Tuesday Evening, January 19, 2010, 8:00Isaac Stern Auditorium / Ronald O. Perelman Stage

Distinguished Concerts International New York (DCINY)Iris Derke, Co-Founder and General Director

Jonathan Griffith, Co-Founder and Artistic Director

Presents

A HEROES' TRIBUTE:CLAUSEN'S MEMORIAL &

HAYDN'S LORD NELSON MASS

DISTINGUISHED CONCERTS ORCHESTRA INTERNATIONALDISTINGUISHED CONCERTS SINGERS INTERNATIONAL

FRANZ JOSEPH HAYDN Missa in Angustiis, Hob. XXII: 11Lord Nelson Mass (42:00)

KEVIN RAYMOND RIEHLE, Guest ConductorDIANA MCVEY, SopranoSARAH MATTOX, Mezzo-SopranoBRIAN CHENEY, TenorDAMIAN SAVARINO, Bass

I. KyrieII. GloriaIII. CredoIV. SanctusV. BenedictusVI. Agnus Dei

Intermission

RENÉ CLAUSEN Memorial (25:00)JAMES M. MEADERS, Guest Conductor

PATTON RICE, Baritone“September Morning""The Attack""Prayers""Petitions”

Please hold your applause until after the final movement.

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES.

Notes ON THE PROGRAM

By the mid-1790s, Franz JosephHaydn was famous all over Europe,and his role as Kapellmeister at theEsterházy estate was mostly honorary.His main job was to compose a massannually to celebrate the Princess’sname day. The six masses composedbetween 1796 and 1802 were some ofhis greatest choral works.

The so-called “Lord Nelson Mass” wascomposed in the summer of 1798, a badyear for the Austro-Hungarian Empire,with large parts of it under French rule.It is probably the grim situation thatmade Haydn title the mass Missa inangustiis (Mass in Time of Anxiety).

Napoleon himself was in Egypt whereNelson unexpectedly defeated him inthe battle of Aboukir. Haydn hadnearly finished the Mass before thenews of Napoleon’s defeat reachedVienna; the subtitle “Nelson Mass”was added to Haydn’s manuscript by adifferent hand, perhaps in September1800, when Nelson and LadyHamilton visited Eszterháza. TheMass is oddly scored with three trum-pets, drums, obbligato organ andstrings. The absence of woodwindsand horns probably reflected the com-position of the Prince’s orchestra.

One of Haydn’s important contribu-tions to the concerted mass was toreplace the choppy succession ofstand-alone choruses and arias with a

more organic musical and emotiveinteraction between chorus andsoloists. The result is an intense dramamatched with musical structures ofsymphonic scope and depth – a glo-rious passage from fear and uncer-tainty to triumph.

The grim circumstances are immedi-ately reflected in the anguished Kyrie,which composers seldom set in theminor mode. The Gloria is a celebra-tory dialogue between soloists andchorus. Yet, even in this sprightlyAllegro, Haydn introduces the minorfar more than is customary. Thetempo slows and the mood sobers forthe plea, “Qui tollis peccata mundi,miserere nobis” (Thou who takestaway the sin of the world have mercyon us). The conclusion repeats themusic of the opening, creating a largesymphonic structure, a hymn ofpraise, surrounding a supplication.

The opening of the Credo is famousfor its canon between the sopranosand tenors, followed closely by thealtos and basses. Since the Renais-sance, settings of the Credo have tra-ditionally made a musical distinctionbetween the statement of belief andthe narration of the key events in thelife of Jesus to reflect the mystery ofthe incarnation, the tragedy of the cru-cifixion and the joy of the resurrec-tion. Haydn pays special attention toChrist’s birth and passion, expanding

FRANZ JOSEPH HAYDN Missa in Angustiis, Hob.XXII:11“Lord Nelson Mass”Born: March 31, 1732, Rohrau, Austria;Died: May 31, 1809, Vienna

them into a tender dialogue betweensoloists and chorus.

