presents on the winds of song - dcinyhome: dciny · pdf filedavid maslanka songbook for flute...

Sunday Evening, May 29, 2016, at 8:30Isaac 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

ON THE WINDS OF SONGAn Evening with Mira Costa High School (CA)

JOEL CARLSON, Director of BandsThe Mira Costa Bands

Wind Ensemble ALFRED REED Armenian Dances (Part I)

DAVID MASLANKA Songbook for Flute and Wind Ensemble II. Solvitur Ambulando Tanner Yamada, Flute

WILLIAM SCHUMAN When Jesus Wept

ERIC WHITACRE Equus

Brief Pause

Symphony Band LEONARD BERNSTEIN Overture to Candide

MICHAEL COLGRASS Old Churches

JOHN PHILLIP SOUSA Manhattan Beach March

DAVID HOLSINGER Havendance

Intermission

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES.

(program continued)

05-29 DCINY Mira Costa HS_CH Rental 5/17/16 3:51 PM

PETER PARK, Director of OrchestrasThe Mira Costa Orchestras

Philharmonic & Chamber Orchestras JOSHUA REZNICOW Jubilant Overture

VASILY KALINNIKOV Serenade for String Orchestra

ALBERTO GINASTERA Danza Final from Estancia arr. Robert Longfield

Brief Pause

Symphony OrchestraCARL MARIA VON WEBER Jubel Overture

LEE HOLDRIDGE Serenade for Friends for Strings and Piano (World Premiere)

GEORGE GERSHWIN Rhapsody In Blue Brian Zukotynski, Piano

ZEQUINHA DE ABREU Tico Tico No Fubá arr. Cliff Colnot

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

Armenian Dances, Part I is an extendedsymphonic rhapsody built upon fourdifferent arrangements of authenticArmenian folk songs and one originalsong from the collected works ofGomidas Vartabed (1869–1935), thefounder of Armenian classical music.

Reed opens with a flourishing renditionof Tzirani Tzar (The Apricot Tree), fol-lowed by Gakavi Yerk (Partridge’sSong), Hoy, Nazan Eem (Hoy, MyNazan; Nazan is a girl’s name), Alagyaz(the name of a mountain in Armenia),and Gna, Gna, (Go, Go).

ARMENIAN DANCES (PART I)Alfred Reed

Song Book is a set of pieces that aresonglike—that is, intimate and expres-sive, though not necessarily quiet. Thesolo flute feels like a voice to me, avoice that has a complex story to tell, inthe form of musical dreams. The title ofthe second movement, “SolviturAmbulando,” is Latin for “it is solved

by walking.” There is a centuries-oldtradition that good ideas come whilewalking. It is a practice that I have usedin my creative work for some years.Intuition and intellect are engagedtogether through the alternatingmotion of the limbs.

SONG BOOK FOR FLUTE AND WIND ENSEMBLEII. SOLVITUR AMBULANDO

David Maslanka

When Jesus Wept was inspired by aWilliam Billings hymn and was made firstinto a piece for orchestra (in 1956, with theband version transcribed by the composer

in 1958). The hymn is a simple melodyfrom the 1770 New England Psalm Singerthat is intended to be performed as around. It uses the following text:

WHEN JESUS WEPTWilliam Schuman

When Jesus wept, the falling tearIn mercy flowed beyond all bound;

When Jesus groaned, a trembling fearSeized all the guilty world around.

WIND ENSEMBLE


Old Churches uses Gregorian chant tocreate a slightly mysterious monasteryscene filled with the prayers and chant-ing of monks in an old church.Gregorian chant is ancient churchmusic and that has been in existence forover 1500 years. The chant unfoldsthrough call and response patterns. One

monk intones a musical idea, then therest of the monks respond by singingback. The musical conversation contin-ues throughout the piece, with theexception of a few brief interruptions.Perhaps they are the quiet commentschurch visitors make to one another.

OLD CHURCHESMichael Colgrass

In the summer of 1893, John PhilipSousa was engaged to perform severalconcerts daily during a ten-week periodat Brooklyn’s venerable ManhattanBeach resort. Composed later that sum-mer and dedicated to the owner andoperator of the resort, Austin Corbin,the Manhattan Beach March soon

became a perennial Sousa favorite.Numerous “secret” devices weregleaned from the extensive marks onthe player’s original parts to create thedelightful seaside effects of crashingwaves, the sun’s glint on the water andthe sound of a band that gets closer,then farther away on your seaside stroll.

