presents Messiah…Refreshed! - dciny.org the conductor’s death, ... possible to examine the score...

Sunday Afternoon, November 27, 2016, at 2:00Isaac Stern Auditorium / Ronald O. Perelman Stage

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

presents

Messiah…Refreshed!(Approx. 2 hours 22 minutes)

George Frideric HandelMessiah

Thomas Beecham/Eugene Goossens’1959 Re-Orchestration for Full Symphony Orchestra

JONATHAN GRIFFITH, DCINY Artistic Director and Principal Conductor

PENELOPE SHUMATE, SopranoCLAUDIA CHAPA, Mezzo-Soprano

JOHN MCVEIGH, TenorCHRISTOPHER JOB, Bass

DISTINGUISHED CONCERTS ORCHESTRADISTINGUISHED CONCERTS SINGERS INTERNATIONAL

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Part One

1. Orchestra Sinfonia (Overture) 2. Recit. (Tenor) Comfort ye my people 3. Air (Tenor) Ev’ry valley shall be exalted 4. Chorus And the glory of the Lord 5. Recit. (Bass) Thus saith the Lord 6. Air (Bass) But who may abide the day of his coming? 7. Chorus And he shall purify 8. Recit. (Mezzo) Behold, a virgin shall conceive 9. Air (Mezzo) O thou that tellest good tidings to Zion and Chorus 10. Recit. (Bass) For behold, darkness shall cover the earth 11. Air (Bass) The people that walked in darkness 12. Chorus For unto us a child is born 13. Orchestra Pifa (“Pastoral Symphony”) 14. Recit. (Soprano) There were shepherds abiding in the field 15. Recit. (Soprano) And the angel said unto them 16. Recit. (Soprano) And suddenly there was with the angel 17. Chorus Glory to God 18. Air (Soprano) Rejoice greatly, O daughter of Zion 19. Recit. (Mezzo) Then shall the eyes of the blind 20. Air (Mezzo/Soprano) He shall feed his flock 21. Chorus His yoke is easy, and his burthen is light

Please hold your applause until the end of each part.

Intermission


Part Two

22. Chorus Behold the Lamb of God 23. Air (Mezzo) He was despised 24. Chorus Surely he hath borne our griefs 25. Chorus And with his stripes we are healed 26. Chorus All we like sheep have gone astray 27. Recit. (Tenor) All they that see him laugh him to scorn 28. Chorus He trusted in God 29. Recit. (Tenor) Thy rebuke hath broken his heart 30. Air (Tenor) Behold, and see if there be any sorrow 31. Recit. (Tenor) He was cut off out of the land of the living 32. Air (Tenor) But thou didst not leave his soul in hell 33. Chorus Lift up your heads, O ye gates 37. Chorus The Lord gave the word 38. Air (Soprano) How beautiful are the feet 39. Chorus Their sound is gone out 40. Air (Bass) Why do the nations so furiously rage together? 41. Chorus Let us break their bonds asunder 42. Recit. (Tenor) He that dwelleth in heaven 43. Air (Tenor) Thou shalt break them 44. Chorus Hallelujah

Part Three

45. Air (Soprano) I know that my redeemer liveth 46. Chorus Since by man came death 47. Recit. (Bass) Behold, I tell you a mystery 48. Air (Bass) The trumpet shall sound 53. Chorus Worthy is the lamb that was slain

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

A Special Thank You to BBC Culture and our many partners in sharing newsof our live webcast today: NY Minute Magazine, WRTI 90.1 FM Philadelphia& Columbia Arts Initiative. Please visit www.DCINY.org to enjoy today’s per-formance webcast live or after the event.

For information about performing on DCINY’s series or about purchasingtickets, e-mail [email protected], call (212) 707-8566, or visit our websiteat www.DCINY.org.


DCINY-Andrea

Text Box

A Special Thank You to BBC Culture and our many partners in sharing our live webcast today: WRTI 90.1 FM Philadelphia, Columbia Arts Initiative and NewYorkMinuteMagazine.com - empowering women in a New York Minute. Please visit www.DCINY.org to enjoy today's performance webcast live or after the event.