The Sanctus begins with unusualsolemnity, leading into a brighterAllegro on the words “Pleni sunt coeliet terra gloria tua” (The heavens arefull of thy glory). The Benedictus, usu-ally a warm, meditative piece distin-guished musically from the jubilantsinging of the two Hosannas, herereturns to the somber d minor of theKyrie. Haydn makes this short text

into an extended dramatic dialoguebetween chorus and soloists, shiftingto the major only for the soprano solo.

The Agnus Dei, like the Kyrie, is a tri-partite invocation. Haydn sets the firsttwo statements for the ensemble ofsoloists. When the chorus returns forthe concluding plea for peace, thetempo increases to Allegro to lift theMass out of the gloom into a tri-umphant D major.

Text of “Lord Nelson Mass”

I. KyrieKyrie eleison. Christe eleison. Kyrieeleison.

II. GloriaGloria in excelsis Deo, et in terra paxhominibus bonae voluntatis. Lau-damus te, benedicimus te, adoramuste, glorificamus te. Gratias agimus tibipropter magnam gloriam tua; DomineDeus, Rex coelestis, Deus PaterOmnipotens. Domine Fili unigeniteJesu Christe; Domine Deus, AgnusDei, Filius Patris, qui tollis peccatamundi, miserere nobis, suscipe depre-cationem nostram. Qui sedes ad dex-teram Patris, miserere nobis, quoniamtu solus sanctus, tu solus Dominus, tusolus altissimus, Jesu Christe, cumSancto Spiritu in gloria Dei Patris.Amen.

III. CredoCredo in unum Deum, Patremomnipotentem, factorem coeli etterrae, visibilium omnium et invisi-bilium; et ex Patre natum ante omniasaecula, Deum de Deo, lumen delumine, Deum verum de Deo vero,genitum, non factum, consubstan-tialem Patri, per quem omnia factasunt; qui propter nos homines et

Lord have mercy. Christ have mercy.Lord have mercy.

Glory be to God on high, and on earthpeace to men of good will. We praisethee, we bless thee, we worship thee,we glorify thee. We give thanks to theefor thy great glory; Lord God, heav-enly King, God the Father Almighty,Lord the only-begotten Son, JesusChrist; Lord God, Lamb of God, Son ofthe Father, thou that takest away the sinof the world, have mercy upon us,receive our prayer. Thou that sittest atthe right hand of the Father, have mercyupon us, for thou only art holy, thouonly art the Lord, thou only, Christ, artmost high, with the Holy Ghost in theglory of God the Father. Amen.

I believe in one God, the FatherAlmighty, maker of heaven and earth, ofall things visible and invisible; andbegotten of his Father before all worlds,God of God, light of light, true God oftrue God, begotten, not made, of onesubstance with the Father, by whom allthings were made; who for us men andfor our salvation came down from

propter nostram salutem descendit decoelis, et incarnatus est de SpirituSancto ex Maria Virgine, et homofactus est; crucifixus etiam pro nobis,sub Pontio Pilato, passus et spultusest; et resurrexit tertia die secundumscripturas, et ascendit in coelum, sedetad dexteram Patris, et iterum venturusest cum gloria judicare vivos et mor-tuos, cuius regni non erit finis; et inSpiritum Sanctum, Dominum et vivifi-cantem, qui cum Patre et Filio simuladoratur et conglorificatur, qui locutusest per Prophetas; et unam sanctamcatholicam et apostolicam ecclesiam.Confiteor unum baptisma in remis-sionem peccatorum, et exspecto resur-rectionem mortuorum, et vitam ven-turi saeculi. Amen.

IV. SanctusSanctus, sanctus, sanctus, DominusDeus Sabaoth; pleni sunt coeli et terragloria tua. Osanna in excelsis.

V. BenedictusBenedictus qui venit in nomineDomini. Osanna in excelsis.

VI. Agnus DeiAgnus Dei, qui tollis peccata mundi,miserere nobis. Dona nobis pacem.

heaven, and was incarnate by the HolyGhost of the Virgin Mary, and wasmade man; was crucified also for usunder Pontius Pilate, suffered and wasburied; and the third day he rose againaccording to the Scriptures, andascended into heaven, sitteth at the righthand of the Father, and he shall comeagain with glory to judge the quick andthe dead, whose kingdom shall have noend; and I believe in the Holy Ghost, theLord and Giver of Life, who with theFather and the Son together is wor-shipped and glorified, who spake by theProphets; and I believe in one holycatholic and apostolic Church. Iacknowledge one baptism for the remis-sion of sins, and I look for the resurrec-tion of the dead, and the life of theworld to come. Amen.