MANHATTAN BEACH MARCHJohn Philip Sousa

Candide was Leonard Bernstein’s thirdBroadway musical, following On theTown and Wonderful Town. It openedin New York in 1956, but, unlike itspredecessors, was not a commercial suc-cess. Adapted by Lillian Hellman fromVoltaire’s 18th century satire on blindoptimism, the story concerns a young

man, Candide, who travels the worldwith his tutor, Dr. Pangloss, and hissweetheart Cunegonde. The sparklingoverture captures the frenetic activity ofthe operetta, with its twists and turns,along with Candide’s simple honesty,and has remained a staple of the orches-tral and wind ensemble repertoire.

OVERTURE TO CANDIDELeonard Bernstein

I wanted to write a moto perpetuo, apiece that starts running and neverstops (Equus is the Latin word forhorse) that would also be a virtuosicshow piece for winds. The final result issomething that I call Dynamic

Minimalism, which basically meansthat I love to employ repetitive patternsas long as they don’t get boring. Equusis dedicated to my friend Gary Green,the most passionate and patient con-ductor I know.

EQUUSEric Whitacre

SYMPHONY BAND


For her earliest holiday costume, mydaughter Haven wanted to be dressedas a ballerina. It was a passion that hasnot stopped to this day.

Havendance was the first of the “chil-dren’s dances.” I was teaching at thetime of its composition in Chillicothe,Missouri, and the former band director,

Claude T. Smith, (Yes THAT Claude T.Smith), and I were asked to write piecesfor an anniversary concert of a NorthCentral Missouri honor band. Havenwas eight and constantly leaping anddancing about the house, and sheseemed the perfect subject for a“dance” piece. Thus, Havendance.

HAVENDANCE David Holsinger

Many notable compositions in the formof the serenade for string orchestraflourished during the late Romanticera. Those of Tchaikovsky, Dvorák,Suk, and Elgar immediately come tomind. Kalinnikov’s single movementversion, marked Andantino, is one ofthe shorter and lighter renditions.Written in 1891 when the composer

was just 25, Serenade for Strings per-meates qualities of Russian folksongthat characterized all of his major com-positions. The themes are lyrical andimmediately likeable, and althoughpresented on the whole as a melancholywaltz, the melodic layers also unfold asense of tranquility and content.

SERENADE FOR STRINGSVasily Kalinnikov

Jubilant Overture is a piece that embod-ies what its title indicates, an expressionof joy, energy, and unbridled enthusi-asm. Beginning with a festive, syncopat-ed motif, soloists intertwine with theorchestra before transitioning to a

soothing and lyric secondary theme,reminiscent of the waltzes found in theAmerican fiddling tradition. The pacequickens once more, restoring the brightand exciting opening statement, andending the piece as robustly as it began.

JUBILANT OVERTUREJoshua Reznicow

PHILHARMONIC & CHAMBER ORCHESTRAS


Jubel Overture was composed in 1818to commemorate the fiftieth royaljubilee of King Frederick Augustus I ofSaxony. After the premiere Weberwrote in his diary: “Festival day. Atnight grand court concert in the OperaHouse. My Jubilee Overture went fine-ly.” After a grand introduction, per-haps symbolizing honor and respect for

the king, a driving presto of joyous cel-ebration arrives, ending with a brilliantfortissimo. As a final monarchial trib-ute, the full orchestra erupts with asolemn and grand rendition of “HeilDir Im Siegerkranz” (derived from theBritish anthem “God Save the King”),which served at the time as the royalanthem of Prussia.

