triptych: a world without end - dciny · bÉla bartÓk román népi táncok (romanian folk dances)...

Sunday Afternoon, November 15, 2015, at 2:00Isaac 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

Triptych: A World Without End

ALICIA W. WALKER, DCINY Debut ConductorDISTINGUISHED CONCERTS SINGERS INTERNATIONAL

FULLERTON CHAMBER ORCHESTRA

W.A. MOZART Missa Brevis in F, K.192I. KyrieII. GloriaIII. CredoIV. SanctusV. BenedictusVI. Agnus DeiTINA STALLARD, SopranoJANET HOPKINS, Mezzo-sopranoWALTER CUTTINO, TenorJACOB WILL, Bass

DANIEL ELDER World Without End (World Premiere for Chamber Orchestra)

Intermission

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11-15 DCINY.qxp_CH Rental 10/30/15 3:50 PM

KIMO FURUMOTO, Director FULLERTON CHAMBER ORCHESTRA

JOSEPH HAYDN Armida Overture

IGOR STRAVINSKY Eight Instrumental Miniatures I. Andantino II. Vivace III. Lento IV. Allegretto V. Moderato: alla breve VI. Tempo di Marcia VII. Larghetto VIII. Tempo di tango

BÉLA BARTÓK Román népi táncok (Romanian Folk Dances)

Brief Pause

ROBERT ISTAD, DCINY Debut ConductorTARIK O’REGAN, DCINY Composer-in-Residence

DISTINGUISHED CONCERTS SINGERS INTERNATIONALFULLERTON CHAMBER ORCHESTRA

TARIK O’REGAN The Ecstasies Above LAUREN GRAHAM, Soprano KATHERINE MARTINI, Soprano KALEIGH BANCROFT, Mezzo-soprano BRADLEY SHARPE, Countertenor SAMUEL SALVADOR, Tenor ALAN GARCIA, Tenor MATTHEW KELLAWAY, Baritone JACKSON MCDONALD, Bass

ERNEST SALEM, Violin I AARON TAM, Violin II CHU YOUNG KIM, Viola CHANG YUE, Cello

Brief Pause

TARIK O’REGAN Triptych I. Threnody II. As We Remember Them III. From Heaven Distilled a Clemency

KATHRYN LILLICH, Soprano


Notes ON THE PROGRAM

Written in 1774, Mozart’s MissaBrevis, K.192 is occasionally referredto as the “Small Credo Mass.” The 18-year-old composer brought formalunity to the otherwise through-com-posed structure of the Credo text, via arecurring four-note motive using thetext “Credo, credo.” These interpola-tions into the traditional text create adistinctive feature of this most grand ofMozart’s Missa Brevis.

The Missa Brevis in F is one of nineteenmasses written by Mozart; about halfof these are of “brevis” type, meaningthat they are typically brief and areorchestrated on a smaller, more inti-mate scale. Mozart’s original score

called for strings and organ; it wascommon practice in these earlier daysof the Classical era for trombones (arather different instrument than themodern version) to double the voiceparts. At some point after the originalscore was written, Mozart added twotrumpets as well. The vocal writing isalso in keeping with the time; a soloquartet highlights brief virtuosicmoments within the larger choral tex-ture, in addition to the Benedictus,which is sung by the quartet alone. Forthe choir, the writing is delightfully var-ied between chordal textures, freecounterpoint, and imitative polyphony.

—Alicia W. Walker

W.A. MOZART (1756–1791) Missa Brevis in F, K.192

The Te Deum is a text that has been setby composers throughout history with afrequency comparable to that of theRequiem, the Magnificat, and the“Grand Mass” of the Ordinary. Thismodern setting takes as inspiration theearliest roots of the Te Deum—the chantitself. Though chant has been quotedoften in historical settings, here it is keptas a primary and inescapable base uponwhich all the orchestral motives are builtand developed. The repetitive andstrophic nature of this chant allows for anearly obsessive motivic development inthe instruments as the work unfolds, andas the work was originally set for a largeorchestration of triple winds, a maxi-mum array of color may be introducedwith each new idea. The voices, by con-trast, take the more recent English trans-lation of the Te Deum text that originat-

ed in the 1549 Book of Common Prayerand lives to this day in reformed church-es around the world. Because this texttook a new lingual turn on the Latinsource, the music in this setting followsthe idea in how the voices interact withthe orchestra. The chorus sings in a morefreely composed, modern style that con-trasts with the orchestra’s sometimesmedieval nature. In this way the new isset against the old in a light that showsthe virtues of each, and spans the thou-sand-year-old history of this storied text.Furthermore, the voices and orchestraslowly begin to interact with one anoth-er’s motivic statements as the work pro-gresses, culminating in a last fugal seg-ment unabashedly set (albeit polyrhyth-mically) to the final chant motif “OLord, in thee have I trusted: let me neverbe confounded.”

DANIEL ELDER (b. 1986) World Without End (WorldPremiere for Chamber Orchestra)


JOSEPH HAYDN (1732–1809) Armida Overture

In 1921 Stravinsky composed a set ofpiano pieces he wrote for children toplay—The Five Fingers, or “eight veryeasy tunes on fives notes,” as Stravinskyput it. He made sure that “the five fin-gers of the right hand, once on the keys,remain in the same position sometimeseven for the whole length of the piece,while the left hand, which is accompa-nying the melody, executes a harmonic

or contrapuntal pattern of the utmostsimplicity.” In 1962, Stravinsky orches-trated the entire set of pieces for a groupof 15 players. Stravinsky not onlyreordered the eight pieces, but herecomposed stretches of the music aswell—“rhythmic rewriting, phraseregrouping, canonic elaboration, newmodulation,” as he summarized it.

