Sunday Afternoon, February 19, 2017, at 1:00Isaac 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

The Glory of Freedom: A Concert to Honor Our Veterans

ROCHESTER PHILHARMONIC YOUTH ORCHESTRAJAMES MICK, Director

RICHARD WAGNER Prelude to Die Meistersinger von Nürnberg

GUSTAV MAHLER Symphony No. 1, Mvt. 3, “Funeral March”

ARTURO MÁRQUEZ Danzón No. 2

Intermission

DISTINGUISHED CONCERTS ORCHESTRADISTINGUISHED CONCERTS SINGERS INTERNATIONAL

ERIN FREEMAN, DCINY Debut ConductorSUZANNE KARPOV, Soprano

FRANCIS POULENC Gloria I. Gloria II. Laudamus te III. Domine Deus IV. Domine Fili unigenite V. Domine Deus, Agnus Dei VI. Qui sedes ad dexteram Patris

Pause

LEE NELSON, Guest Conductor

RANDALL THOMPSON The Testament of Freedom

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES.

Notes ON THE PROGRAMby James Mick

In 1862, a few years after RichardWagner had stunned the musical worldwith his opera of unfulfilled passion,Tristan und Isolde, he produced DieMeistersinger von Nürnberg. Its direct,good-humored story, with links toGerman history and musical traditions,was like a sigh of relief after the intensedrama of his more recent operas. Thestory is about the ambition of Walther,a social and musical upstart, to win afamous singing contest whose prize isthe hand in marriage of the youngwoman he adores. The deeper subjectsof this glorious and beloved opera arethe age-old conflicts between youthfulinnovation and artistic creativity andthe stodgy conservatism of older gener-

ations who cling to the reins of statusand power.

The Prelude opens with the magisterialtheme of the Guild of Master Singers.It marches forward with dignity, asense of tradition, and more than a hintof pompousness. A second themecomes forward— the dreamy, lyricalsong of young Walther. Wagner weavestogether these melodies with mountingexuberance and anticipation. ThePrelude concludes with theMeistersingers proudly asserting theiras yet unchallenged authority andsplendor as the curtain rises on a tale ofmusical inspiration and generationalchange.

RICHARD WAGNER Prelude to Die Meistersinger von Nürnberg(appx. 9 minutes)

Mahler was born in 1860 in Bohemia(now included in the Czech Republic).As a Jew, Mahler struggled with age-oldcultural barriers, but ultimately attainedthe highest levels of musical leadershipand respect in Vienna and throughoutEurope as a conductor and composer.His premature death in 1911 at the ageof fifty-one was profoundly mourned.

Gustav Mahler first performed hisSymphony No. 1 in 1889 in Budapest,to a decidedly unenthusiastic audience.Expecting the lush, clearly organizedsounds of a Brahms or a Dvořák work,they were confronted with what musthave seemed like a jumble of tunes,wildly contrasting emotions, and anorchestra of immense size and sound. It

took a while for audiences to adjusttheir ears to Mahler’s intensely personalvision and complex, but deeply absorb-ing, music. Guided by LeonardBernstein’s devotion to Mahler,American audiences over the pastdecades have increasingly been drawninto the emotional depths and creativityof his symphonic works, finding inspir-ing vitality as well as solace in his music.

Throughout his entire First Symphony,Mahler incorporates melodies from theeveryday world around him: thesounds of birds, children’s tunes, hikingsongs, folk dances, and love songs. Heoften plays one against another, creat-ing jarring juxtapositions. He gave thetitle “Funeral March” to the Third

GUSTAV MAHLER Symphony No. 1, Mvt. 3, “Funeral March”(appx. 11 minutes)

Movement, but it’s not at all theexpected solemn, mournful procession-al tune. Instead, we hear a freakish,almost jazzy, version of “Frère

Jacques,” dance band tunes, andsweeping waltzes as the procession oflife passes before us.

Full of hypnotic rhythms and sensuousmelody, Márquez’s Danzón No. 2 isone of the most joyous and irresistiblemusical creations of the late 20th cen-tury. Inspired by Mexican salon dancemusic of an earlier time, it minglestogether influences from Africa, Spain,France, and Cuba that continue toform the foundation of popular musicin Mexico and throughout theCaribbean Islands and Latin America.Composed in 1994, Danzón No. 2 wasMárquez’s homage to the musical her-itage of Mexico and to the mariachi

and folk music traditions of his ownfamily of musicians.

The piece opens with a clarinet solosoaring over pizzicato strings. Theentire orchestra gradually becomesengaged in the hypnotic rhythms of thedance as it gradually intensifies andreaches an ecstatic finale. This com-pelling work quickly won a place in theorchestral repertory, thanks to GustavoDudamel and the Simón Bolívar YouthOrchestra of Venezuela.