Holy, holy, holy, Lord God of hosts;heaven and earth are full of thy glory.Hosanna in the highest.

Blessed is he that cometh in the nameof the Lord. Hosanna in the highest.

Lamb of God, that takest away thesins of the world, have mercy upon us.Grant us peace.

Memorial is a composition for mixedchorus, orchestra and baritone solo,based on subject material whichreflects the horrific events of Sep-tember 11, 2001, in New York City.Though presented as one continuousmovement, the composition follows aprogram that comprises four sub-sec-tions—“September Morning,” “TheAttack,” “Prayers,” and “Petitions.”The first two sections reflect the actualchain of events leading to and

including the attacks upon the WorldTrade Center towers. The music ofdestruction, however, is kept to a min-imum in favor of musical emphasisupon a possible spiritual response tothese events. Healing, cleansing andhope are the main themes of the work.

“September Morning” paints the pic-ture of a beautiful, sunlit morning inNew York City. In this opening sec-tion the chorus is used as a section of

RENÉ CLAUSEN MemorialBorn: April 17, 1953, Faribault, Minnesota

the orchestra, intoning wordless vocal-izes in a Debussy-like texture. Premo-nition of the attack is then heard in theorchestra as the music moves into“The Attack” sequence. As might beexpected, the attack on the WorldTrade Center towers inspires musicthat is highly dramatic, rhythmicallyintense, and colorful, making use ofextended percussion and the entirerange of both instrumental and choralforces. The only text used in the firsttwo sections is the phrase, “O God,why have you forsaken me?” Theword for God is also presented inHebrew--Adonai. The reason for thisminimal use of text owes to the actualnature of witness responses to theshocking, unfolding drama of theattack on the Twin Towers. It was amoment in time when the vocalism ofwords in thoughtful sentences gaveway to sensory overload and theabbreviated, clipped cries of disbelief.“Where is God?” was a question thatvexed every terrifying cry that day.

The third and fourth sections, subti-tled “Prayers” and “Petitions,” respec-tively, move away from programmaticdescription of physical world events tomusical evocation of spiritual

responses to these events. The text ofthe baritone solo uses portions of aseries of prayers written by Dr. RoyHammerling of the Concordia CollegeReligion Department. Dr. Hammerlingwrote these intercessory prayers in thedays immediately following September11, 2001. Under the baritone solo, thechorus intones a prayer-like aleatoricchant based on the structure of a Bud-dhist Metta meditation—a three-partseries of personal meditation.

The final section, “Petitions,” is an ele-giac and introspective musical prayerfor mercy, mutual understanding, andhope for the future. The primary text isone verse from Psalm 80, “O God,shine your light on us, and we shall besaved.” This phrase is presented, firstsequentially and then simultaneously,in English, Latin, Hebrew, and Arabic.In juxtaposing these languages, someof which are the languages of the cul-tures at war with one another, it is thehope of the composer that in so doingwe may find a common ground ofhigher being, and be called away fromdarkness into light. The piece endswith a quiet Kyrie—a plea for God’smercy on this world.

—Note by René Clausen

Text of Memorial

HebrewAdonai, vehaer panecha, venivashea.

Arabic (transliteration)Ya Rab Naw’war Alaina.

LatinDomine Deus, ostende lucem tuam, etsalvi erimus.

Kyrie eleison, Christe eleison, Kyrieeleison.

O God, shine your light on us, and weshall be saved.

O God shine your light on us.

O God, shine your light on us, and weshall be saved.

Lord have mercy, Christ have mercy,Lord have mercy.