—Kimo Furumoto

IGOR STRAVINSKY (1882–1971) Eight InstrumentalMiniatures

Haydn’s opera Armida premiered in1784. The plot of the opera is based onTorquato Tasso’s popular 1581 epicpoem of the First Crusade. The plotfeatures the sorceress Armida and her enthralled lover, the crusaderknight, Rinaldo. Armida casts a magicspell over the crusaders, turning someinto animals and luring Rinaldo to

her enchanted garden, from which heis eventually rescued. The overturebegins with martial music suggestingRinaldo and the crusaders. A gentlersection in triple time is followed bystormy music, and the overture endswith another reference to the martialfanfare of the beginning.

—Kimo Furumoto

The Román népi táncok (RomanianDances) were originally composed as asuite of dances for solo piano in 1915.Bartók subsequently orchestrated themfor small orchestra in 1917. Bartók wasone of the pioneers of the field of eth-nomusicology who collected fieldrecordings of folk music performed by

people who lived in small villagesacross Hungary and Romania. Thestudy of this body of folk music provid-ed Bartók with the source of inspira-tion which he then translated into highart music in this exquisite work.

—Kimo Furumoto

BÉLA BARTÓK (1881–1945) Román népi táncok (RomanianDances)

This version for brass, organ, and per-cussion was commissioned by Dr.Alicia Walker for her choirs at TheUniversity of South Carolina in order

to better tailor the work to churchvenue performance.

—Daniel Elder


Triptych was originally commissionedfor two separate choirs, a year apartfrom each other. Movement I, called“Threnody” at the time, was commis-sioned for the inaugural concert of theChoir of London in 2004. O’Reganwrites that “Threnody” was “the firstcomposition that evolved entirely frommy New York perspective.” Move -ments II and III, commissioned byPortsmouth Grammar School, wereoriginally titled “And There Was aGreat Calm” for lower strings and tre-ble voices and premiered in 2005. Thetitle of second commission derives fromThomas Hardy’s poem of the samename, and is quoted in the oprano solowithin Movement III. Hardy’s poemwas written in 1918, and was inspiredby the signing of the Armistice, whichended World War I. All three move-ments did not come together asTriptych until 2005. Musically,Triptych is influenced by the music ofNorth Africa, probably Algeria andMorocco, where O’Regan spent a por-tion of his early childhood.

In its completed form, Triptych contem-plates the evolution of the ways humansperceive death. The first movement con-siders the unrestricted power of death,the second the ways humans memorial-ize their dearly departed, and the thirdpositively characterizes our own even-tual ascent to heavenly enlightenment.O’Regan joins the ranks of Brahms andBritten by choosing a series of textsfrom a variety of cultures and faiths todepict his personal beliefs. His selectionof poetry from each important religionand philosophy highlights universal and

timeless ideals that branches dogmaticdifferences, and highlights the innateunity at the center of different faithsand philosophies.

“Threnody” (Mvt. I), defined as “asong of mourning”, begins with a dra-matic declaration about the egalitariannature of death by the choir, unaccom-panied. O’Regan sets this text in col-lage-style. The chorus declaims the textin cascading, dovetailing lines that con-join with one another until the fullrhetorical statement has been heard.Following this remarkable introduc-tion, O’Regan uses driving rhythms inthe strings to propel the music forward.“As We Remember Them” (Mvt. II) isa gorgeous soundscape that inspiresquiet introspection. The movementspeaks of seeing the reflection ofdeparted loved ones in the beauty andstrength of nature. The final poignantlines of Gittelsohn’s poem remind thelistener that those who die remain alivein our thoughts and memories. Thejuxtaposition of solo soprano and cho-rus mimics the call and response struc-ture of a sacred service, while theunderlying string writing is etherealand transparent. “From HeavenDistilled a Clemency” (Mvt. III), quick-ly returns to a faster, rock-and-rolltempo with ascending melodies in thechoir coupled with syncopated kick-drum figures in the low strings. Theorchestra and choir exuberantly pro-claim the closing text by Islamic mysticRumi with confidence “Why thenshould I be afraid? I shall die onceagain as an angel blest.”

—Tarik O’Regan & Robert Istad

TARIK O’REGAN (b. 1978) Triptych


TARIK O’REGAN The Ecstasies Above

Edgar Allan Poe was not singularlyprone to composing dark and macabretales, but was equally versed in craftingtales of lighter fare. His spiritual poetryis equally as captivating as his other,more gothic, tales. His poem, Israfel, isone such example of this material. Thesubject matter grew from his fascinationwith middle-eastern traditions and hisstudy of the Qu’ran. Poe became mes-merized with the Qu’ran’s sweeping lyri-cal verse and celestial themes, and craft-ed poetry that expounded upon its morevibrant tales. His poem Israfel is aneight-stanza ode to the angel Israfel, amystical being mentioned briefly in theQu’ran. According to the Qu’ran, Israfelis a giant being with four wings who isso tall that his stance reaches from earthto the pillars of heaven. Israfel is a mas-ter musician, and his breath continuous-ly proclaims god’s praises in a thousandlanguages. Poe added his own flair tothis story, imagining that Israfel’simmortal heart is itself a stringed musi-cal instrument. He envisioned Israfelafloat in eternity’s glory, all the whilesinging along with his very own heart.Israfel’s singing is so painfully sublime,that it makes the moon blush, the starsbow in servitude, and all creation trem-ble with its resonance.