ARTURO MÁRQUEZ Danzón No. 2(appx. 9 minutes)

As is often the case with works pennednear the end of life, Poulenc’s Gloriarepresents a lifetime of musical andspiritual influences. Completed three-and-a-half years before his death, theGloria tells Poulenc’s life story in apithy 25 minutes. In six short move-ments, the work contains a tribute toStravinsky, a musical representation ofplayful angels, reminiscences of hisrebellious group of friends known as“Les Six,” a transcendental nod to hisCatholic reawakening, orchestrationworthy of his most revered instrumentalcompositions, and a cappella sectionsthat evoke the Renaissance masters—allusing modal scales and harmonies bor-rowed from the Middle Ages.

The first movement begins with a refer-ence to the bold dotted rhythms of theBaroque French overture style—a stylethat Stravinsky exploited throughouthis career. As a young composer,

Poulenc admired the great Russianmusician, so it is no surprise that theneo-classic strains of the openingprogress into a Rite of Spring-inspired,rhythmically primal dance. The secondmovement, with its playful orchestra-tion and schoolyard style call-and-response, hearkens back to Poulenc’sassociation with “Les Six,” a group ofcomposers who prided themselves onbucking compositional trends, eschew-ing the music of Wagner and Debussy,and embracing bawdiness and humorin even the most pious of settings.Describing this movement, Poulencremarked: “I was simply thinking…ofthe Gozzoli frescoes in which the angelsstick out their tongues. I was thinking,too, of the serious Benedictines whom Isaw one day playing soccer.” In themiddle, the jovial soccer game pausesfor five short measures as the monkschant “Gratias agimus tibi” (we givethanks to Thee).

FRANCIS POULENC Gloria(appx. 28 minutes)

In 1936, Poulenc’s fellow composer,Pierre-Octave Ferroud, was decapitatedin a car accident. This tragedy, plus apilgrimage to the Rocamadour com-mune, brought about Poulenc’s spiritu-al awakening. He began writing moresacred and liturgical works. Withhymn-like chords descending fromheaven and a soprano solo that leadsthe chorus through a multitude ofdynamics and harmonies, the music isclearly connected to the traditions ofthe Catholic Church.

The fourth and fifth movements togglethe listener between the levity of “LesSix” and Poulenc’s 1930’s enlighten-ment—both with the primal strains ofStravinsky’s Rite of Spring woventhroughout. Finally, in the sixth move-ment, all of Poulenc’s autobiographical

moments come together into one tran-scendental sendoff. We hear the angu-larity of Poulenc’s mentor, Cathedral-worthy a cappella moments, light-hearted dance rhythms, and a sacred“Amen” exclaimed in three medievalmodes over five measures. Only in thelast 39 measures do all of these influ-ences disappear. There is no more tribalrhythm, no dance hall, no playfulness,and no hint of the middle ages. Themelody is based on two simple notes,strings play with muted color and softrhythm, and woodwinds and harp pro-vide a gentle rolling accompaniment.Perhaps Poulenc could only praise Godby shedding his earthly influences andfinding a new voice—one that isuniquely French and uniquely his.

—Erin Freeman

Commissioned and first performed in1943 by the Virginia Glee Club, TheTestament of Freedom was written tocelebrate the bicentennial of ThomasJefferson’s birth and to acknowledgehis role in founding the University ofVirginia. Since then, its dramaticallysoaring, hymn-like melodies and com-pelling harmonic structure set atop theFounding Fathers’ stirring prose hasmade it a staple of the male chorusrepertoire. Jefferson, who above allbelieved in the idea of “certain unalien-

able rights,” was also the standardbearer for a society based upon person-al liberty tempered with mutualrespect: a model which he held upagainst the “hereditary bondage” ofEuropean style monarchy. His words,which were so revolutionary at thetime, continue to ring true as societymoves ever-forward (if sometimes fal-teringly) toward equality, freedom andpeaceful co-existence.

—Matt Oltman

RANDALL THOMPSON The Testament of Freedom(appx. 21 minutes)

Texts and TranslationsGloriaFRANCIS POULENC

I. GloriaGloria in excelsis Deo.Et in terra pax hominibus bonaevoluntatis.

II. Laudamus teLaudamus te. Benedicimus te.Adoramus te. Glorificamus te.Gratias agimus tibi propter magnam gloriam tuam.

III. Domine DeusDomine Deus, Rex caelestis, Deus Pater omnipotens.

IV. Domine fili unigeniteDomine Fili unigenite, Jesu Christe.

V. Domine Deus, Agnus Dei Domine Deus, Agnus Dei, Filius Patris.

Qui tollis peccata mundi, miserere nobis.Qui tollis peccata mundi,

suscipe deprecationem nostram.

VI. Qui sedes ad dexteram Patris Qui sedes ad dexteram Patris,

miserere nobis.Quoniam tu solus Sanctus. Tu solusDominus.