Notes ON THE PROGRAMby Joseph & Elizabeth Kahn

Messiah is a collection of biblicalextracts compiled as a complementand response to the story of Christ’sincarnation, death and resurrection.There are no dramatic characters, thesoloists adopt a primarily propheticvoice and the chorus responds as akind of universal congregation.

The first part of Messiah deals pri -marily with the prophecies of Christ’sbirth, mainly from the Book ofIsaiah, and more meditative psalmtexts. The texts are optimistic, focus-ing on redemption through accept-ance of a merciful and gentle savior.The actual Christmas story is toldonly in the three central numbers, thechorus, “For unto us a child is born,”the recitative, “There were shepherdsabiding in the fields,” and the chorus“Glory to God,” in which the sopranosoloist serves as “Evangelist” and thechorus as “Mankind” and the,“heavenly Host” respectively.

Part Two is distinct from the Passionoratorios in that it does not tell thestory of the crucifixion but is rather ameditation of Christ’s death andmankind’s need for redemption. Onceagain, the texts are taken primarilyfrom the Hebrew Scriptures, in whichthe events of Christ’s sacrifice arebelieved to be anticipated. Part Twoends with the “Hallelujah” chorus, cel-ebrating the redemption of man ratherthan the tragedy of Christ’s death.Equally non-dramatic is Part Three, amusical consideration of the signifi-cance of the resurrection for mankind.

Handel composed Messiah in a littleover three weeks, typically dippinginto earlier compositions when it suit-ed his taste and probably his schedule:“And He shall purify,” “For unto us achild is born” and “His yoke is easy”were originally Italian secular cantatasfor two voices. Remnants of mori-bund opera seria style can be heard inthe da capo aria Rejoice greatly,” butthe repeat of the first part is by nomeans exact, driving to an emotionaland musical climax that ends the aria.Another distinction in this aria is thatHandel notated the ornamentationinstead of allowing the singer carteblanche to improvise, as was the cus-tom with the castrati who dominatedthe operatic stage.

Always attentive to matching wordsand music, Handel, like Bach, fre-quently used tone painting to accen-tuate important textural elements:Note the melisma on the word“shake” in the bass recitative, “Thussaith the Lord” and the twistingchromatic vocal line in the bass ariato portray, “The people that walkedin darkness.” On the other hand,note how difficult it is for the chorusto sing the word “easy” in “His yokeis easy.” The instrumental “Pastoralsymphony” portrays the shepherdsthrough the use of the drone in thebass, representing a simple rural bag-pipe and the lilting rhythm of tradi-tional Italian folk music.

Messiah was commissioned by theLord Lieutenant of Dublin and was

GEORGE FRIDERIC HANDEL (1685–1759) MessiahRe-orchestrated for full symphony orchestra by Eugene Goossens


an enormous success at its premiereperformance in 1742, but it fell flatthe same year in London. Only afterit had been revised and presented inconcert for the benefit of the Found -ling Hospital in London (which con-tinued to make over 600 pounds ateach of its annual benefit perform-ances) did it take off on the way to itscurrent popularity. But nothingboosted the work so much as itsadoption every Christmas by tradi-tional English civic choral societies,in which “casts of thousands” con-tinue to belt out the choruses that atits premiere comprised only 33instrumentalists and 32 singers.

About this Orchestration

Handel’s original modest orchestra-tion did not remain pristine for long.Handel himself had performed it usingan enlarged orchestra. Mozart andvarious others have re-orchestrated itfor their own times and orchestralforces. In 1959 conductor SirThomas Beecham (1879–1961), near-ing the end of his career, decided thathe wanted to conduct and recordHandel’s Messiah one more time,taking advantage of the full force ofhis Royal Philharmonic Orchestra.He hired conductor and composerEugene Goossens (1893–1962) for€1,000 (a tidy sum at the time) to dothe re-orchestration, explaining rea-sonably that over the years Messiahhad played to larger and larger houses,and that proportionately larger forceswere needed to push the sound out.

Handel’s original orchestration con-sisted of two oboes, two clarinets,two trumpets, timpani, continuo andstrings. In Goossens’ hands, thisbecame: three flutes (piccolo), four

oboes (English horn), two clarinets(bass clarinet), 2 bassoons, contra-bassoon, four horns, two trumpets,three trombones, tuba, timpani, threepercussionists (including cymbals),harp, and strings. Goossens alsoomitted several movements from theoriginal orchestration.