Tarik O’ Regan majestically set Poe’spoetry for two solo vocal quartets,

mixed chorus, and string quartet.O’Regan’s music invokes the splendorof the heavens with antiphonal openintervals and sonorous cluster chords,while simultaneously employing driv-ing rhythmic patterns in the strings topropel the work forward. The two solovocal quartets represent the songs ofthe angel, the string quartet character-izes Israfel’s heart constructed of lutestrings and the choir embodies the songof the stars. Brilliantly, O’Reganweaves a celestial landscape of soundsthat combine middle-eastern modes,rhythmic complexity, and polyphoniccross relations in one powerful, harmo-nious collage of sound. O’Regan bor-rows from classical and popular formsto create a musical narrative thatexpertly captures the spirit of Poe’sverse and translates the imagery to adefinitively modern aesthetic.

The Ecstasies Above was commissionedby the Robert Baker Com missioningFund for Sacred Music by the YaleInstitute of Sacred Music. It was pre-miered by Simon Carrington and theYale Schola Cantorum in March of2007. Shortly after its premiere, it wasperformed at the National Conventionof the Association of Choral Directorsof America in Miami, Florida.

—Tarik O’Regan & Robert Istad

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

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Texts and TranslationsMissa Brevis in F, K.192W.A. Mozart

I. KyrieKyrie eleisonChriste eleison

II. GloriaGloria in excelsis Deo.Et in terra pax hominibus bonae voluntatis.

Laudamus te. Benedicimus te.Adoramus te. Glorificamus te.Gratias agimus tibi propter magnamgloriam tuam.

Domine Deus, Rex caelestis, DeusPater omnipotens.

Domine Fili unigenite, Iesu Christe.Domine Deus, Agnus Dei, Filius Patris.

Qui tollis peccata mundi, miserere nobis.

Qui tollis peccata mundi, suscipedeprecationem nostram.

Qui sedes ad dexteram Patris, misererenobis.

Quoniam tu solus Sanctus. Tu solusDominus.

Tu solus Altissimus, Iesu Christe.

Cum Sancto Spiritu, in gloria DeiPatris.

Amen.

Lord have mercy,Christ have mercy

Glory to God in the highest.And on earth peace to all those ofgood will.

We praise thee. We bless thee. We worship thee, We glorify thee.We give thanks to thee according tothy great glory.

Lord God, Heavenly King, God theFather almighty.

Lord Jesus Christ, the only begotten Son.Lord God, Lamb of God, Son of theFather.

Thou who takest away the sins of theworld, have mercy on us.

Thou who takest away the sins of theworld, receive our prayer.

Thou who sittest at the right hand ofthe Father, have mercy on us.

For Thou alone art holy. Thou aloneart the Lord.

Thou alone art the most high, JesusChrist.

With the Holy Spirit in the glory ofGod the Father.

Amen.

(Please turn the page quietly.)


III. CredoCredo in unum Deum.Patrem omnipotentem, factorem caeli et terrae,visibilium omnium et invisibilium. Et in unum Dominum Jesum Christum, Filium Dei unigenitum, Et ex Patre natum ante omnia saecula. Deum de Deo, lumen de lumine, Deum verum de Deo vero. Genitum, non factum, consubstantialem Patri: per quem omnia facta sunt. Qui propter nos homines et propter nostram salutem descendit de caelis.

Et incarnatus est de Spiritu Sancto ex Maria Virgine: Et homo factus est.

Crucifixus etiam pro nobis sub PontioPilato:

passus, et sepultus est.

Et resurrexit tertia die,secundum scripturas. Et ascendit in caelum: sedet ad dexteram Patris. Et iterum venturus est cum gloria judicare vivos et mortuos: Cujus regni non erit finis.

Et in Spiritum sanctum Dominum, et vivificantem: Qui ex Patre, Filioque procedit. Qui cum Patre, et Filio simul adoratur, et conglorificatur: Qui locutus est per Prophetas.

Et unam, sanctam, catholicam et apostolicam Ecclesiam.

Confiteor unum baptisma in remissionem peccatorum. Et expecto resurrectionem mortuorum Et vitam venturi saeculi. Amen.

I believe in one God,the Father Almighty,maker of heaven and earth,and of all things visible and invisible. And I believe in one Lord, Jesus Christ,the only begotten Son of God,born of the Father before all ages.God from God, Light from Light,True God from True God.Begotten, not made,of one substance with the Fatherby whom all things were made.Who for us and for our salvationcame down from heaven.

And was incarnate by the Holy Spiritof the Virgin Mary.And was made man.

Crucified also for us under PontiusPilate,

He suffered, and was buried.

And on the third day he rose again,according to the Scriptures.He ascended into heaven andhe sits at the right hand of the Father.He shall come again with gloryto judge the living and the dead;and of his kingdom there will be no end.

And I believe in the Holy Spirit,the Lord and Giver of life,who proceeds from the Father and the Sonwho together with the Father and the Sonis adored and glorifiedwho spoke to us through the Prophets.

And I believe in one, holy, catholic andApostolic Church,

I confess one baptismfor the remission of sins.I await the resurrection of the dead,and life to come of age.Amen.


IV. SanctusSanctus, Sanctus, Sanctus,Dominus Deus Sabaoth.Pleni sunt coeli et terra gloria tua.Osanna in excelsis.

V. BenedictusBenedictus qui venitin nomine Domini.Hosanna in excelsis.

VI. Agnus DeiAgnus Dei, qui tollis peccata mundi,

miserere nobis,dona nobis pacem.