Tu solus Altissimus, Jesu Christe.Cum Sancto Spiritu, in gloria Dei Patris.Amen.

Glory be to God on high,and on earth peace, good will towardsmen.

We praise thee, we bless thee,we worship thee, we glorify thee,we give thanks to theefor thy great glory.

O Lord God, heavenly King, God the Father Almighty.

O Lord, the only-begotten Son, JesusChrist.

O Lord God, Lamb of God, Son of theFather,

that takest away the sins of the world, have mercy upon us.Thou that takest away the sins of theworld,

receive our prayer.

Thou that sittest at the right hand of theFather,

have mercy upon us.For thou only art holy; thou only art theLord;

thou only, O Christ, art most highwith the Holy Ghost,in the glory of God the Father. Amen.

The Testament of FreedomRANDALL THOMPSON

IThe God who gave us life gave us liberty at the same time; the hand of force maydestroy but cannot disjoin them.

A Summary View of the Rights of British America (1774)IIWe have counted the cost of this contest, and find nothing so dreadful as voluntaryslavery. Honor, justice, and humanity forbid us tamely to surrender that freedomwhich we received from our gallant ancestors, and which our innocent posterity havea right to receive from us. We cannot endure the infamy and guilt of resigning suc-ceeding generations to that wretchedness which inevitably awaits them if we baselyentail hereditary bondage upon them.

Our cause is just. Our union is perfect. Our internal resources are great…We grate-fully acknowledge, as signal instances of the Divine favor towards us, that HisProvidence would not permit us to be called into this severe controversy until wewere grown up to our present strength, had been previously exercised in warlikeoperatino, and possessed on the means of defending ourselves. With hearts fortifiedwith these animating reflections, we most solemnly, before God and the world,declare that, exerting the utmost energy of those powers which our beneficentCreator hath graciously bestowed upon us, the arms we have been compelled by ourenemies to assume we will, in defiance of every hazard, with unbaiting firmness andperseverance, employ for the preservation of our liberties; being with one mindresolved to die freemen rather than to live slaves.

Declaration of Causes and Necessity of Taking up Arms (July 6, 1775)

IIIWe fight not for glory or for conquest. We exhibit to mankind the remarkable spec-tacle of a people attacked by unprovoked enemies, without any imputation or evensuspicion of offense. They boast of their privileges and civilization, and yet profferno milder conditions than servitude or death. In our native land, in defense of thefreedom that is our birthright and which we ever enjoyed till the late violation of it;for the protection of our property, acquired solely by the honest industry of our fore-fathers and ourselves; against violence actually offered; we have taken up arms. Weshall lay them down when hostilities shall cease on the part of the aggressors and alldanger of their being renewed shall be removed, and not before.

Declaration of Causes and Necessity of Taking up Arms (July 6, 1775)

IVI shall not die without a hope that light and liberty are on steady advance…Andeven should the cloud of barbarism and despotism again obscure the science and lib-erties of Europe, this country remains to preserve and restore light and liberty tothem…The flames kindled on the 4th of July, 1776, have spread over too much ofthe globe to be extinguished by the feeble engines of despotism; on the contrary, theywill consume these engines and all who work them.

Letter to John Adams, Monticello (September 12, 1821)

The God who gave us life gave us liberty at the same time; the hand of force maydestroy but cannot disjoin them.

THE ArtistsDr. James Mick, assistant professor ofmusic education at Ithaca College’sSchool of Music, was appointed musicdirector of the Rochester PhilharmonicYouth Orchestra in 2015. A pre-serviceteacher specialist, Dr. Mick guides futuremusic educators in string pedagogy,orchestral rehearsal techniques and con-ducting. He is a popular conductor ofregional and All-State orchestras, a fre-quent guest at music workshops andconferences, and serves as president ofthe New York State Chapter of theAmerican String Teachers Association.Dr. Mick continues to be an active dou-ble bass performer in a wide variety oforchestral and jazz ensembles as well asserving as music director of the IthacaCommunity Orchestra.

The Rochester Philharmonic YouthOrchestra was established in 1970 tooffer young musicians of this city inwestern New York State superb orches-tral experiences. Sponsored by theRochester Philharmonic Orchestra, theRPYO has been enriched by the pres-ence of the Eastman School of Music,the RPO, and the many professionalmusicians who have made Rochestertheir home. Its ninety middle and highschool musicians are drawn from

schools within and around theRochester metropolitan region, wherepublic school music education programshave deep and committed communitysupport. Musicians formerly from theRPYO currently fill chairs in theChicago, San Francisco, Atlanta, Pitts-burgh, Dallas Symphonies and the NewYork and Rochester PhilharmonicOrchestras, in addition to numerousother ensembles throughout the coun-try. Whatever their later professionaldirection, all of the teenage musiciansexperience life-enriching musicalgrowth as members of the youth orches-tra that profoundly affects their laterpersonal and professional lives.