Beecham recorded the new version in1959 with great success (It is stillavailable on CD). But then the storygets murky. After the conductor’sdeath, Lady Beecham—the RoyalPhilharmonic’s former telephone oper-ator who was 57 years Beecham’s jun-ior and whom he married in 1959—became the guardian of all her hus-band’s manuscripts and discouragedattempts to perform the arrangedMessiah or even to allow an examina-tion of the score. In fact she claimedthat Goossens’ work was unaccept-able to her husband and that he hadbeen obliged to “re-re-orchestrate” ithimself with the help of a member ofthe orchestra and had actually used“his own” version for the recording.That claim was, in fact, stated in theinsert when the recording was reissuedon CD in 1992. Finally, in the early1990s, Lady Beecham sold her hus-band’s manuscript collection toSheffield University where it becamepossible to examine the scoreBeecham had used for the recording. Itwas pure Goossens with only a fewminor alterations.

Goossens’ Messiah was not per-formed again in Britain until 1999.DCINY presented the Lincoln Centerpremiere of this orchestration onNovember 27, 2011, under the batonof Jonathan Griffith and theDistinguished Concerts Orchestra.


THE Artists

An acclaimed conductor, educator andlecturer, Jonathan Griffith has led per-formances across North America,Europe, and Asia. Maestro Griffith isco-founder and artistic director ofDistinguished Concerts InternationalNew York (DCINY), which hasbrought together, under his artisticleadership, thousands of musicians andchoral singers in concert at prestigiousvenues across the United States, includ-ing Carnegie Hall, Lincoln Center, andDisney Hall. The founder and musicdirector of the Distinguished ConcertsOrchestra, Maestro Griffith also over-sees DCINY’s mentoring program for conductors.

He made his Carnegie Hall conductingdebut in 1989 and has since conductedwell over 65 performances at CarnegieHall and Lincoln Center combined. Inaddition to the major works of the clas-sical repertoire, conducting highlightsinclude the U.S. premieres of KarlJenkins’ Stabat Mater and Te Deum,Sergei Taneyev’s Upon Reading aPsalm, Miloš Bok’s Missa Solemnis,

Luigi Boccherini’s Villancicos, andEugene Goossens’ orchestration ofHandel’s Messiah, along with worldpremieres by Eric Funk, SeymourBernstein, and Robert Convery. Hisadditional conducting credits includethe Mormon Tabernacle Choir in SaltLake City; Manhattan Philharmonicand New England Symphonic En -semble, both at Carnegie Hall; theEuropean Symphony Orchestra inSpain; Bohuslava Martin Philharmoniaand Philharmonia Chorus, VirtuosiPragensis Chamber Orchestra, KarlovyVary Symphony Orchestra, and DvorákChamber Orchestra, in the CzechRepublic; and the Bialystok State Phil -harmonic in Poland, as well as numer-ous regional orchestras and chorusesacross the United States.

The Jonathan Griffith Singers, an ensem-ble drawn from singers across NorthAmerica and founded in 1987, has madeits mark internationally. In recent yearsMaestro Griffith has led the Singers onhighly acclaimed tours to Uruguay andArgentina; to the People’s Republic ofChina, premiering Karl Jenkins’ TheArmed Man: A Mass for Peace in Beijingand Shanghai; and to Pisa, Italy. Dr.Griffith and the Jonathan GriffithSingers toured Turkey in June of 2013performing the acclaimed Turkish orato-rio Yunus Emre by A. Adnan Saygun inIstanbul with the Cemal Re it ReyOrchestra and in Ankara and Eskinehirwith the Presidential Orchestra at theinvitation of the TURKSOY governmen-tal agency. Maestro Griffith along withthe Distinguished Concerts Orchestra isthe 2014 winner of The American Prizein Conducting, professional orchestra

JONATHAN GRIFFITH, DCINY Co-Founder, Artistic Director,Principal Conductor


division, and a semi-finalist in the 2015competition.

Dr. Griffith received his DMA in con-ducting from the Conservatory of

Music/University of Missouri-KansasCity, a master’s in music educationfrom Wichita State University, andbachelor of music education from theUniversity of Kansas.