Holy, Holy, Holy,Lord God of Hosts.Heaven and earth are full of thy glory.Hosanna in the highest.

Blessed is he who comesin the name of the Lord.Hosanna in the highest.

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

World Without End (World Premiere for Chamber Orchestra)DANIEL ELDER

We praise Thee, O God: we acknowledge Thee to be the Lord.All the earth doth worship Thee: the Father everlasting.To Thee all Angels cry aloud: the Heavens, and all the Powers therein.To Thee Cherubim and Seraphim continually do cry, Holy, Holy, Holy, Lord God of Hosts;Heaven and earth are full of the Majesty of Thy glory. The glorious company of the Apostles praise Thee. The goodly fellowship of the Prophets praise Thee. The noble army of Martyrs praise Thee.The holy Church throughout all the world doth acknowledge Thee;The Father of an infinite Majesty; Thine honourable, true and only Son; Also the Holy Ghost, the Comforter.

Thou art the King of Glory, O Christ.Thou art the everlasting Son of the Father. When Thou tookest upon Thee to deliver man: Thou didst not abhor the Virgin’s womb.

When thou hadst overcome the sharpness of death:Thou didst open the Kingdom of Heaven to all believers. Thou sittest at the right hand of God in the glory of the Father. We believe that Thou shalt come to be our Judge.We therefore pray Thee, help Thy servants: whom thou hast redeemed with thy precious blood.

Make them to be numbered with Thy Saints in glory everlasting. O Lord, save Thy people, and bless Thine heritage.Govern them and lift them up forever.



Day by day we magnify Thee;And we worship Thy Name ever world without end.Vouchsafe, O Lord, to keep us this day without sin.O Lord, have mercy upon us.O Lord, let Thy mercy lighten upon us: as our trust is in thee.O Lord, in thee have I trusted: let me never be confounded.

The Ecstasies AboveMusic by Tarik O’ReganText by Edgar Allan Poe from Israfel

In Heaven a spirit doth dwell“Whose heart-strings are a lute;”None sing so wildly wellAs the angel Israfel,And the giddy stars (so legends tell),Ceasing their hymns, attend the spellOf his voice, all mute.

Tottering aboveIn her highest noon,The enamoured moonBlushes with love,While, to listen, the red levin(With the rapid Pleiades, even,Which were seven,)Pauses in Heaven.

And they say (the starry choirAnd the other listening things)That Israfeli’s fireIs owing to that lyreBy which he sits and sings-The trembling living wireOf those unusual strings.

But the skies that angel trod,Where deep thoughts are a duty-Where Love’s a grown-up God-Where the Houri glances areImbued with all the beautyWhich we worship in a star.

The ecstasies aboveWith thy burning measures suit–Thy grief, thy joy, thy hate, thy love,With the fervour of thy lute–Well may the stars be mute!Yes, Heaven is thine; but this


Is a word of sweets and sours;Our flowers are merely – flowers,And the shadow of thy perfect blissIs the sunshine of ours.

If I could dwellWhere IsrafelHath dwelt, and he where I,He might not sing so wildly wellA mortal melody,While a bolder note than this might swellFrom my lyre within the sky.

TriptychMusic by Tarik O’Regan

I. ThrenodyWhen death takes off the mask, [we] will know one another, Though diverse liveries [we] wear here make [us] strangers.

Text by William Penn (1644–1718), from Some Fruits of Solitude In Reflections And Maxims (1682)

Tremblest thou when my face appears To thee? Wherefore thy dreadful fears? Be easy, friend; ‘tis thy truest gain To be far away from the sons of men. I offer a couch to give thee ease: Shall dreamless slumber so much displease?

Text by Muhammad Rajab Al-Bayoumi (dates unknown), from Death Speaks,translated by Arthur J. Arberry (1950)

To see a World in a Grain of Sand, And a Heaven in a Wild Flower, Hold Infinity in the palm of your hand, And Eternity in an hour.

Text by William Blake (1757–1827), from Auguries of Innocence (1808)

Behold, how good and how pleasant it is for [people] to dwell together in unity.

Text from Psalm 133, from the Bible (King James Version, 1611)



II. As We Remember ThemIn the rising of the sun and at its going down, we remember them. In the blowing of the wind and in the chill of winter, we remember them. In the opening buds and in the rebirth of spring, we remember them. In the blueness of the sky and in the warmth of summer, we remember them. In the rustling of the leaves and in the beauty of autumn, we remember them. When [we’re] weary and in need of strength, we remember them. When [we’re] lost and sick at heart, we remember them. So long as we live, they too shall live, for they are part of us, As we remember them.

Text by Roland B. Gittelsohn (1910–1995), adapted from The Gates of Repentance

And the Heav’nly Quire stood mute, And silence was in Heav’n.

Text by John Milton (1608–1684), from Paradise Lost, Book III (1667)

III. From Heaven Distilled A ClemencyEach shall arise in the place where their life [spirit] departs.

“Bundahis- Bahman yast”; Indian Bundahishn (ninth century), adapted fromSacred Book of the East, Volume 5, translated by Edward W. West (1860)

[So] Why then should I be afraid? I shall die once again to rise an angel blest.

“Masnavi i ma’navi”; Mathwani of Jalalu’d’Din Rumi (13th century), adaptedfrom Masnavi i Ma’navi, Book III, translated by Edward H. Whinfield (1898)

Our birth is but a sleep and a forgetting; The Soul that rises with us, our life’sStar, Hath had elsewhere its setting. And cometh from afar.

