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Monday evening, January 17, 2011, at 7:00 Isaac Stern Auditorium/Ronald O. Perelman Stage

Distinguished Concerts International New York (DCINY) Iris Derke, Co-Founder and General Director Jonathan Griffith, Co-Founder and Artistic Director Presents Concert for Peace - Celebrating the Spirit of Martin Luther King, Jr. DISTINGUISHED CONCERTS ORCHESTRA INTERNATIONAL DISTINGUISHED CONCERTS SINGERS INTERNATIONAL JONATHAN GRIFFITH, DCINY Artistic Director and Principal Conductor , Composer-in-Residence

KARL JENKINS Gloria (U.S. Premiere) (34:00) CHARLOTTE DAW PAULSEN , Mezzo-soprano

I. The Proclamation: Gloria in Excelsis Deo .Reading from the Hindu Bhagavad Gita . (The Song of the Divine) .P. RAMASWAMY MOHAN, Reader

II. The Prayer: Laudamus Te .Reading from the Buddhist Diamond Sutra .LAWRENCE GRECCO, Reader

III. The Psalm: Tehellim - Psalm 150 .Reading from the Taoist Tao Te Ching . (The Classic of the Way and Virtu e) .ZHENDAI YANG, Reader

IV. The Song: I’ll Make .Reading from the Qur’an: “Al Fatiha” (The Opening) .IMAM SHAMSI ALI , Reader

V. The Exaltation: Domine Deus

Intermission

Please hold your applause until after the final movement.

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. 01-17 DCINY:Carnegie Hall Rental 1/7/11 11:07 AM Page 2

KARL JENKINS Stabat Mater (62:00) BELINDA SYKES, ‘Ethnic’ Vocals and Mey CHARLOTTE DAW PAULSEN , Mezzo-soprano

1. Cantus lacrimosus 2. Incantation (Arabic) 3. Vidit Jesum in tormentis 4. Lament (Carol Barratt) 5. Sancta Mater 6. Now my life is only weeping 6. (Rumi, sung in English and Aramaic) 7. And the Mother did weep (Karl Jenkins) 8. Virgo virginum 9. Are you lost out in darkness? 9. (anon, sung in English & Aramaic) 10. Ave Verum 11. Fac, ut portem Christi mortem 12. Paradisi gloria

Please hold your applause until after the final movement.

Notes ON THE PROGRAM

THE MUSIC TRADITION OF Karl Jenkins has inherited a long and Among the many influences on Karl rich musical heritage from his native Jenkins’ work are the male voice choir Wales, often referred to as the “Land and brass band traditions, both of of Song.” which developed in the industrial parts of Wales in the 19th and early 20th The Welsh national instrument is the centuries. Both musical traditions trav - , and the is uniquely elled with the Welsh as they emigrated Welsh, an example of which can be to find work overseas—particularly in seen in the Metropolitan Museum of America. The Anthracite Male Chorus Art in New York. is an of Scranton, for example, travelled to ancient tradition in which poetry is sung Wales in 1928 and won the coveted to one tune against the accompaniment prize for best choir at the Welsh of a harp to a different tune. The young National presided over on Welsh harpist Catrin Finch is acknowl - that day by David Lloyd George. The edged as one of the world’s finest Cory Band from South Wales, directed harpists and she premiered Jenkins’ by Dr. Robert Childs, is currently Over the Stone —a concerto commis - world champion. Robert Childs’ son, sioned by HRH The Prince of Wales virtuoso euphonium player David when Finch was the royal harpist. Childs, played Jenkins’ Euphonium 01-17 DCINY:Carnegie Hall Rental 1/7/11 11:07 AM Page 3

Concerto in Carnegie Hall on the 2010 Metropolitan Opera here in New York. DCINY Concert Series. Eminent Welsh He is leading the cast as Wotan in this male-voice choirs include Morriston season’s new production of Wagner’s Orpheus, Treorchy, Pendyrus, and Ring cycle at the Met. Pontardulais. More recently the young singing sensation Men Aloud have Welsh rock music is flourishing, too, become hugely popular and have just with international chart successes of released their first U.S. album and soloists and bands such as the Stereo - appeared on public broadcasting sta - phonics , Super Furry Animals, Manic tions throughout the United States . Street Preachers , Duffy, and Marina and the Diamonds . The legendary As Methodism swept through Wales in Welsh performers Sir Tom Jones and the 18th century, congregational hymn Dame Shirley Bassey have retained singing became very popular and their popularity worldwide. remains an important part of the Welsh musical tradition. The tradition survives The Welsh musical tradition can be today in modern America in the form of experienced by the visitor to Wales in a the Gymanfa Ganu . The National Youth number of festivals held throughout the Orchestra of Wales, for which Jenkins year such as the BBC Singer of the played the oboe as a child, is the oldest World; Brecon Jazz ; the National national youth orchestra in the world. Eisteddfod, where, in recent years, Jenk - ins has conducted his works The Armed The Welsh National Opera (WNO), Man: A Mass for Peace and Dewi Sant ; now over 60 years old, takes world- and the International Eisteddfod, where class opera to thousands of people Jenkins conducted his The Armed Man: throughout the United Kingdom, and A Mass for Peace in 2010 . internationally through co-productions with overseas companies. For further information visit www. started his career with the WNO and wales.com and for details of Welsh is now one of the most sought-after events in the United States visit www. bass-baritones in the world, appearing wales.com/en/content/cms/English/ regularly at Carnegie Hall and the USA/USA.aspx .