JAMES MICK, Director

Erin Freeman holds a joint positionwith the Richmond Symphony (Directorof the Richmond Symphony Chorus)and Virginia Commonwealth University(Director of Choral Activities). Thisappointment follows seven successfulyears as Richmond Symphony’s Associ-ate Conductor and includes overseeingall of the choral ensembles at VCU andpreparing the 150-voice RichmondSymphony Chorus. Freeman is alsoArtistic Director of Wintergreen Per-forming Arts, where her creativeprogramming has resulted in recordcrowds, increased donations, and aWashington Post endorsement.

Freeman has conducted the Buffalo Phil-harmonic Orchestra, South CarolinaPhilharmonic, Savannah Symphony, andensembles in Massachusetts, Maryland,Virginia, Georgia, Missouri, and Illinois.In 2015-2016, Freeman made her debutwith Berkshire Choral International(BCI) and the Springfield Symphony. In2016-2017 Freeman will return to BCI,conduct the Richmond Ballet in multipleproductions, and make her CarnegieHall debut.

Previous positions include Director ofOrchestras at Baltimore School for theArts and American University, Conduc-tor at Northwestern University’sNational High School Music Institute,Lecturer for the National Philharmonicand the Baltimore Symphony Orches-tra, Music Director of the RichmondPhilharmonic, and Resident Conductorat Peabody Conservatory. Freemanholds degrees from Northwestern Uni-versity (BMus), Boston University(MM), and Peabody Conservatory(DMA). Instructors include GustavMeier, Victor Yampolsky, HelmuthRilling, Murry Sidlin, Ann HowardJones, and Robert Shaw.

ERIN FREEMAN, DCINY Debut Conductor

Hailed by the San Francisco Chroniclefor her “elegant” soprano, both“incisive and tender,” Suzanne Karpovis quickly distinguishing herself as oneof the country’s leading youngsopranos. A native of Oceanside, NewYork, Ms. Karpov is a recent graduateof the Maryland Opera Studio(University of Maryland, College Park),and earned her Bachelor’s degree fromBoston University, magna cum laude.Ms. Karpov’s roles with the MarylandOpera Studio include Berenice inRossini’s L’occasione fa il ladro, Miss

SUZANNE KARPOV, Soprano

Dr. Lee Nelson is the Patricia R. ZahnChair in Choral Conducting and Direc-tor of Choral Activities at WartburgCollege in Waverly, Iowa. He conductsthe Wartburg Choir and Ritterchor(men’s choir) and teaches beginning andadvanced conducting. He also serves asthe artistic director of Christmas withWartburg, which is televised nationallyeach December. Under Nelson’s direc-tion, the Wartburg Choir has performednationally and internationally includingan unprecedented performance at theWhite House and the National Cathe-dral in Washington, DC. Internationallyrenowned composer Morten Lauridsenpraised Nelson and the WartburgChoir’s performance of his “O MagnumMysterium” stating: “It was in the topechelon of any performance of thatpiece by any choir that I have everheard.” Nelson was recently honoredwith the John O. Chellevold Award forExcellence in Teaching. An active clini-cian, Nelson has directed all state andhonor choirs throughout the UnitedStates and Canada. Earlier in his career,

Nelson won the National ACDA Grad-uate Conducting Competition in LosAngeles. Choirs under Nelson’s direc-tion have performed at multiple ACDAconferences and at Carnegie Hall. Achampion of contemporary music, Nel-son regularly commissions andperforms new works of choral litera-ture. ECS Publishing distributes the LeeNelson Choral Series nationally andinternationally.

LEE NELSON, Guest Conductor

Pinkerton in Menotti’s Old Maid andthe Thief, Despina in Mozart’s Cosi fantutte, as well as the premiere of DerrickWang’s Scalia/Ginsburg in which sheplayed the role of Justice RuthGinsburg. In the 2015-16 season, Ms.Karpov made her debut with theWashington Bach Consort and withLoudoun Lyric Opera, was a finalist inthe Vocal Arts DC competition, won anEncouragement Award from theMetropolitan Opera National Council,and won 1st place at the national NATSCompetition in Chicago. Previously, shehas won the Donizetti Award from theOrpheus Vocal Competition, ThirdPrize in the Five Towns Music and Arts

competition, and Second Place in theClassical Singer competition (Universitydivision). Recent engagements haveincluded her role debut of Abigail inWard’s The Crucible (Miami SummerMusic Festival), Clio in the NorthAmerican premiere of Parnasso in festawith the American Bach SoloistsAcademy (San Francisco) and her debutwith Washington National Opera as thesoprano Bridesmaid in Le Nozze diFigaro. Future engagements for the2016-17 season include appearanceswith the American Bach Soloists,Boston Early Music Festival, and theWashington Bach Consort.