Text by William Wordsworth (1770–1850), from Ode: Intimations ofImmortality (1807)

Calm fell. From heaven distilled a clemency; There was peace on earth, andsilence in the sky.

Text by Thomas Hardy (1840–1928), from And There Was a Great Calmon the signing of the Armistice (1918)


THE ArtistsDr. Alicia W. Walker is associate directorof Choral Studies at the University ofSouth Carolina, where she directs theUniversity Chorus, the USC Men’sChorus, teaches undergraduate conduct-ing and choral methods, and supervisesstudent teachers. At the graduate level,she teaches courses in sacred music, con-ducting, and music education. She holdsdegrees from Florida State University(B.M.E.), the Southern Baptist Theo -logical Seminary (M.C.M.), and theUniversity of Georgia (D.M.A.). Anexperienced music educator, Dr. Walkertaught at the elementary, middle, andhigh school levels in Florida and Georgiaprior to joining the music education fac-ulty at the University of Georgia. Shewas a 2013 Teaching Fellow in USC’sCenter for Teaching Excellence in thearea of Service Learning. Recently, Dr.Walker has taught and conducted in St.Lucia and South Africa. In addition toher teaching responsibilities, Dr. Walkeris a leader in professional music organi-zations. Currently, she is president-elect

of Southern Division ACDA (AmericanChoral Directors Association), havingpreviously served as president ofGeorgia ACDA, and on several ACDAconference committees. Polyphony, anorganization for pastoral musicians,chose Dr. Walker as their first nationalleadership team coordinator, a positionshe held through 2011. Other profes-sional memberships include NAfME,SCMEA, and NCCO.

ALICIA W. WALKER, DCINY Debut Conductor

Praised for her “gorgeous and colorfulsoprano” (American Record Guide),Tina Milhorn Stallard has performedsolos in works such as Brahms’ EinDeutsches Requiem, Haydn’s TheCreation, Bach’s St. John Passion,Poulenc’s Gloria and Handel’s Messiah.In 2011 she made her Lincoln Centerdebut as soprano soloist in TimothyPowell’s Incarnation Mysteria, presentedby DCINY. As part of the cultural prel-ude to the 2008 Summer Olympics, Ms.Stallard performed the soprano solos inVivaldi’s Gloria with the ShanghaiPhilharmonic Orchestra and members of

TINA STALLARD, Soprano


Janet E. Hopkins, mezzo-soprano, wasa principal soloist at the Metropolitanopera for 15 seasons. Her performances

include the mezzo soloist for the VerdiRequiem at the Kennedy Center, Tulsa,and Minneapolis (2010/2011); theBerkshires and South Carolina (2012);and had national and international per-formances in 2013–14 including Spain,Boston, Charleston, New York, and St.Louis. Her upcoming performancesinclude Tulsa, California, New York,and Italy. Ms. Hopkins’ recordingsinclude The Ghosts of Versailles andElektra DVDs along with a large collec-tion of Texaco Broadcast: Live from theMet recordings. Ms. Hopkins joined theUniversity of South Carolina School ofMusic in 2008 and is associate professorof voice in the School of Music.

JANET HOPKINS, Mezzo-soprano

the Beijing National Ballet Orchestra.She has also performed with the ZagrebChamber Orchestra, Plovdiv Phil har -monic Orchestra, Cincinnati ChamberOrchestra, Lexington Phil harmonicOrchestra, Johnson City Symphony,Louisville Orchestra, South CarolinaPhilharmonic Orchestra, Bowling GreenWestern Symphony and the Universityof Arkansas Orchestra.

Ms. Stallard is featured in the record-ings of Robert Bradshaw’s chamberoperas: Gabriel and Plastic: The Deathof Beauty (Beauport Classical). Otheropera credits include roles in Cosí fan

tutte, Die Fledermaus, Little Women,Hansel and Gretel, The Crucible, andthe Italian premiere of Casanova’sHomecoming. She has sung with OperaOmaha, Central City Opera, OperaTheatre of Lucca (Italy), CincinnatiOpera, Kentucky Opera, and ThePalmetto Opera. As a concert artist,Ms. Stallard has performed in Austria,Italy, Bulgaria, Croatia, Brazil, PuertoRico, Hawaii, New York, Indiana,Texas, and throughout the Southeast.She joined the faculty of the Universityof South Carolina in 2004, where she iscurrently an associate professor of voiceand director of Carolina Music Studios.


Upon completing his education, Mr.Cuttino performed throughout Europewith over 1,000 operatic performancesto his credit. Ferrando (Così fan tutte),Almaviva (Barber of Seville), Tamino(The Magic Flute), Lenski (EugeneOnegin), Alfredo (La traviata) andRodolfo (La bohème) are a sampling ofthe more than 40 roles in his repertoire.He has also performed over 500 con-certs, including a concert tour with thelate Leonard Bernstein, to London andMoscow. Since the fall of 1996, Mr.Cuttino has been a member of the voicefaculty, which he now chairs, at theUniversity of South Carolina where heperforms regularly, and in addition,continues to perform on American andEuropean stages. He is also artistic

director of the Palmetto Opera, con-ductor of the Palmetto Mastersingers,and director of Music at Lake MurrayPresbyterian Church.