KEVIN RAYMOND RIEHLE

Kevin Raymond Riehle is director ofchoral activities at James E. TaylorHigh School in the Katy IndependentSchool District, Katy, TX, and isfounding artistic director and con-ductor of the professional chamberchoir CANTARE Houston. He alsoserves as chorus master for theHouston Gilbert and Sullivan Society.He is a conductor whose artistry andinnovative programming have beenenjoyed and praised by audiences,singers, and critics alike, whether onthe professional concert stage, in thechurch chancel, or school classroom.He has conducted a wide array ofchoral masterworks with orchestraand is a frequent clinician and guestconductor. Kevin made his CarnegieHall debut in 2001 conductingBeethoven’s Mass in C. His choral

compositions and arrangements arefound in the catalogues of OxfordUniversity Press. His degrees are fromOhio Northern University andSouthern Methodist University, and heis a candidate for the DMA at the Uni-versity of Houston.

MEET THEArtists

DIANA McVEY

This versatile soprano is an artistwhose consummate skills as both asinger and an actress have made herhighly visible in opera, oratorio and assoloist with symphony orchestra.Recent engagements include produc-tions of La Traviata, Lucia di Lam-mermoor, Die Fledermaus, Candide,Pirates of Penzance, La Cenerentolaand Turandot, Beethoven’s SymphonyNo. 9, Carmina Burana, BachianasBrasileiras No. 5, Messiah andnumerous opera galas. Upcomingengagements include a production ofLa Rondine with Opera Tampa,Poulenc’s Gloria with Amor Artis,Haydn’s Lord Nelson Mass with the

Rhode Island Civic Chorale &Orchestra, and Mahler’s SymphonyNo. 8 in Sydney, Australia.

SARAH MATTOX

Mezzo-soprano Sarah Mattox is aFirst Prize Winner of the Belle VociNational Competition and has sungprincipal roles with Seattle Opera,Cincinnati Opera, Palm Beach Opera,Chicago Opera Theater, Lyric OperaCleveland, Eugene Opera, AmarilloOpera and many others. Favorite rolesinclude Dorabella, Hansel, Rosina,Suzuki, Ottavia and the title roles inCarmen and Cendrillon. Ms. Mattoxhas sung with the Seattle Symphonyand has also appeared as a soloist withthe Seattle Baroque Orchestra, theSunriver Music Festival, the EugeneConcert Choir, the Northwest Sinfoni-

etta, the Cascade Festival of Musicand many others.

BRIAN CHENEY

Brian Cheney is emerging as one of themost unique and thrilling Americantenors of his generation. His previousCarnegie Hall appearances include thetenor soloist in Mozart’s CoronationMass and Schubert’s Mass in G.During the final years of JerryHadley’s life, the legendary Americantenor served as a powerful and influ-ential mentor and dear friend to Mr.Cheney. Having learned from him theart, nuance and stylistic ease of singingmany different operatic roles, Vien-nese and American operetta, MusicalTheater, as well as American popularsong and art song, Mr. Cheney is oneof today’s most versatile artists.

DAMIAN SAVARINO

Damian Savarino has firmly estab-lished himself as a reputable profes-sional singer of opera, oratorio, andmusic theater. Recent opera engage-ments include Figaro in Le Nozze diFigaro, Sparafucile in Rigoletto,Colline in La Bohème, Angelotti inTosca, Zuniga in Carmen, as well asoperetta roles such as Étienne inNaughty Marietta, Pish-Tush in TheMikado, and Michael in I Do! I Do!Concert performances includeBrahms’ Ein Deutsches Requiem withthe Indianapolis Chamber Orchestra/Symphonic Choir, Handel’s Messiahand Mozart’s Requiem with theChoral Arts Society of Messiah Col-

lege, and Aaron Copland’s Old Amer-ican Songs with the West Shore Sym-phony (PA).

JAMES M. MEADERS

James M. Meaders is the Chair of theDepartment of Music and Director ofChoral Activities at Mississippi Col-lege. A member of the MC facultysince 1998, Dr. Meaders conducts theMississippi College Singers and theMississippi College Women’s ChamberChoir, teaches applied voice, andheads the graduate program in con-ducting. He has conducted the Singersin Canterbury Cathedral, WashingtonNational Cathedral, three interna-tional tours including Germany, Italy,Austria, and England, and two recentperformances in Carnegie Hall.