Founded in 2008 by esteemed choraland orchestral conductor Dr. JonathanGriffith, Distinguished ConcertsOrchestra (DCO) is the resident orches-tra for Distinguished ConcertsInternational New York (DCINY), thecity’s preeminent producer of choraland orchestral concerts in New York’smost prestigious concert venues. TheDCO is comprised on the top NYC-areaorchestral musicians, including gradu-ates of Julliard, The Manhattan Schoolof Music, The New England Conserva-tory, and Boston Conservatory. ManyDCO players who have left New Yorkhave gone on to permanent posts inorchestras such as the Boston Sym-phony, Los Angeles Philharmonic, andthe London Philharmonic.

Under the direction of Dr. Griffith andDCINY’s roster of renowned guest con-ductors, the DCO has been lauded byconductors and reviewers alike for itsfresh interpretations, musical subtlety,and virtuosic ensemble playing in per-formances of choral/orchestralmasterworks, as well as adventuresomenew compositions. Dr. Griffith and theDCO have been awarded the presti-gious American Prize in the professionalorchestra category in both 2014 and2015, and are semi-finalists in 2016.Distinguished Concerts Orchestra isdriven by passion, innovative vision, atotal belief in its atists, and an unwaver-ing commitment to bringing forth anunforgettable musical experience forperformer and audience alike.

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 prestigiousconcert venues. DCSI is comprised ofsingers and chorus members from pro-fessional, semi-professional, anddedicated amateur ensembles, who have

been invited by DCINY to appear ontheir concert series following a rigorousaudition process with DCINY’s ArtisticTeam. DCSI can vary in size frombetween 100 to 500 singers, dependingupon the repertoire, and has drawnmembers from around the world, with42 countries and 6 continents repre-sented to date.

DISTINGUISHED CONCERTS SINGERS INTERNATIONAL

DISTINGUISHED CONCERTS SINGERS INTERNATIONALThe Avon Old Farms School Riddlers (CT), Sarah Paquet, DirectorThe Big Canoe Chapel Men’s Chorus (GA), V. Lamar Helms, DirectorChariton High School Choir (IA), Tyler J. Urich, DirectorThe Choir of Rugby School (UK), Richard Tanner, DirectorCitrus Community Concert Choir (FL), Jacki Scott, DirectorCold Spring Area Maennerchor (MI), Roger Towler, DirectorHampden-Sydney Men’s Chorus (VA), Helena von Rueden, DirectorIsland Chamber Singers (FL), Jane Walker Lindberg, DirectorJamestown Choralaires (ND), Pamela K. Burkhardt, DirectorMetropolitan Men’s Choir (MN), Tim Bauernfeind, DirectorMFL MarMac Men’s Quartet (IA), Jaydeane Berns, DirectorRichmond Symphony Chorus (VA), Erin Freeman, DirectorSouthwest Minnesota Men’s Chorus (MN), Wendy Johnson, DirectorStaples Area Men’s Chorus (MN), H. Robert Freelove II, DirectorThe VCU Commonwealth Singers (VA), Erin Freeman, DirectorVirginia Symphony Orchestra Chorus (VA), Robert Shoup, DirectorWartburg College Ritterchor (IA), Lee Nelson, DirectorWest Point Alumni Glee Club (VA), Nancy Tittelbaugh Riley, DirectorAnd individuals from around the globe

Jack AagesenKimberly AikensAlan AlbertTyler AmickDarryl AndersonDavid AndersonScott AndersonGarrett ArensdorfRob ArthurJanice SeymourAshworth

Juan AstiazaranJeremy AweBob AyresJeremy BahrJack BaileyTim BairdBarbara BakerMicah BaldwinTerry BaltruschMarjorie BannishChuck BarbeeKevin L. BargerAndrew BatesBarbara C. BatsonTim BauernfeindChris BeamBranden BeasleyCosmo BellamyBarbara BensonTom BerensSam Boateng

Marc BoinMax BoormanDelbert BossinghamJonathan BowmanRay BowyerLaura Mcbride BoxTristin BrackettCory BrannamanNatalie T. BraunCalvin BremerTeddy BrennanGreg BrewerLeslie BrewerImogen BrooksJaylin BrownHailey BroylesCrystal BrucksAmelia BucknallLarry BurgessCarolyn BuzekDon ByrnePeter CahillCraig CantleyJonathan CarrLaura Altman CarrKaylyn CarverLogan CaudillRoger CerasoliMike ChamplinSylvia GillilandChandler

Jeff Christopherson

Kimberly ClemonsDavid CollinsDottie ColwellEd ColwellGabriella ComminsJ. Coltrane ConklinMichelle ConradMinette CooperKatherine CorneliusGeorgia CotterMichael CoxDon CreachGarnet CrockerPamela CrossJalen CruzTaylor DacostaCoby DaleEmily DaleCharlie DavidsonRusty DavisMay De La RueJackie DeanMicah DeckerEvan DeckersRon DenningDavid DevriesAmanda Ditchfield-Johnson