WALTER CUTTINO, Tenor

Bass Jacob Will, made his New YorkPhilharmonic debut as soloist in theAmerican premiere of the Messa perRossini. An experienced concert artist,Mr. Will has been featured with orches-tras throughout the United States,Europe, and Asia. He has appeared withthe Sinfonica de Madrid under the batonof Frühbeck de Burgos, the Berlin RadioSymphony with Maestro VladamirAshkenazy, and the Cabrillo Festivalwith Maestro Dennis Russell Davies.Other engagements of note includeappearances with the San FranciscoSymphony, Vienna Symphonic, andTokyo Salzburg Festival. Equally athome on stage, Mr. Will has performedfrequently with the Zürich Opera, inter-preting roles such as Giorgio in IPuritani, Mustafa in L’italiana in Algeri,and Colline in La bohème. He has alsobeen seen as Oroveso in Norma withVancouver Opera, the title role in Le

nozze di Figaro with New York CityOpera, the First Nazarene in Salomewith Gran Teatre del Liceu, Masetto inDon Giovanni with San FranciscoOpera, and Samuel in Un ballo inmaschera with the Bavarian Staatsoper.Mr. Will is a member of the voice facultyat the University of South Carolina.

JACOB WILL, Bass


Kimo Furumoto, associate professor, isdirector of Orchestras at California StateUniversity, Fullerton. He is also musicdirector and conductor of the HuntingtonSymphony Orchestra (West Virginia)and Rio Hondo Symphony (Whittier,CA). His guest conducting appearanceshave taken him throughout the UnitedStates and Europe with many stellarorchestras. Previous positions includemusic director of the Concert Orchestraat the University of Cincinnati, CollegeConservatory of Music, conductingassistant with the Cincinnati SymphonyOrchestra, and assistant conductor ofthe Cincinnati Chamber Orchestra. He

has worked with noted conductors suchas Leonard Bernstein and Robert Shaw.Mr. Furumoto holds degrees in con-ducting from Chapman University andthe University of Cincinnati, CollegeConservatory of Music.

The University Symphony Orchestra,directed by Mr. Furumoto, is dedicatedto the training of outstanding instrumen-talists in the performance of a widerange of styles in the orchestral reper-toire. They have performed with interna-tional artists from Richard Stoltzman toDeborah Voigt, and in addition to theregular concert series, the orchestra col-laborates with university choruses,Opera Theatre, CSUF faculty-artists,internationally renowned guest artists andlocal performing arts groups. Studentsare regularly presented with numerousopportunities to study orchestral repertoire in master class settings withfaculty artists, regional professionalorchestra musicians from the LosAngeles Philharmonic and the PacificSymphony Orchestra as well as interna-tionally acclaimed performers and teach-ers including Yo-Yo Ma, Fredell Lack,the Turtle Island String Quartet, TalichQuartet, and many others.

KIMO FURUMOTO, Director

The DCO Education Outreach is a pro-gram that incorporates members of theorchestra utilizing their superb playingskills along with educational elementsof their participation. Members of theDCO have been closely involved withthe DCINY Conductor MentoringWork shops held each January in con-junction with the Martin Luther King,Jr. concert weekend. For the work-shops, members are engaged to providestring quartet and chamber orchestra

ensembles that give the mentoring par-ticipants the opportunity to conductand receive direct verbal feedback fromprofessional musicians. Past mentoringparticipants have commented that these open sessions provide invaluableinformation and learning experiencesfor young professional conductors. In today’s concert, the DCO takesanother step towards education by pro-viding the principal string players forthe orchestra. This allows the very

DISTINGUISHED CONCERTS ORCHESTRA EDUCATIONAL OUTREACH


Robert Istad is professor of music anddirector of choral studies at CaliforniaState University, Fullerton. He and hissingers were featured at the 2013ACDA National Conference, the 2012ACDA Western Division Conference,and the 2013 NCCO NationalConference in Charleston, SC. Dr. Istadand the University Singers have per-formed throughout the world, includ-ing the 2012 Ottobeuren and EingenFestivals in Germany; a performancefor UNESCO in Pisa, Italy; and in theLiszt Academy of Music in Budapest,Hungary. Dr. Istad is the associate artis-tic director of the Pacific Chorale, andhas been named artistic director desig-nate for the 2017–18 Concert Season.In this capacity, he has prepared profes-sional choruses for Gustavo Dudameland the Los Angeles Philharmonic,Carl St.Clair and the Pacific SymphonyOrchestra, Esa–Pekka Salonen and theLos Angeles Philharmonic, NicholasMcGegan and the PhilharmoniaBaroque Orchestra and Keith Lockhartand the Boston Pops EsplanadeOrchestra, as well as conductors VasillySinaisky, Sir Andrew Davis, BramwellTovey, Thomas Wilkins, John Williams,Richard Kaufman, Eric Whitacre,William Lacey, Giancarlo Guerrero,Marin Alsop, George Fenton, CaseScaglione, Robert Moody, and DavidLockington. Dr. Istad is also the artisticdirector of the Long Beach Camerata

Singers and Long Beach Bach Festival.Under his leadership, the ensemble hasperformed with the Long BeachSymphony Orchestra, Pacific Sym -phony Orchestra, Musica Angelica,and Long Beach Opera. His innovativeprogramming and dedication to musi-cal excellence has propelled the LongBeach Camerata Singers reputation “asarriving in the forefront of Long Beachperforming ensembles” (Jim Ruggi -rello, Long Beach Grunion Gazette,1/2/13). Dr. Istad completed his musi-cal studies at Augustana College,California State University, Fuller-ton and the University of SouthernCalifornia. Dr. Istad is president-elect of California ACDA’s board ofdirectors, and is in demand as an adju-dicator, guest conductor, speaker, andclinician throughout the nation.