Penelope Shumate received criticalacclaim for her recent performance inMessiah with DCINY at Avery FisherHall: “Penelope Shumate sang the sopra-no solos with appealing bell-like clarityand surpassing sweetness (The NewYork Times), and “the clear tones weretrue and expressive, one of the best“Rejoice greatly, O daughter of Zion”that I have ever heard live.” (New YorkConcert Review). She has also performedin Alice Tully Hall as well as her manyappearances at Carnegie Hall. Thisspring she was the recipient of the 2016Chicago Oratorio Award. Her recentsoloist debuts include performances withQuincy Symphony Orchestra Associ -ation, Chicago Bar AssociationSymphony Orchestra and Chorus,Waynesboro Symphony Orchestra,Lynchburg Symphony Orchestra, TheVirginia Consort, Acadiana SymphonyOrchestra, Rapides Symphony Orches -tra, Oklahoma City Philharmonic,Hilton Head Symphony Orchestra, andthe Canterbury Choral Society. She hasalso performed with opera companiesand orchestras across America, includingOpera Company of Philadelphia, OperaRoanoke, Lake George Opera, DesMoines Metro Opera, Utah FestivalOpera, Annapolis Opera, Santa Fe

Symphony Orchestra, Berkshire ChoralFestival, Chamber Orchestra ofPhiladelphia, and the Kennett SymphonyOrchestra, among others. She has alsobeen an award winner with the GerdaLissner Foundation, Marie E. CrumpVocal Arts Competition, MacAllisterAwards, New Jersey Association ofVerismo Opera Vocal Competition,Annapolis Opera Vocal Competition,Kennett Symphony Orchestra VocalCompetition, and the Altamura/CarusoInternational Vocal Competition. Inaddition to her active performancecareer, she serves as assistant professor ofvoice at Western Illinois University.(www.PenelopeShumate.com).

PENELOPE SHUMATE, Soprano


Mexican mezzo-soprano Claudia Chapahas recently been seen in such theatricallydynamic roles as Azucena (Il Travatore)with Winter Opera St. Louis and Operain Williamsburg, Madame Flora (TheMedium), and the Witch (Hänsel UndGretel) with Opera in the Heights.Upcoming engagements include Azucena(Il Travatore) with the St. PetersburgOpera Company, Mary (The FlyingDutchman) with Austin Opera,ConciertOH! de Invierno with Opera inthe Heights, Verdi’s Requiem with theAlabama Symphony, and Dryade(Ariadne auf Naxos) with Austin Opera.Other recent engagements include DameQuickly (Falstaff) with Winter Opera St.Louis and Opera in the Heights, Marthe(Faust) with Indianopolis Opera, theThird Lady (Die Zauberflöte) with theGlimmerglass Festival in 2015, PortlandOpera To Go, and Ms. Chapa’s profes-sional operatic debut in 2011 withAustin Lyric Opera, and covering the

Old Lady (Candide) with GlimmerglassFestival 2015.

Other roles in Ms. Chapa’s operaticrepertoire include Dryade (Ariadne aufNaxos), Alisa (Lucia Di Lammer -moor), Gertrude (Roméo et Juliette),and Aunt Cecilia (Little Women). Herperformance of Madame de Croissy inLes Dialogues des Carmélites earnedher the prestigious Silverman Awardfrom the International Vocal ArtsInstitute, Tel Aviv. On the concert plat-form, Ms. Chapa has been heard in theVerdi Requiem, Manuel de Falla’s ElAmor Brujo, and Handel’s Messiah,including performances at CarnegieHall with the Distinguished ConcertsInternational New York series.

She received her training from theButler School of Music at the Universityof Texas-Austin, where she performedBeatriz (La Hija De Rappaccini) in theworld premiere of the late DanielCatán’s revised version. Her other rolesincluded La Zia Principessa (SuorAngelica), the title role of Rodriguez’sLa Curandera, Gertrude (Hänsel UndGretel), and Mrs. Herring (AlbertHerring). She is an alumnus of the pres-tigious young artist programs, includ-ing the International Vocal ArtsInstitute (both in Blacksburg, VA andTel Aviv, Israel), Des Moines MetroOpera, and the Glimmerglass Festival,for which she was chosen as a youngartist for two consecutive seasons.