JUBEL OVERTURE Carl Maria von Weber

Serenade for Friends was written forthe Mira Costa HS Symphony by mul-tiple Emmy Award and GrammyAward winning composer LeeHoldridge. The inspiration forSerenade for Friends is found in its ded-ication “to so many friends lost overrecent years.” The primary themeintroduced by the obbligato piano islyrical and reverent. Its unusual leapsof Perfect 11ths and Major 14ths, how-ever, evince unpredictability and vul-nerability, disguising the theme’s initialcalm. A livelier middle section contains

cascades of quick, descending 16th

notes and punctuated syncopations,portraying snapshots of happier times.As the athletic passages wind down, theinitial sense of loss expressed in the pri-mary theme returns, but transformed toa more reflective celebration of life andfond memories. Although the griefremains, there is an enlightened per-spective that grows with time and even-tual acceptance.

The world premiere of Serenade ForFriends is being performed tonight in

SERENADE FOR FRIENDS FOR STRINGS AND PIANO (WORLD PREMIERE)Lee Holdridge

The Danza Final from Ginastera’s bal-let suite “Estancia” is based on theMalambo, a quick and vigorousArgentinean folk dance in which mencompete to demonstrate their agilityand machismo. The dance itself is aseries of Justas, or competitive “any-thing you can do, I can do better”moments. The story of the ballet is

built around a love triangle where acity boy becomes entranced with abeautiful ranch girl who considers hima weakling in comparison to the gau-chos (horsemen) who work on theranch. Determined to win the girl’sheart, the city boy competes with thegauchos to convince her that he is wor-thy of her love.

DANZA FINAL FROM “ESTANCIA”Alberto Ginasteraarr. Robert Longfield

SYMPHONY ORCHESTRA


Made popular by Carmen Miranda inthe 1947 film “Copacabana,” Tico TicoNo Fubá is an example of a choro, aninstrumental urban popular music genreoriginating from 19th century Rio deJaneiro. The choro is characterized byvirtuosity, syncopation, and a brisktempo. In Brazil, tico-tico is the localname for the Rufous-collared Sparrow

and fubá is a type of maize flour. Hence,the song title translates to “sparrow inthe cornmeal.” Abreu’s song depicts afarmer lamenting over the little birddining on the cornmeal piled in hisgranary. The farmer’s complaints, how-ever, become almost comical as the tico-tico feasts leisurely and repetitively,much to the complainant’s chagrin.

TICO TICO NO FUBÁ Zequinha de Abreuarr. Cliff Colnot

Many would say there is no better com-position that represents the diversemelting pot that is New York City thanGershwin’s iconic Rhapsody In Blue.Daringly incorporating several musicalinfluences, including Scott Joplin’s rag-time, improvisational Harlem jazz,Yiddish theater folk music, and theexperimental harmonies of post-Romantic composers such as Ravel,Schoenberg and Stravinsky, the 1924

premiere performance featuredGershwin himself on solo piano, andsparked instant success that went on towin an enduring worldwide reputation.Tonight’s offering by the Mira CostaHS Symphony features piano soloistBrian Zukotynski. Mr. Zukotynski is arecent graduate of Mira Costa HS, andcurrently studies both biochemistry andpiano at the University of SouthernCalifornia.

RHAPSODY IN BLUEGeorge Gershwin

tribute to the memory of conductorPeter Park’s late father-in-law, Dr. JamesCavallaro. According to Park, Dr.Cavallaro was “a beloved father figure,hero, and friend who lived each day ofhis life with genuine gratitude, and in

turn gave all who knew him the gift ofcherished memories to last a lifetime.”My interpretation of Lee Holdridge’swonderful new composition was verymuch guided by Dr. Cavallaro’s inspir-ing example and spirit.


THE Artists

Joel Carlson is now in his ninth year asthe director of bands at Mira CostaHigh School, a 2014 GrammySignature Schools Gold Award winningschool and one of three awardees to berecognized by the Grammy Foundationthat year as having one of the best com-prehensive music programs in thenation. The bands under his directionare consistently rated at the highest lev-els of musicality for their outstandingperformance at regional, state andnational levels. A native Californian,Mr. Carlson is a proud graduate of theUniversity of California, Los Angeleshaving earned a B.A. in music educa-tion and oboe performance, as well as

an M.A. in conducting and oboe per-formance. He is also a proud alumni ofthe World Class Pacific Crest Drum andBugle Corps where he was honored tobe named as the Brass Player of theYear in 2002. Mr. Carlson enjoys thedaily pursuit of helping each student torealize the fullest cognitive, collabora-tive, and creative benefits that musiceducation has to offer.