ROBERT ISTAD, DCINY Debut Conductor

talented student players of theFullerton Chamber Orchestra to learnfrom and play alongside highly skilled

professional mentors, enriching theNew York performance experience forall participating.


DISTINGUISHED CONCERTS SINGERS INTERNATIONALBlythewood High School Choral Program (SC), Kristin M. Claiborne, DirectorBrookland-Cayce Honors Choir (SC), Wendi Humphries, DirectorCalifornia State University, Fullerton University Singers (CA), Robert Istad, DirectorIstad Alumni Singers (USA), Robert Istad, DirectorLakeland Chorale (NJ), James Weber, DirectorLong Beach Camerata Singers (CA), Robert Istad, DirectorNew York Chamber Choir (NY), Alistair Hamilton, DirectorRidge View High School Advanced Chorus (SC), Erin E. Phillips, DirectorSpringfield Mid-America Singers (MO), Tom Matrone, DirectorUnion United Methodist Church Chancel Choir (SC), Alicia W. Walker, DirectorUniversity of South Carolina University Chorus (SC), Alicia W. Walker, Director

PERFORMING ARTS PARTNERS

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

Tarik O’Regan has composed music fora wide variety of ensembles and organ-izations; these include the BBCSymphony Orchestra, Royal Philhar -monic Orchestra, Australian ChamberOrchestra, BBC National Orchestra ofWales, Estonian Philharmonic Cham -ber Choir, Sydney Dance Company,Chamber Choir Ireland, and the

BBC Proms at the Royal Albert Hall,London.

Among Mr. O’Regan’s projects for2015–16 are Mata Hari, a full-lengthballet commissioned by the DutchNational Ballet; A Celestial Map of theSky, a large-scale composition for theHallé Orchestra, who will record thework as part of a new album of hisorchestral music; and the NorthAmerican premiere of his first opera,Heart of Darkness, which opened at theRoyal Opera House–Covent Garden in 2011.

Born in London in 1978, Mr. O’Regandivides his time between New YorkCity and London. His work, recognizedwith two Grammy nominations andtwo British Composer Awards, hasbeen recorded on over 30 albums and ispublished exclusively by Novello(Music Sales Classical).

TARIK O’REGAN, DCINY Composer-in-Residence


Lauren Adaska Skyler Addy Micah Aebischer Leonard Agrusti Erykah Alford Daniel Alvarez Elizabeth Amels Marley Ash Patrick Ashley Ashlynn Augustus Andrew Ball Madison Ballengee Kaleigh Bancroft Eva Bennett Morgan Benson Marilyn Bergin April Blackmon Hannah Blackwell Ariel Branham Matthew Braun Sarah Bridges De’John Brown Jr.Madelyn Brown Shane Brown Catherine Budzilovich Peter Budzilovich Alannah Bulaga David Bunker Gabriella Buono David Butler Cassie Carlsen Haley Carlsen Sandi Castillo Christofer Castro Michaela Catoe Vincent Cervino Ashlyn Chapiesky Helena Chaves Jessica Cioletti Amalia Cisneros Kristin Claiborne Sarah Clive David Cochrane Craig Coelho Dazah Cokley David Collins Sarah Connell Cathy Coonis Bron Cornett Emily CroweAddy Cullum Caleb Cunningham Kimberly Curlee Jenna Davenport Haven Davis Hayes Davis Areli De La Torre Travor Decker Illia Dia

Susan Dietz Jonny Dolan Justin DuRant Jenna Eaves Lyndsey Ebener K’nique Eichelberger Gail Elfert Carlee Epting Megan Falcone Taylor Farmer Ryan Faustini David Fetterman Jason Fox MaryAnn Friedl Daniel Friedman Evelyn Frierson Morgan Frierson Margaret Gaither Alan Garcia Dana Garnto James Gatch Lindsey Gauharou Peggy Gawley Derek Gay Emily Gayle Katherine Goodwin Paige Gould Ely Graham Lauren Graham Caroline Gregory Colleen Guseman John Haddon Mallory Hagen Erin HalpinOlivia HalvorsonAlistair Hamilton Alexa Hampel Persia Hampton Madison Hanna Maya Hannah Joshua Hanstein Khalia Harvey Melanie Harvey Bernard Hasan Drayton Heh Matthew Hester Sara Julia HicksMyra Hillburg Dylan Ho Anna S. HolleyMona Holliday Benisha Hopkins Myckenzie Horton Philip Hutton Brock Jackson Erika Jackson Jake Jackson Jessica Jacob Christina Jerome

Ryan John Cameron Johnson Cassidy Jones Christopher T. Jones Kara Jean JordanMichael Kearn Keely Keepper Rachel Keisler Matthew Kellaway Madison Kelly Juliet Kidwell Katherine Kimbrough James Kinzel Patrick Kohlieber Alex Koppel Cate Kreider Alexandra Kreutz Elizabeth Kulesha Raina Landolfi Daniel LaTorre Chelse Lawson Chien-Yi Li Kathryn Lillich Kevin Eric Long Sarah Lonsert Chris Louttit Jessica Ludden Patricia Lumb Ian Luna Asha Marathe Makayla Martin Stefanie Martin Katherine Martini Kaylee Matthews Weston Matthews Kalen Mattocks Steven McCann Carter McDaniel Jackson McDonald Helen McDowell Gabriel McFarlan Victor Mercado Amanda Miller Reva Miller Brittany Mills Marian Mine Marty Minnich Rosa Moctezuma Devin Moore Rayvon Moore Brooke Myers D’Ante’ Myers Kimberlyn Myers Leeah Nelson Matt Netto Giulia Nichols Arianna Norman William Norman Liz Olson