CLAUDIA CHAPA, Mezzo-Soprano


Acclaimed for his “fresh-toned andtouching portrayal” by Opera News,John McVeigh continues to garner atten-tion for his countless world-class per-formances at the most revered housesthroughout the United States and world-wide. This season, Mr. McVeigh will per-form the tenor solo in Beethoven’sSymphony No. 9 with Portland Sym -phony Orchestra, and Händel’s Messiahwith Indianapolis Chamber Orchestra,Evansville Philharmonic Orchestra, andDCINY. Additionally, he will performthe role of the Footman in Der Rosen -kavalier with Boston SymphonyOrchestra and will return to TheMetropolitan Opera for their produc-tion of Eugene Onegin.

Mr. McVeigh is in high demand as a con-cert artist, bringing his strong stage pres-ence and dynamic characterizations tooratorio repertoire nationwide. Mostrecent concert engagements include TheBlind at Lincoln Center Festival;Händel’s L’allegro with Mark MorrisDance Group at the Kennedy Center andLincoln Center; Lackey in DerRosenkavalier with National SymphonyOrchestra; Haydn’s Creation with thePortland Symphony; Mozart’s Mass in Cminor with St. Catherine of Siena

Concert Series; Händel’s Messiah withPhiladelphia Orchestra, Carnegie Hall,Boston Baroque, Winston SalemSymphony, and Charlotte SymphonyOrchestra; Acis in Acis and Galatea withMacau International Music Festival,Glimmerglass Opera, Detroit OratorioSociety, and Concert Radio KamerFilharmonie in Amsterdam; Bach’s St.Matthew’s Passion under the baton ofJaap van Zweden with Dallas Symphony;Bach’s St. John’s Passion with Winston-Salem Symphony; Orff’s Carmina Buranawith Memphis Symphony; and VaughanWilliams’ On Wenlock Edge withArizona Music Festival and PortlandChamber Music Festival.

JOHN MCVEIGH, Tenor

Praised for his “commanding sonority”(Opera News) and described as “hand-some, agile, and with a voice to match”(Boulder Daily Camera), Bass-baritoneChristopher Job is a “rising star on theAmerican opera scene” (Grand JunctionFree Press). This season, Mr. Job takeson the roles of Leporello in DonGiovanni at Bar Harbor Music Festival,Alidoro in La Cenerentola with OperaFort Collins, Basilio in Il barbiere diSiviglia with Virginia Opera, and PetrFedorovi� Basmanov in Dvorák’sDimitrij with Odyssey Opera; sings

CHRISTOPHER JOB, Bass


Händel’s Messiah at Carnegie Hall andVerdi’s Requiem with DCINY inBarcelona; and returns to The Metro -politan Opera for the roles of Brühl -mann in Werther and 4th Waiter in DerRosenkavalier and for their produc-tions of Roméo et Juliette and EugeneOnegin.

Recently, Mr. Job appeared in produc-tions of some of opera’s best-knowntitles throughout the country. Somehighlights include his debut in the titlerole of Le nozze di Figaro with Fargo-Moorhead Opera, his debut as

Escamillo in Carmen with Lyric OperaVirginia, the creation of the role ofSenator Thomas Jordon in the worldpremiere of Pulitzer Prize–winner KevinPutz’ The Manchurian Candidate withMinnesota Opera, Angelotti in Toscawith New York City Opera and DesMoines Metro Opera, Hobson in PeterGrimes at the Princeton Festival, Collinein La bohème and a production ofNabucco with Lyric Opera Baltimore,Baron Douphol in La Traviata in hisdebuts with Syracuse Opera and LyricOpera Virginia, and Fifth Jew in Salomewith Palm Beach Opera.

