellCole SchirmHaley SextonHannah StevensLauren ThompsonMaty TibbsHannah ToppGabi TurnerAmaris TuttAubrey WasdenBrady WhiteMichael WhiteAshlie WhitworthBrandon WilcoxTate WilliamsonTupelo WitteElaine WongBailey WoodardGrace Wright


Flute/PiccoloCaitlin Calandria Darci FulcherDarbi LanhamKyleigh McCulleyJacqueline PerroneEunice Yoon

OboeElizabeth ByrdSoobin LeeJulia Rodriguez-Graham

ClarinetKate BrooksKwonwoo ChoiSydney DragonJamie GriffinEmily Hale Elias MatosIsaac RamadanCourtney SchultzCourtney SmithJulie Vest

BassoonHeather GrahamNicole PinkertonEden Taylor

SaxophoneDylan Bennett McCain Kinerd Caleb Martin Darrion RobertsGregory Taylor

TrumpetJennifer CastilloKyle DellenbaughEthan NicholsonWilson PetterKeri PowellGarrett ShupingKyle TarbyAaron Webb

French HornRyan EconomyBrynn HynsonLane RogersEmilia TinajeroMelanie Zacharias

TromboneJerasin GuedryMatt HoganNoah HollabaughScott HudsonAlexander LopezKyle Rankin

EuphoniumBenjamin ChanMicah MorrisJonas Taylor

TubaMicah HernandezMatthew LogsdonDavid Payne

PercussionAndrew GrangerNoah LoeselAnna MyersRussell NorrisAlayna RichterMichael RogersTrevor StreetBrandon Swinney

Violin I Lindsey Birmingham Nora BrinNicholas EppersonGloria EstesTimothy Gan Nic JenningsJorena LimLynda MayorJosh RadkeDavid ReinJonathan Wei**Eric Yee

Violin IIRachel BuiNicolas CauseyNety DuenasAlex Edwards Keller HuckabyNoelle LeinoCourtney LiangChristine MantchevKristin Mehlmann

Harrison RogersJoy RongCassra ShiraziPaisley SmithBrandon TruongJohn Wilke*

Viola Kodee Foster*Courtney GisburneAudrey HairrellDarla Manjea*Nathan NguyenGrayson ScottGrant SikesJoy SilerHelen TranLucy Xin

CelloSamantha BourlandSamuel GardnerRobert KimTori Kim

Meribah LeinoMegan LimAlbert LuuZach RadkeHannah Waterman*Jonathan WebbFrederik WinguthSara Yoon

Double BassMaverick CulpAnthony MirabelliJohn RodnitzkyRebekah SnyderMolly Tutt*

HarpGloria EstesKaitlyn Stafki*

**Denotes Concert Master

*Denotes Principal

Martin High School Wind Symphony

Martin High School String Orchestra


Founded by Iris Derke and Jonathan Griffith,Distinguished Concerts International NewYork (DCINY) is the leading producer ofdynamically charged musical excellence.With its unforgettable concert experiences inrenowned venues, empowering educationalprograms, and global community of artists

and audiences, DCINY changes lives throughthe power of performance.

For more information about DistinguishedConcerts International New York andupcoming DCINY musical events around theworld, please visit: www.DCINY.org.

DISTINGUISHED CONCERTS INTERNATIONAL NEW YORK

DCINY ADMINISTRATIVE STAFF

Iris Derke, Co-Founder and General Director

Jonathan Griffith, Co-Founder, Artistic Director & Principal Conductor

Danuta Gross, Director of Finance & Administration

Kevin Taylor, Director of Program Development

James M. Meaders, Associate Artistic Director & Conductor

Jason Mlynek, Program DevelopmentJim Joustra, Program DevelopmentMark Riddles, Program DevelopmentKatie Sims, Program DevelopmentJulia Falkenburg, Program Development

Maria Braginsky, Program DevelopmentAssistant

Marisa Tornello, Program Development Assistant

Andrea Macy, Associate Director of Marketing, Box Office & Promotions

Edmundo Montoya, Director of ProductionDeAnna Choi, Office Operations Manager,

Accounting & BillingGary Crowley, Graphic Design & WebsiteSamm Vella, Concert Operations &

ProductionThomas Reinman, Concert OperationsGeraint Owen, Intern

For PR and media inquiries, please contact Andrew Ousley of Unison Media [email protected] or (212) 707-8566 Ext. 316.


DCINY 2016 Concert SeriesPlease join us for one of our upcoming events:

Tuesday Evening, March 22, 2016 at 7:00 PMAlice Tully Hall, Lincoln CenterVocal ColorsThe Music of Ivo AntogniniJerry McCoy, DirectorIvo Antognini, Visiting ComposerFeaturing Distinguished Concerts Singers InternationalKhorikosAlec Galambos, Assistant Director

Thursday Evening, March 31, 2016 at 8:00 PMWeill Recital Hall at Carnegie HallAn Evening with Junior Chamber MusicSusan Boettger, Director

Sunday Afternoon, April 3, 2016 at 2:00 PMDavid Geffen Hall, Lincoln CenterCalling All DawnsTin: Calling All DawnsJonathan Griffith, DCINY Artistic Director and Principal ConductorChristopher Tin, DCINY Composer-in-ResidenceFeaturing Distinguished Concerts Orchestra and Distinguished Concerts SingeresInternationalThe Music of Sydney GuillaumeSydney Guillaume, Composer/ConductorFeaturing Distinguished Concerts Singers International

Sunday Evening, April 17, 2016 at 8:30 PMStern Auditorium/Perelman Stage, Carnegie HallMisa A Buenos Aires (Misatango), 20th AnniversaryMartin Palmeri, Composer/ConductorFeaturing Distinguished Concerts Orchestra and Distinguished Concerts SingersInternationalThe Music of Stroope, Hampton, Stopford and OthersRichard Nickerson and Robert Westerberg, DirectorsFeaturing Distinguished Concerts Singers International

Friday Evening, May 27, 2016 at 7:00 PMStern Auditorium/Perelman Stage, Carnegie HallThe Triumph of HopeThe Military Wives Choir (In support of MWCF)Paul Mealor, Composer/ConductorWest Monroe High School Rebel ChoirGreg A. Oden, DirectorReno Philharmonic Youth OrchestrasJason Altieri, Director

For DCINY’s full season listing, visit DCINY.org.

Distinguished Concerts International New York250 W. 57th Street, Suite 1610, New York, NY 10107

(212) 707-8566 | DCINY.org


presents sounds of a new generation an evening with … · michael mcglynn dulaman ... the director...

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