Jordan DoeleRichard DoerrRuth Ann DonaldsonBrian Donovan

Erik DovreJoe DrachRay DuncanJames DunniganMinh Vy DuongJim DwyerFay EhrmanDiane ElliottCarl J. EngSam EngelkenBob EnzenauerKathryn RawleyErhardt

Spencer EricksonMichael EtlerMatthew EvangelistoBeth Brannen EvansGrace EvansMo FaberDavid FabianMark FaklerAl FehlingsWill FellowsJim FergusonKirsten FergusonCaryl FerryJohn D. FinneyKevin FisherLisa FlickEugene FloistadRobert FreeloveEmory Freeman

PERFORMING ARTS PARTNERS

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

Sharon B. FreudeLisa C. FuscoMichael FuxmanShelly FuxmanGerry GallowaySamantha GarciaJason GarlandJess GatlinNancy GeerClyde GerberElin GilbertVivienne GireRose GladneyJamie GoetzDon GoffAlexandra GoiaMicheal GoldJim GoldbergJohn GortonHolly GowenJayde GrayEmily GreenVictoria Green-Armytage

Annette GrenierBryan GrubbDan GrubePeter GuhlBrett GuyBruce HaasRon HadsallEzra HaggChris HaleRuss HallTrae HallJake HamiltonIona HansonElizabeth C. HarperHank HatchChuck HaverSebastian HazzanShirley HebestreitGene HeinrichEvan HeiterLamar HelmsDennis HelselDave HendricksonNoah HickmanLaurel HiltonShyheim HinnantBart HobsonLucas HoegerLarry HoffmanNancy Lee HoffmanAlex HohenseeSandra MusickHolliday

Sam HolmesJune HorneNatalie HoulstonDevon HowsmonJake Huntley

Kevin HuveldtScott HuxelPamela Scott HyattPhil HylandCharles L. InchBrick IngleChuck IrmiterJeffrey IversonVictoria JacksonMatthew JacobsonZachary JamesTom JamesonDoreen JamiesonLawrence JamiesonSamantha JohnJim JohnsonKathy JohnsonTyler JohnsrudPaul JordanJeffrey JoyceDawn JudsEric KabambaNaoya KawaidaBrenda KayneChad KeitelJohn KermeenNick KeroackLew KillianKevin KimTerri KirchnerRalph KlassenRobert KlickBen KloosterDeborah KlostermanKerry KnakmuhsNathan KnakmuhsMatthew KnakmuhsSteven KoehnLori KohanAlden KollmanAndrew KopperudGordon KopperudBruce KordaWill KragJohn KrullArt KuechleMike KushCarmencita R. LaSerre

Linda LainePeyton LaneNathan LangeColten LangfittDouglas LarsenEvan LarsonSteve LarsonRobin LashleyCarson LastJeff LauLynda LawrenceJoon Ho LeeMark Lehmann

Zach LemieuxHenry LeonardSophie LewisJane LindbergBonnie LitebornJames LobergSteven LooysenBob LowryPearl LundborgPatrick LunnemannDeborah LutherJohn LutherSally MacklerLesley MaclaughlinKevin MannAndrew MarshallWilliam N. MarshallPhoebe MathersBruce MathiasonSuzanne MatthewsJay MccannRichard McclellandSusan McconnellDavid McelrathMartin McfaddenDiane McgeeEllie McgrathMichael MckennaBob MclearyEvan MeesterRay MercerAndrew MerrellAustin MetzgerDennis MickelsonChad MiddendorfBill MillerBrink MillerSteve MinterTerry MoffettJonathon MohwinkleRonald MonsonBrett MoonenDakota MooreEamon MooreElla MortJeff MoyerJudith MulliganBernard NelsenDonald NelsonMichael NelsonDick NeumannDavid NibbeRobert NibbeChris NicoletDenise O’BrienPhillip O’DonnellKai OelschlagerKevin OlsenCharles H. O’NealMitchell OstlieJean O’SullivanTess Ottinger

Bradley OwensJudy OzmentChuck PalmerChris ParkGary PaskewitzDan PattonAustin PaulingDeborah PawlowskiRufus PawseyShirley PerregauxKarl PetersBob PetersonSimone PlaterLynn E. PolackWesley PollardStephanie PoxonDerek PrindleEthan PruismanVal PusterJan-Carlos RamirezSteve RamseyMichael RannowMax RavechJerry ReckRiley ReeceTimothy ReganJames ReimersJim RiceTimothy RiceAndrew RichlenHenry P. RobbRuss RobertsonThomas RolfJeanne RollTom RooneySpencer RoseMicah RuppJoe RusbarskyMike RyanTerry RyanAlan SalisburyGriffin SalyerJacob SanfordLowell SanvikJames SauerOlivia ScarozzaGrant SchmidtRichard SchraderKaleb SchrodtCharlotte SchuhleKeith SchutBill ScottJacki ScottTodd SeilerJohn ShaudGeorge SheaCooper SheltonJacob SherfyMark SherfyBlake ShipmanBryce ShuttBraydon Simms