*Appleton Thorn Village Choir (UK), Sally Peterken, AdministratorCantare Chorale of the Sierra Foothills (CA), Mariia Pechenova, DirectorD.M. Davis Choirs (OH), Rick D. Noel, DirectorFort Walton Beach Community Chorus (FL), Katie Jo McGuire Menges, DirectorGolden Isles Community Messiah Chorus (GA), Christopher D. Goodson, DirectorGreat Lakes Chamber Orchestra Chorus (MI), Peter D. Sims, DirectorHoly Family Cathedral Choir (OK), Ernest R. Neal, DirectorHope Chancel Choir (MT), Carol Mathew, DirectorLe Choeur de la Cité (Canada), Carole Bellavance, DirectorLincoln-Way Area Chorale (IL), Gregory L. Day, DirectorMasterworks Choir of Enterprise (AL), Roy Hoobler, Director*Phoenix Singers (Hong Kong), Celia Leong, DirectorSt. Helena Chamber Choir (CA), Craig R. Bond, Director*The Joyful Band of Singers (NC), Finley Woolston, DirectorThe New Tecumseth Singers/The Dufferin Concert Singers (Canada), Johannes S. Wervers, Director

The Orem Chorale (UT), Russell Oliphant, DirectorThe Washington International Chorus (MD), Joshua Brown, DirectorUtah Conservatory Choral Society (UT), Debra Cook, DirectorValley Voices Community Choir (MT), Allyson Kuechmann, DirectorAnd Individual Singers from around the globe

*Denotes DCINY Alumni

DISTINGUISHED CONCERTS SINGERS INTERNATIONAL

PERFORMING ARTS PARTNERS

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


Susan AlborJoseph AlfiniCharlotte AllenLisa Marie AndersenAnnika AnderssonBrenda KnowltonAnn

Larry ApplegateShayna ArmerLinda BabiakNathalie BaconMiryam BaezaDan BaileyJoseph BaileyBethe BaravettoCalvin BarrettEvelyn BarrettKeith BarrettAicha BartlyRichard BaumannCynthia BayneTamara BeardallLaura BeattyKirk BeckstromCarole BellavanceWilliam BenjaminJudith BennettLinda BentonAngie BerglundSylvia BergmanLarry BettinelliRobin BiggsKim BleckeRosemarie BloomerCarolyn BondCraig BondEileen BoothAssunta BorrelliClaude BourretLaura BowmanMary D. BowmanNicky BradleyTaelor BrettWilene BridgerDonna BrisbyAngela BroeckelDeborah BruningBrenda ButtsJoy BynumMichael CaldarolaRegina CarlisleBethe CarpenterBarb CastanedaCharlene CaughmanCharlene aughmanGiguère Céline

Richard ChabotMartine ChalutMary AnnaChristensen

Pamela ChurchNancy ClaridgeTom ClaridgeKevin CobbCindy CockerellMarielle CoeytauxBritton

Mary E. ColeDebra MitchellCook

Rachel CookMary CooperLauren CorbittDarlene CoreyGisèle CôtéSue CottrellDiane CowanDebbie CoxJack CummingsJudy CummingsBarbara DamonKeith RobertDamon

Cailly DanahyPaula DarbyWilliam DawsonWilliam DawsonGreg DayJane DayGretchen De LimurCarmelinaDeLorenzo-Crowe

Donald DeschênesLouise DeschênesDaniel DickmanRebecca DickmanCarmen DishoMary DixonPriscilla DominguezLily DouglasSylvie DubéMyriam DupontDawnine DyerMarilyn EberlyDebbie ErnisseDorothy EvansJohn EvansNanette FahlerJames FaveroRandy FaveroTimothy FelchleFelipe Feldmar

Suzanne FerlandDouglas S. FleetonJesse FloresTammy FodePascale ForguesMajorique FortinJean FoughtSandra FowlerJohn FranklinDianne FraserPat FridayJeff FurlongKyle GallienAugust GarritanoLaura GasboroAndrew GerberMatthew GerlachRobert GibbsSusan GibbsCeline GluthSarah GluthSue GoetzRebecca GoffEvie GoltzElly de GraaffKath GradwellDavid GrahamJim GravesJohn GriffinArdell GrimmDaniel HadleyMargi HaferChris HallDan HallGladys HaneyLori HanzelkaChristina HardawayMary HartlImants HausmanisJohn HawkinsMarianna HawkinsMary HaydonSue HeatonNadine HendricksAnges HermansonAnges HermansonMelissa HiltonAngela HodgeNicole HoltSharon HolzknechtRobin HolznerKim HooblerRoy HooblerLynn HooperSuzanne HoudeLinda Hughes