The Mira Costa Bands are part of thecomprehensive music department atMira Costa High School in ManhattanBeach, CA. From the ConcertEnsembles to the Marching Ensemblesand the Jazz Bands, the Mira CostaBands provide a breadth of opportunityto students to perform at the highestlevels of excellence. The WindEnsemble was recently selected as theFeatured Ensemble at the CaliforniaMusic Educators Association Stand Up4 Music advocacy event in Sacramento,CA, and received top honors multipleyears in a row at the All State Band andOrchestra Festival. The bands haveentertained crowds of thousands atlarge concert venues in the South Bayand are known for performing highquality dynamic professional and colle-giate literature.

JOEL CARLSON, Director of Bands


Peter Park is the director of orchestrasat Mira Costa High School. Mr. Parkreceived his B.A. and M.Ed. degreesfrom UCLA, earning top prizes in theGrancell Foundation Solo Competitionand the Atwater Kent SoloCompetition. Mr. Park also serves as cli-nician, adjudicator, and guest conductorfor several organizations and school dis-tricts throughout California, theWestern States, the Midwest, and theSouth. He has been recognized twice bythe PTA for outstanding teacher service,and was honored as Educator of theYear in Santa Monica as well as MusicTeacher of the Year by the Californiachapter of ASTA. Mr. Park has anotable history of championing wideareas of music education, including thefounding of Elemental Strings, a devel-opmental youth orchestra program, theorganization of the inaugural ViolafestLos Angeles, currently held at theColburn School of Performing Arts, andthe mentoring of several apprenticeteachers from local universities.

Located in the Los Angeles suburb ofManhattan Beach, the Mira Costa HighSchool orchestra program began in thefall of 2002 with a string orchestra of19 students. Currently, the program

involves over 140 student musicians. Inrecent years, the orchestras have pre-sented numerous times at All-SouthernCalifornia music conferences, and per-formed at world class venues includingBeijing Concert Hall, the ShanghaiOriental Arts Center, twice at the WaltDisney Concert Hall, and CarnegieHall. Known for presenting diverse andquality programming, the Mira CostaOrchestras prepare multiple concertsannually, drawing from major orches-tral repertoire. The Mira CostaSymphony is also proud to have pro-moted the works of living composers bypremiering six new compositions sincethe spring of 2010.

PETER PARK, Director of Orchestras


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

Mira Costa High School Wind EnsembleJoel Carlson, conductor

FluteEmily ChaseNatalie MejiaElle RyonoJonathan SklarErica TaddikenTanner Yamada

Oboe Ellen HadleyAlessandra Wu

Eb Clarinet Angelique Angelastro

Bb Clarinet Christopher AzizCameron DeLucaMelissa GuthriePleia HallWilliam HendersonLauren KochZachary Mohr

Caden RameyMatthew Yamada

Bass ClarinetConnor FujishigeTroy Gamble

Contra Alto Clarinet Jack Gibbons

BassoonEliza DavisAdrian Yu

Alto Saxophone Matthew KennedyAdam KimSean Syed

Tenor Saxophone Jackson Kopitz

Baritone SaxophoneCory Takiguchi

Trumpet Katherine DixonJules GilliamJenessa GonzalezMargot Mel deFontenayAnnabelle Mirhashemi

Zachary Zeoli

French HornElisse FriedmanBrett IrvinEverett KimAnthony OlivasJoshua RedlichEthan Williams

TromboneMiles McCorkendalePooja NagpalNatasha SciupacThomas Tomikawa

Euphonium Robert BixlerDaniel Popov

TubaChristina LilligrenAndrew Welch

Percussion Aidan AndersonSamantha BanchikMoorea HennLuke PastoreNicholas Sievers

Piano Everett Kim

FluteDiego AlmendarizEmily AngstreichIsabella ArnaoChiara CebelloIsabel CervantesBianca DulongEden EricksonHayley HendricksonKaitlyn KennedyCole LewisPatricia LintonHannah MinYasmeen Mohammedi

Marissa NewmanKayla SamimiLauren SchlickHelen Turley

Kira Walker-van Aalst

Matthew Yamada

OboeSamantha FriasLauren MarinelliAnia Zdziarska

ClarinetJamie AverchBrendan BradyKevin ChaoSidney Deakins-PlattRyan IrvinDillon KanaiAdam KozlowskiJohn KunkeeColin LeCarisma Leyva