Michael SimpsonSteve SingQuinn SipesJames SlamaGreg SloanSusan SmallDavid SmetteKarin SmithLarry SmithTony SmithTravis SmithTim SpeidelCharles SpenceDiane SpenglerJohn SplonskowskiBill SpracherMartin StaehnkeTrevor StarnesDavid SteeleNathan SteeleFred StellarRonald StenzelKathy StevensonMaureen Stinger

Dennis SumnerStephen SundquistJim SuttonNoah SuttonCole SvestkaKane SwaineyWill SwarthoutBarbara SwearingenJohn SwenssonRuth SzucsRichard SzucsJames TannerBill TaylorGabriel TaylorKen TerhaarNick TerhaarMicah ThatcherCharlie ThomasJacob ThomassonKeith ThompsonRaymond ThullRalph TildonScott TinmanMichael Tomkies

Lori TomposJared TorgesonRoger TowlerSteve TraversSedric TrevithickSpence TurnerPaul C. TuttleDiana TwiggsElijah UbanDon UdenJim UhlmanTyler UrichEthan VanderwoudeXavier VegaMax VersteeghCaleb VigueDaniel VolkmannAnn VossMary EllenWadsworth

Jasmin WardDeborah WatfordDoug WatkinsJesse Watkins

Micki Watters-SmithJack WeberAndrew WeibelJerry WentworthCarrie WestonOwen WheelerTrevor WhiteSavannahWhittenburg

Conner WilliamsGeorge WillisJosh WilliamsMary WilliamsHayleigh WilsonAndrew WingfieldClayton WolffSealth WomackGlynis WoodIvan WoodruffChristopher WrightYammi YipJoel Zimmerman

ViolinWilliam BakerSarah ChenYawen DingLauren DrakeEpongue EkilleRachel GreenClaire GuoFelipe HanuchJasmine KileyDaniel KimMark KrysanJude KuklaBrian LinNadia LintonAlexander LiuMarisa ModugnoKatie MunechikaKristen NaleczAudrey PotterJyla SerfinoVani ShuklaMira Bella SirianniAustin Benny SmithJessica TangUno ValentineCatherine WuChie XuSerena YangZachary YungJoy Zhang

ViolaIsaac ChinBrianna GrieffBarbara HansenLeah Poleshuck-Rosenhack

Audrey ScudderLiza SommersMelody SunKaitlyn WalkerCecilia WeberLeah Xiao

CelloJune BartonOwen CummingsBenjamin DoaneJacqueline HagerFelix HuangJi-Mi JangEli JonesAlicia LouiMatthew LuciaJoyce LuoGregory MoonThomas NeumaierSteven WangEmma RoseWhitehead

Daniel Ye

Double BassAnna BerneggerMisha BjerkenSarah Wager

FlutePromiti DattaMcKena StickneyKyle Yuan

OboeBrianna BirnbaumErika DickAlexandraDiTommaso

Brianna Donnelly

ClarinetDavid KimTalor MarrenJames PhilippyPeter Wall

BassoonJacob AuchmanYizuo Chen

HornBenjamin EdelsonTrevor HealyChristine OttTori Postler

TrumpetEliane GraceMatthew PiatoMax RobbinsKeoni Smith

TromboneNicholas PogharianKyle MuellerKevin Dick

Bass TromboneJoshua Mantegna

TubaSimon Lenoe

HarpLauren Schrempp

PercussionMeshach CorneliusJaz KoftAndrew LaFavorDarian Saracevic

ROCHESTER PHILHARMONIC YOUTH ORCHESTRA

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

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

Sunday Evening, February 19, 2017, at 8:00Stern Auditorium/Perelman Stage, Carnegie HallMercer University at Carnegie HallJohn Rutter: RequiemStanley L. Roberts, ConductorMercer Singers (GA)Stanley L. Roberts, DirectorMcDuffie Center String EnsembleAmy Schwartz Moretti, Director

Tuesday Evening, February 21, 2017 at 8:00Weill Recital Hall at Carnegie HallThe Music of Dinos ConstantinidesDinos Constantinides, Composer

Friday Evening, February 24, 2017 at 8:00Weill Recital Hall at Carnegie HallKeys to RomanceChristina Kobb, Pianist

Founded by Iris Derke and JonathanGriffith, Distinguished Concerts Interna-tional New York (DCINY) is the leadingproducer of dynamically charged musi-cal excellence. With its unforgettableconcert experiences in renowned venues,empowering educational programs, andits global community of artists and audi-

ences, DCINY changes lives through thepower of performance.