Al HuizingaMary HuizingaCarol HulcoopNancy HumphreyTom HunterIngrid IversonMillie JankaJulie JohnsonKerri JohnsonTim JohnsonAllyson JohnstonKathleen JohnstonFrançois JolicoeurPaula JonesAngela JordanSherry JourdanJanice JowersGerry Lou KaniaJan KappmeyerJenny KarnezisJoe KeefnerKathy KeleshianBec KimptonJoan KimptonDave KnolChristopher KoenigJunko KomatsubaraKate KrauseVicki KreisSarah KrumbachAllyson KuechmannJames KuechmannGlenn KueltzoShannon KuletoCarol LambertMichel LangevinLouise LapriseSue LeavyR. LeeLarry LeFaiverJohn LemkeMary LeonardMartine LévesqueJoan Libsack-Maynard

Jennifer BensonLopansri

Tami LosoncyDebbie LuffCurtis LundJoan LundyHarvey LyonMarsha MaggioAnne MahoneyDavid MahoneyPierre Marcoux

DISTINGUISHED CONCERTS SINGERS INTERNATIONAL


William MartinCarol MathewSue MathewsMarjorie MathieuSylvain MatteJoyce McClurgJeanne McConnellDaniel McFeeMichael McGinnKatie McGuireMenges

Heather McInnesMelissa McInnesWeedell McIntoshCarole McNabCathy McLain DruryElizabeth McNairElayne MerlaLisa MessagliaEric MeyerDave MezykowskiKatherine MieropToni MillerDenis MilonasJan MinardiCollin MohneyBeverly MoonDeloma MooreJacqueline MooreDenis MorinKay MosherDiane MullerAbigail NaseMary EllenNaumczik

Earnest NealAnn NelsonIsidore NeubeckerJosephine NeubeckerBob NielandJeanne NitzRick NoelTerri NormandJennifer NugentDaniel OakesJoAnna OdomDiana OhlsonMike OliverMary Ellen OrganMarilyn O’RourkeRuth O’Shea

Lindsey OstermillerShelley OstermillerKaren OsuchJudith OverbeekLisa OwensSteve ParrishMary Helen ParsonsMariia PechenovaBob PechinskiJenny PenttilaSally PeterkenDorothy PetersenEdith PicardVivian PirchnerJamie PlatteJackie PletschTonya PlummerBarbara PollariChantal PouliotTaylor PowellMaria WirkusPriesley

Ann PritchardSharon ProudfootDebra PylypiwAline RacineFrank RagoHelen RagoMartha RagoSylvie RancourtJason RandallAlly RandolphKen ReedMarianna ReedSarah ReillyEmma RentzCatherine Ann ReyesWirkus

Barry J. RiceTeresa RichardsShelley RinkBob RobertsonCody MarshallRobinson

Mackenzie RobinsonCarrie RockDonna RoeselJoseph RomanoJudy RomanoFran RossJohn Rothenberger

Jean-Yves RoyAndris RubenisTeresa RyanSteve SargentLina SawaqedRachel ScanlonWanda ScharmenRyan SchmidtAnnette SchmitAlexander SchweimAndrea SchweimRandy SeissJulie SellersStephen ShoffCindy ShraderPeter D. SimsKendra SlattenMary SmigulecMarcia SmileyChauncey SmithDeborah SmithJonathan SmithLinda SmithPamela C. SmithPhyllis SmithSharon SmithAlan SmitheeMaria SnowCaroline SparksLinda StaggLily StakerDebbie SteeleCindy StetinsGary StewartSue StewartMary StockwellDeanna StrothMichelle SutterCynthia SwansonTimothy SwansonDavid SydlikSussanna TaareaTanya TaylorSuzette TenefranciaJohn TexterTracy TexterDenis ThériaultHannah ThomasMichelle ThomasAndrea ThompsonRosella Thompson

Darren ThomsonBonnie ThoreenLaura ThorneMelissa ThornockErik TorkelsonDenise TousignantDonna TrevinoValerie TrippJennifer TrottmanDiane TurnboughKaren TustinSharon TuttleJanet UlrichBob UtterCarolyn ValeVivian Van DonkFrance VilleneuveLorainne VilleneuveMary Jo VinquistMichael VivretteJodee VragelDeborah WagonerCaroline WaldmannMary WallaceMary Lou WarfieldKathy WarnerCallie WelsteadBryce WerntzJohn WerversJason WestenDon WhittakerJeannine WhittakerMary Wieter-HordSandy WilkinHeather WillKathleen WilliamsLynn WilliamsRobert WilliamsBeclee WilsonCathy WilsonKatherine AnneWintersgill

Ken WitowskiNoreen WoodSylvie WoodAl WoodsErma WoolseyFinley WoolstonJulie WorthingtonHal YarbroughRobbie Zinn

The Performing Arts Partners list includes names supplied by directors as of October 19,2016. Any questions regarding missing or misspelled names should be addressed to the indi-vidual directors.