Varun MurthyNadia OwenJosephine QiGrace ReynoldsClaire RosenthalJonathan ScalabriniHira ShahBryce VerketSeia WatanabeAshley Yoo

Bass Clarinet Bora FanuscuEmma FormanEmma HattonMelody Roth

Contra Alto ClarinetCamille Randolph

BassoonNatalia CervantesTiffany ChingVanna KizirianJoseph Olivas

Alto SaxophoneAdam AronestyHannah BeckBrandon ChanRonald ClintonMateo Delgado-BetzJulia DomineseyMason KiddElyse RandolphKelly Shono

Tenor SaxophoneJeffrey HiraiMatthew Nelson

Mira Costa High School Symphony Band Joel Carlson, conductor


Baritone SaxophoneHunter CrossTaylor Estes

TrumpetMichael ArmatoSofia AsiddaoGeorge BollSah-Ra Chestnut-Brooks

Ian CosnerMaxwell EstesAnna GravesOmeed Hashemi-Nejad

Sean Kennedy

Kenneth LeungEmma Mirhashemi Alec NaepflinJourney RobuckLeonardo ViscomiJin [Richard] WuPhillip Yu

French HornCrystal BoyerPeter DaGiauSamantha LelchukPavle Medvidovic

TromboneNathaniel AndradeDevin DriscollMia FinneyJoshuaHoyeCrystal Knizewski

EuphoniumRyan Pogson

TubaPhilip AleksichWilliam Gong Luke Johnson

PercussionCollin ClemensRyan DulongKatia Jenkins BrownBrandon KuoLuke LimonKaylee LoMatthew PadillaJalyn RiggsMichael SchnuckelSean SilvermanHenry StantonSeth SternNathalie SungDenzil TintutConnor Tobin

ViolinEthan Park** Benjamin AnSierra AndradePaloma ArellanoShubhayu Bhattacharyay

Russell BlakeyEthan ChangBrian ChenKevin ChenChristina ChongBen ChoromanskiMiles ChoromanskiKatherine EliasMichael EliasBenjamin FanZoobia JilaniJoshua JoeMini KangMonique KazamekAlly KennedySabrina KimEvelyn Le

Devon LiuAlex LuoTrevor MahonyMorgan Montgomery

George RochelleChris ShiraziJackson SpilsburyOlivia TuffliAlessandro VarieschiBryan WuAaron YangCrystal YuLulu YuBriana Zukotynski

ViolaNatasha AndersPaul Callender-Clewett

Nisha ChatwaniRyan ChristensenKatherine HaradaAlcantara

Jordan LeeSean McLaughlinDeWayne MooreMatthew MunsonYen NguyenAlex O’BrienCristian PanaroSydney PellNicole RaventosIvy StevensJoshua TerrySteven TseJohn Vanick

VioloncelloEvan AndersonAmerica AubreyJared BlockHarrison CaplinLauren DresslerAvery Haas-Goldberg

Tracey HoaDylan Mibu

Jeffrey NohWendy RobleCheyenne SadeghiShahrzad SadeghiIan SinkowitzJacob SinkowitzTamara Tran

Double BassNiilo NiemiElyse RandolphMaxwell RohdePhilip Wandel

PercussionAidan AndersonSamantha BanchikMoorea HennKaylee LoLuke PastoreNicholas Sievers

PianoMaja Lüttel

Mira Costa High School Philharmonic & Chamber OrchestrasPeter Park, conductor** Denotes Concert Master


The Performing Arts Partners list includes names supplied by directors as of March 10, 2016. Anyquestions regarding missing or misspelled names should be addressed to the individual directors.