KARL JENKINS Gloria Born February 17, 1944, Neath, Wales, United Kingdom The Latin text of the Gloria is an ancient work with such an iconic text also hymn of praise from the Christian tra - afforded me an opportunity to explore dition derived from the song of the how other religions perceive the Divine. angels who announce the birth of Jesus, This is an ongoing feature of my work, as recorded in the Gospel according to from the multi-faceted The Armed St. Luke. The Gloria has formed part of Man: A Mass for Peace , the Japanese the Ordinary of the Mass for many haiku in my Requiem to the ancient centuries, and in that context has been Arabic text in my Stabat Mater . set by many composers; there are also independent settings by Handel, Vivaldi, My setting of the Gloria uses the Latin and Poulenc. But the opportunity to text in the first, second and fifth 01-17 DCINY:Carnegie Hall Rental 1/7/11 11:07 AM Page 4

movements, The Proclamation , The Hinduism: an excerpt from the Bhagavad Prayer , and The Exaltation . Other, Gita (Song of the Divine), the classic related Biblical texts appear in the Hindu scripture. middle movements. The third is called The Psalm and sets Psalm 150, a psalm Buddhism: the last lines of the Dia - of praise sung in Hebrew (though it mond Sutra, the world’s oldest dated may alternatively be performed in printed book. Latin). The fourth movement, The Song , is my own English adaptation of Taoism: the opening of the principal verses from Deuteronomy, Psalm 144, Taoist scripture, the Tao Te Ching (The and the First Book of Chronicles. Classic of the Way and Virtue).

Between these movements are readings Islam: the first chapter of the Qur’an, I have chosen from the texts of other known as “Al Fatiha ” (The Opening), ancient religions, performed in chrono - which is recited in Muslim daily prayers. logical order of their establishment. The texts focus on each religion’s concept Gloria is scored for choir and orches - of the divine or the ultimate reality, tra with the addition, common to my eternal and unchanging. This concept is work, of ethnic percussion instru - a unifying feature of all world religions, ments, indigenous to those cultures commonly defined as a personal and mentioned above. loving God or as an eternal truth that governs the universe. —Note by Karl Jenkins

Text and translation for Gloria

I. The Proclamation: Gloria in excelsis Deo Gloria in excels Deo. Glory to God in the highest, Et in terra pax hominibus bonae and on earth peace to men of voluntatis. good will.

Reading from the Hindu Bhagavad Gita (The Song of the Divine) (Sanskrit) aham a¯tma gu d¯ak e´sa I am the Self, O Arjuna, dwelling in sarvabhut a´sayasthitah, the hearts aham a¯d i´s ca madhyarn ca of all beings. I am the beginning, the middle, bhu t¯an¯am anta eva ca. and the end of all beings.

Bhagavad Gita 10:20 01-17 DCINY:Carnegie Hall Rental 1/7/11 11:07 AM Page 5

brahmano hi I am the glory of Brahman, the immortal pratist h¯aham amrtas y¯avyayasya ca, and immutable, of Eternal Dharma, s¯´as´ vatasya ca dharmasya and of sukhasyai k¯antikasya ca. Absolute Bliss.

Bhagavad Gita 14:27 English translation: Ushma Sheth

II. The Prayer: Laudamus te Laudamus te. We praise you. Benedicimus te. We bless you. Adoramus te. We adore you. Glorificamus te. We glorify you Gratias agimus tibi propter We give thanks to you for your magnam gloriam tuam. great glory.

Reading from the Buddhist Diamond Sutra (Buddhist Hybrid Sanskrit) t¯ara k¯atimiram d¯ıpo m¯ay¯avas y¯ay¯a Like a tiny drop of dew, or a bubble budbudam, floating in a stream; supinarn vidyud abhram ca evam Like a flash of lightning in a drastav y¯a samskrtam. summer cloud, Or a flickering lamp, an illusion, a phantom, or a dream. So is all conditioned existence to be seen.