Founded by Iris Derke and JonathanGriffith, Distinguished ConcertsInternational New York (DCINY) is theleading producer of dynamically chargedmusical excellence. With its unforget-table concert experiences in renownedvenues, empowering educational pro-grams, and its global community of

artists and audiences, DCINY changeslives through the power of performance.

For more information aboutDistinguished Concerts InternationalNew York, and upcoming DCINYmusical events around the world,please visit: www.DCINY.org.

DISTINGUISHED CONCERTS INTERNATIONAL NEW YORK (DCINY)

Iris Derke, Co-Founder and GeneralDirector

Jonathan Griffith, Co-Founder, ArtisticDirector & Principal Conductor

Danuta Gross, Director of Finance &Administration

Kevin Taylor, Director of ProgramDevelopment

James M. Meaders, Associate ArtisticDirector & Conductor

Jason Mlynek, Associate Director ofProgram Development

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

Kimberly Preiss, Program DevelopmentAssistant

Jeff Binner, Program Development AssistantAndrea Niederman, Associate Director ofMarketing, Box office & Promotions

Katherine Shen, Box Office & MarketingAssistant

DeAnna Choi, Office Operations Manager,Accounting & Billing

Samm Vella, Interim Production ManagerMarisa Tornello, Concert OperationsAssociate

Thomas Reinman, Concert OperationsGary Crowley, Graphic Design & WebsiteHannah Damron, Intern

DCINY ADMINISTRATIVE STAFF

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DCINY-Andrea

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DCINY 2016–2017 Concert SeriesPlease join us for one of our upcoming events:

Monday Evening, November 28, 2016, at 7:00Alice Tully Hall, Lincoln CenterGo Sing It on the MountainGabriel Fauré: RequiemJames D. Moyer, DirectorFeaturing Pennsbury High School Concert Choir (PA)Pepper Choplin: Go Sing It on the Mountain (NY Premiere)Pepper Choplin, Composer/ConductorFeaturing Distinguished Concerts Orchestra and Distinguished Concerts SingersInternational

Sunday Afternoon, January 15, 2017, at 2:00 Stern Auditorium/Perelman Stage, Carnegie HallThe Music of Sir Karl Jenkins: Aberfan, Cantata Memoria (North AmericanPremiere)

Karl Jenkins: RequiemKarl Jenkins: Cantata Memoria For the Children (North American Premiere)Jonathan Griffith, DCINY Artistic Director and Principal ConductorKarl Jenkins, DCINY Composer-in-ResidenceFeaturing Distinguished Concerts Orchestra and Distinguished Concerts SingersInternational

Monday Evening, January 16, 2017 at 7:00 Stern Auditorium/Perelman Stage, Carnegie HallReflections of PeaceJoseph Haydn: Missa In Anguistiis (Lord Nelson Mass)Catherine Sailer, Guest ConductorKim André Arnesen: RequiemJames M. Meaders, DCINY Associate Artistic Director and ConductorFeaturing Distinguished Concerts Orchestra and Distinguished Concerts SingersInternational

Flutopia Wind EnsembleJennifer Lapple, Director

Sunday Afternoon, February 19, 2017 at 1:00 p.m.Stern Auditorium/Perelman Stage, Carnegie HallThe Glory of FreedomRandall Thompson: The Testament of FreedomLee Nelson, Guest ConductorFrancis Poulenc: GloriaErin Freeman, DCINY Debut ConductorFeaturing Distinguished Concerts Orchestra and Distinguished Concerts SingersInternational

The Rochester Philharmonic Youth OrchestraJames Mick, 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 Messiah…Refreshed! - dciny.org the conductor’s death, ... possible to examine the score...

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