Principal ViolinAlex Luo**ShubhayuBhattacharyay*Christina Chong*Briana Zukotynski*

ViolinKevin ChenAriel ChenIsabelle ChiuKalea FrankEthan HsiehAudrey KimKathleen KrullElizabeth KrullChristopher LeeScarlett LuoMorganMontgomeryRobert MorgowiczEmma ParsonsKatherine TominagaNathan TrinhAlessandro VarieschiEmma WattsAlexandra Whitcombe

Jasmine Wu

ViolaYen Nguyen*Sophia ArnaoPaul Callender-ClewettBarbara GarrisonJack KittayAlex O’BrienKatherine PasterczykSteven TseTooba Wasi

VioloncelloDylan Mibu*John DamarilloKaitlyn KwonMaja LüttelMeera NagpalMariel NunanElla PachlerSutton RevellWendy RobleGeorge RochelleCheyenne SadeghiJacob Sinkowitz

Double BassJazlyn Seidel*Talia GerardMatthew Kay

Tommy KelleherJake NicosiaMaxwell Rohde

FluteEmily ChaseNatalie MejiaJonathan SklarTanner Yamada

OboeEllen HadleyAli Wu

ClarinetAngelique AngelastroCameron DeLucaPleia HallWilliam Henderson

BassoonEliza DavisAdrian Yu

SaxophoneMatthew KennedyJackson KopitzSean Syed

French HornBrett IrvinEverett KimAnthony OlivasJoshua Redlich

TrumpetKate DixonJules GilliamMargot Mel deFontenay

TromboneMiles McCorkendaleDaniel PopovNatasha SciupacTommy Tomikawa

TubaAndrew Welch

PercussionAidan AndersonMoorea HennLuke PastoreNicholas Sievers

PianoEverett Kim

Mira Costa High School Symphony OrchestraPeter Park, conductorBrian Zukotynski, piano soloist** Denotes Concert Master *Denotes Principal


Founded by Iris Derke and JonathanGriffith, Distinguished ConcertsInternational New York (DCINY) is theleading producer of dynamically chargedmusical excellence. With its unforgettableconcert experiences in renowned venues,empowering educational programs, and itsglobal community of artists and audiences,

DCINY changes lives through the powerof performance.

For more information about DistinguishedConcerts International New York, andupcoming DCINY musical events aroundthe world, 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, Associate Director of Development

Jim Joustra, Program DevelopmentMark Riddles, Program DevelopmentKatie Sims, Program Development

Julia Falkenburg, Program DevelopmentMaria 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 & Billing

Gary Crowley, Graphic Design & WebsiteSamm Vella, Concert Operations & Production

Thomas Reinman, Concert Operations

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:

Saturday Evening, June 11, 2016 at 8:30 p.m.Stern Auditorium/Perelman Stage, Carnegie HallEchoes of Deserts and MountainsWajima Wadaiko Toranosuke (Japan)Tetsuya Imai, Director & FounderColorado Springs Youth Symphony (CO)Gary Nicholson, DirectorOdem High School Wind Ensemble (TX)Steven Rash, DirectorHighlands Youth Ensemble (TN)Janet DeLoach Morison, Director

Sunday Afternoon, June 12, 2016 at 2:00 p.m.Stern Auditorium/Perelman Stage, Carnegie HallEternal LightGrases: Nocturnos y Adivinanzas (World Premiere)Courtesy of the DCINY Premiere ProjectCristian Grases, Composer/ConductorFeaturing Distinguished Concerts Orchestra & Distinguished Concerts SingersInternationalMorten Lauridsen: Lux AeternaJonathan Griffith, DCINY Co-Founder, Artistic Director and Principal ConductorFeaturing Distinguished Concerts Orchestra and Distinguished Concerts SingersInternational

Friday Evening, June 17, 2016 at 7:00 p.m.Alice Tully Hall, Lincoln CenterShow Me LOVE: Bringing Beauty & Love To A Hurting WorldAn Evening With Lincoln Gospel Choir (MN)Darcy Reese, DirectorThe Remnant, Special GuestsDarnell Davis, Soloist

Sunday Afternoon, June 26, 2016 at 2:00 p.m.Stern Auditorium/Perelman Stage, Carnegie HallSongs of Inspiration and HopeStuyvesant High School Chorus (NY)Holly Hall, DirectorSpivey Hall Children’s Chorus (GA)Martha Shaw, DirectorMusic for Treble VoicesLori Loftus, DCINY Debut ConductorFeaturing Distinguished Concerts Singers International

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 on the winds of song - dcinyhome: dciny · pdf filedavid maslanka songbook for flute...

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