For more information about Distin-guished Concerts International NewYork, and upcoming DCINY musicalevents around the world, please visit:www.DCINY.org.

DISTINGUISHED CONCERTS INTERNATIONAL NEW YORK (DCINY)

Iris Derke, Co-Founder and General DirectorJonathan Griffith, Co-Founder, ArtisticDirector & Principal Conductor

Danuta Gross, Director of Finance &Administration

Kevin Taylor, Director of ProgramDevelopment

James M. Meaders, Associate Artistic Director& Conductor

Jason Mlynek, Associate Director of ProgramDevelopment

Mark Riddles, Program DevelopmentKatie Sims Silvestre, Program DevelopmentJulia Falkenburg, Program DevelopmentMaria Braginsky, Program DevelopmentAssistant

Kimberly Wetzel, Program DevelopmentAssistant

Jeff Binner, Program Development AssistantTabitha Glista, Production ManagerAndrea Niederman, Associate Director ofMarketing, Box Office & Promotions

Katherine Shen, Box Office & MarketingAssistant

DeAnna Choi, Office Operations Manager,Accounting & Billing

Marisa Tornello, Concert OperationsAssociate

Gary Crowley, Graphic Design & Website

DCINY ADMINISTRATIVE STAFF

For PR and media inquiries, please contact Andrew Ousley of Unison Media at Press@DCINY.orgor (212) 707-8566 Ext. 316.

Sunday Afternoon, March 12, 2017 at 2:00Stern Auditorium/Perelman Stage, Carnegie HallWind SongsKingwood High School Band (TX)Destry Balch, DirectorOlathe North High School Wind Ensemble and Symphonic Band (KS)Justin W. Love, Director

Sunday Evening, March 19, 2017 at 8:30Stern Auditorium/Perelman Stage, Carnegie HallI Hear America Singing: The Music of André Thomas and Greg GilpinGreg Gilpin: Music for Young Voices (Children’s Choirs and Middle Schools)Greg Gilpin, Guest ConductorThe Music of André ThomasAndré Thomas, Guest ConductorDistinguished Concerts Orchestra and Distinguished Concerts Singers InternationalWest Orange High School Concert Choir (FL)Jeffery Redding, Director

Monday Evening, March 20, 2017 at 7:00Alice Tully Hall, Lincoln CenterVocal ColorsDCINY Composer Spotlight—The Music of Eric Barnum, Timothy Takach, and JohnConahan

Distinguished Concerts Singers International University of the Incarnate Word Cardinal ChoraleWilliam Gokelman, Director

Friday Evening, March 24, 2017 at 7:00Alice Tully Hall, Lincoln CenterAn Evening with Troy Colt BandsThe Troy Jazz EnsembleThe Troy Concert BandThe Troy Symphonic BandBrian Nutting, Director

We Want To Hear From You!Use #GloryOfFreedom to post your post-concert and intermission photos and comments to

@DCINY on Twitter, Facebook, and Instagram! | DCINY

DCINY thanks its kind sponsors in education: Artist Travel Consultants, VH-1 Save the Music,Education Through Music, High 5, and WQXR.

For information about performing on DCINY’s full season listing or about purchasing tickets,email Concerts@DCINY.org, call (212) 707-8566, or visit our website at www.DCINY.org.

Distinguished Concerts International New York250 West 57th St, Suite 1610, New York, NY 10107

(212) 707-8566 | DCINY.org

Jay Blakesberg

Steve Reich is a Pulitzer Prize–winning composer, acclaimed for his visionary style where rhythmic pulse, novel use of repetition, and ingenious contrapuntal explorations come together in new and daring ways. But Reich’s music cannot be pigeonholed; early on, he had a fascination with non-Western musical traditions, including Indonesian gamelan, African drumming, and Hebrew cantillation. Although he began his career as an avant-garde iconoclast, he has become one of the most respected composers of our time.

A highlight of his residency is an all-Reich birthday celebration, which includes a special concert performance of the groundbreaking video opera Three Tales that he composed in collaboration with pioneering video artist Beryl Korot, and the world premiere of Pulse, a work co-commissioned by Carnegie Hall.

November 1 | February 11 | March 24

carnegiehall.org/reich

Steve Reich curates four concerts that explore how the language of composition changed from the mid–20th century to the present day by pivoting from serial atonal music toward a more harmonic and rhythmic style spearheaded by Reich and such composers as Terry Riley, Philip Glass, and Arvo Pärt. These four concerts trace the development of a new music, from the pioneering generation of Reich and his peers, to composers associated with the Bang on a Can collective, and on to the young innovators of today.

March 30 | April 6, 19, and 26

Three GenerationsChanging the Direction of Concert Music

Steve ReichThe 2016–2017

Richard and Barbara Debs Composer’s Chair