In 2004-2005, Meaders was selectedby the Mississippi College faculty asDistinguished Lecturer in Arts and Sci-ences and was Humanities Professorof the Year. He is currently Presidentof Mississippi ACDA. Dr. Meaders

was Artistic Director of the JacksonChoral Society from 2002-2008, andhe has been minister of music atNorthside Baptist Church in Clintonsince 2001. Professional membershipsinclude American Choral DirectorsAssociation and the National Associa-tion of Teachers of Singing.

PATTON RICE

Patton Rice, acclaimed for “excep-tional dramatic power and completecommand of his voice” (Las VegasReview-Journal), has distinguishedhimself as a performer with severalorchestras, opera and theater compa-nies in America and abroad. Soloappearances include bows withGreater Miami Opera, New OrleansOpera, Mississippi Opera, NevadaOpera Theater, AIMS Opera,Louisiana Philharmonic, MississippiSymphony and Nevada Symphony toname a few. Notable performancesinclude Escamillo opposite DenyceGraves’ Carmen and Polonius oppo-site Sherill Milnes’ Hamlet. Patton hasperformed frequently as a soloist on

MPR’s Mississippi Concert Hall andhas created roles in operas by RichardWargo and Luigi Zaninelli.

DISTINGUISHED CONCERTS INTERNATIONAL NEW YORK

Distinguished Concerts InternationalNew York (DCINY) was founded byIris Derke, General Director, andJonathan Griffith, Artistic Directorand Principal Conductor. DCINY pro-vides opportunities for choral, instru-mental, jazz, and chamber ensembles,as well as conductors and soloists, toperform at major venues such as atmajor venues such as Carnegie Hall’sStern Auditorium/Perelman Stage,Weill Recital Hall, and Zankel Hall;

Lincoln Center’s Avery Fisher Hall andAlice Tully Hall; Jazz at LincolnCenter; and Town Hall in New YorkCity. A strong component of DCINY’smission, as stated in the DCINYmotto, “The Art of Performance - ThePower of Education,” is to enhancethe concert experience through educa-tional programs and incentives. Theseinclude support in meeting perfor-mance standards and optional masterclasses and seminars.

DISTINGUISHED CONCERTS SINGERS INTERNATIONAL

Participating in Lord Nelson MassGrace Presbyterian Sanctuary Choir (TX),

Tracy L. DePue, DirectorTaylor High School Choral Union (TX), Kevin Raymond Riehle, Director

Participating in MemorialClinton High School Arrow Singers (MS), John Langworthy, DirectorMadison Central Singers (MS), Brittnye Aven and Max Lyall, Directors

Mississippi School of the Arts (MS), Patton Rice, DirectorMississippi College Singers (MS), James M. Meaders, DirectorNewton County High School (MS), Suzanne Cain, Director

La Serna Choir (CA), David Carter, Director

DCINY ADMINISTRATIVE STAFF

Iris Derke, General DirectorJonathan Griffith, Artistic Director

Johanna Kodlick, Director of Artistic OperationsSara Sarakanti, Director of Promotions and Audience Development

Phil Bravo, Production Manager and Education LiaisonDanuta Gross, Director of Finance and AdministrationNaghma Husain, Design and Promotions AssociateJeffery R. Thyer, Program Development Coordinator

Arupa Gopal, Executive AssistantEmily Sharrett, Administrative AssistantNicole Cotton, Production Associate

Lynn Tsai, Box Office and Promotions Assistant

DCINY thanks its kind sponsors and partners in education:VH 1 Save the Music, Education Through Music, High 5,

and the National Association of Teachers of Singing.

For information about performing on DCINY’s series or about purchasingtickets to scheduled concerts, e-mail Concerts@DCINY.org, call

212–707–8566 or 877–MYDCINY (toll free), or visit our Web site atwww.DCINY.org.

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NEW YORK, NY 10107212-707-8566

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