Kris Ornelas McKenzie Outz Alicia Paniagua Jason Pano Zachary Parisher Madison-Ann Pelfrey Brittany Pfeiffer Bonnie Pridonoff Tom Pridonoff Kristen Princiotta Sarah Ray Damarah ReidLogan Rice Bella Riddle Amyah Ritter Shayna Rives Jennifer Robinett Antone Rodich Adrianna Rogers Charles Roundy Reagan Rudd Erica Russelman Reina Salcedo Amanda Salmen Sammy Salvador Anthony Sampedro Emily Sandersfeld Jennifer Sandoval Krista Scharf Clayton Scheller Rebecca Scott Samantha Scott Owen Sease Nicholas Sembrat Bradley Sharpe Kristen Shealy Eli Shepherd Erin Shwab James Siarris Alex Sienko Benjamin Smith Alan SmitheeChristopher Spence Nicholas Stack Anna Steinhilper Jeannette Stepp Alyssa Stevens Jessalyn Stevens Alison Stickley William Stocker Riley Strayer Lauren Streeter Kiersten Suite Shelby Swearingen Colin Tallman Summer Tallman Kristen Tanner Rose Taylor Caryl Thomason

DISTINGUISHED CONCERTS SINGERS INTERNATIONAL


Anna Bess TisdaleFrieda Todd Reese Treadwell Tori Trent Barbara Tressel Sandra Y. TrujilloFrank Turner Brandon Vargas

Cassandra Venaglia Aaron R. WalkerLevi Walker Robert H. WalkerJoshua WangerJill Washabau Ashton Waters James Weber

Eleanor WeeksDanielle M. WellsDavid Wells Nora Whitley Colin Whittle Robert Wilkinson Avery Williams Jerryana Williams

Victoria Williams James Wilson Lauren Wilson Vanessa YearsleyEmma Young Jose Zamarripa Liene Zigure

Founded by Iris Derke and JonathanGriffith, DCINY is a leading producerof dynamically charged musical enter-tainment in renowned venues. With itsunforgettable, world-class concertexperiences, empowering educationalprograms, and global community of

artists and audiences, DCINY changeslives through the power of perform-ance. 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 General DirectorJonathan Griffith, Co-Founder, ArtisticDirector & Principal Conductor

Danuta Gross, Director of Finance &Administration

Kevin Taylor, Director of ProgramDevelopment

James Meaders, Associate Artistic Director& Conductor

Jason Mlynek, Program DevelopmentJim Joustra, Program DevelopmentAnthony Romeo, Program Development

Mark Riddles, Program DevelopmentMaria Braginsky, Program DevelopmentAssistant

Andrea Macy, Associate Director ofMarketing, 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

DCINY ADMINISTRATIVE STAFF

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

The Performing Arts Partners list includes names supplied by directors as of October 15, 2015. Anyquestions regarding missing or misspelled names should be addressed to the individual directors.

FluteYu Ting Liu*Alfredo Munoz

OboeMackenzie Jones*Martin Monson

ClarinetCarter Willmann*Joshua Phillips

BassoonBrandon Smart*Kristen Matthews

HornJeff Gumpertz*Sareen El-Ghossaini

Violin IErnest Salem**Matt FangChujian LiJonathan NaganoElba PalomoDana Zhou

Violin IIAaron Tam*Mi-Song LeeCalvin LinPebbles TsaiDei De-Urresti

ViolaChu Young Kim*Michael ChangTaichiroh KanauchiAlex Lee

CelloChang Yue*Emily BalderramaMikko PabloJeremy Russo

BassAdam Fimbres*Andrew DeStackelbergSera Wohldmann

*Denotes Principal**Denotes Concertmaster

FULLERTON CHAMBER ORCHESTRA


DCINY 2015–16 Concert SeriesPlease join us for one of our upcoming events:

Friday Evening, November 20, 2015, at 7:00 Weill Recital Hall at Carnegie HallDistinguished Concerts International Artist SeriesThe Music of Dinos Constantinides

Sunday Afternoon, November 29, 2015, at 2:00 Stern Auditorium/Perelman Stage, Carnegie HallMessiah…Refreshed! (5th Anniversary)Handel: MessiahThomas Beecham/Eugene Goossens’ 1959 Re-Orchestration for Full SymphonyOrchestraJonathan Griffith, DCINY Artistic Director and Principal ConductorFeaturing Distinguished Concerts Orchestra and Distinguished Concerts SingersInternational

Monday Evening, December 7, 2015, at 8:00 Weill Recital Hall at Carnegie HallDistinguished Concerts International Artist SeriesDeborah Popham, Soprano

Monday Evening, January 18, 2016, at 7:00 Stern Auditorium/Perelman Stage, Carnegie HallThe Music of Karl Jenkins: A Concert for PeaceJenkins: The Armed Man (with film)Jenkins: Songs of SanctuaryJenkins: Te DeumJonathan Griffith, DCINY Artistic Director and Principal ConductorKarl Jenkins, Composer-in-ResidenceFeaturing Distinguished Concerts Orchestra and Distinguished Concerts SingersInternational

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


triptych: a world without end - dciny · bÉla bartÓk román népi táncok (romanian folk dances)...

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