Verse inserted before stanza 32 of the Diamond Sutra (Sanskrit title: Vajracchedi k¯a-praj ñ¯ap¯arami t¯a-sutra) English translation © by Alex Johnson at Diamond-Sutra.com

III. The Psalm: Tehillim - Psalm 150 Hal(e)lu-Yah, hal(e)lu-El b(e)kodsho. O praise God in his holiness. Hal(e)luhu bir(e)kia uzo. Praise him in the firmament of his power.

Hal(e)luhu big(e)vurotav. Praise him for his noble acts. Hal(e)luhu kh(e)rou gud(e)lo. Praise him according to his excellent greatness.

Hal(e)luhu b(e)teka shofar. Praise him in the sound of the trumpet. Hal(e)luhu b(e)nevel v(e)khinor. Praise him with the psaltery and harp.

Hal(e)luhu b(e)tof umakhol. Praise him with the timbrel and dance. Hal(e)luhu b(e)minim v(e)ugav. Praise him upon the strings and pipe. 01-17 DCINY:Carnegie Hall Rental 1/7/11 11:07 AM Page 6

Hal(e)luhu b(e)tsilts(e)ley shama. Praise him upon the well-tuned Hal(e)luhu b(e)tsilts(e)ley t(e)rua. cymbals. Kol han(e)shama t(e)halel Yah. Praise him upon the loud cymbals. Let everything that has breath praise Hal(e)lu-Yah! the Lord.

Reading from the Taoist Tao Te Ching (The Classic of the Way and Virtue) (Chinese) Dao ke dao, fei dao The Way that words can tell is not Ming ke ming, fei chang ming the eternal Way. Wu ming, tian di zhi shi The name that words can name is not You ming, wan wu zhi mu the eternal name. The nameless is the source of heaven and earth. The named is the mother of myriad forms.

Gu chang wu, yu yi guan qi miao Free from desire: behold the unknowable. Chang you, yu yi guan qi jiao Filled with desire: behold the visible.

Ci liang zhe tong chu er yi ming Being and non-being springing from the source, Tong wei zhi xuan and differing only in their name: Xuan zhi you xuan this is the deepest mystery, Zhong miao zhi men the darkness of the dark, this is the gateway opening to the All.

English paraphrase by Grahame Davies from existing translations

IV. The Song: I’ll make music Lord and Master, I’ll sing a song to you, on the ten-string lyre I’ll make music. Lord and Master, let your thoughts fall like rain and just like showers on new grass.

We’ll play for you with and trumpets, we’ll sing some psalms in praise of you, we’ll play for you with and cymbals, we’ll sing some psalms in praise of you. Lord and Master, I’ll sing a song to you,

on the ten-string lyre, I’ll sing praises to you. Lord and Master, let your words descend like dew, and just like droplets on tender leaves. 01-17 DCINY:Carnegie Hall Rental 1/7/11 11:07 AM Page 7

We’ll play for you with harps and trumpets, we’ll sing some psalms in praise of you, we’ll play for you with flutes and cymbals, we’ll sing some psalms in praise of you.

I’ll make music, I shall make new music, I shall make music for you.

Deuteronomy 32:2, Psalm 144:9 and 1 Chronicles 13:8, adapted by Karl Jenkins and Carol Barratt

Reading from the Qur’an: “AI Fatiha” (The Opening) (Arabic) Bismil l¯ahi r-rah m¯ani r-rahim In the name of God, the Beneficent, the Merciful. Al hamdu lil l¯ahi rabbi l- ’¯alam l¯ın Praise be to God, Lord of the Worlds, Ar rah m¯ani r-rah ¯ım The Beneficent, the Merciful. M¯aliki yawmi d-d ¯ın Master of the Day of Judgment, Iy y¯aka na’budu wa iy y¯aka nasta’ ¯ın Thee we worship, and Thy help we seek.

English translation by Marmaduke Pickthall, from The Meaning of the Glorious Quran (1938, adapted)

V. The Exaltation : Domine Deus Domine Deus, Rex caelestis, Lord God, heavenly King, Deus Pater omnipotens. God the almighty Father. Domine Fili unigenite, Jesu Christe. Lord only-begotten Son, Jesus Christ. Domine Deus, Agnus Dei, Filius Lord God, Lamb of God, Son of Patris. Qui tollis peccata mundi, the Father. You who takes away the miserere nobis. sins of the world, have mercy on us. Qui tollis peccata mundi, suscipe You who takes away the sins of the deprecationem nos tram. Qui sedes world, hear our prayer. You who ad dexteram Patris, miserere nobis. sits at the right hand of the Father, have mercy on us. Quoniam. tu salus sanctus, For you alone are holy, you alone tu salus Dominus, tu solus are the Lord, you alone are the Altissimus, Jesu Christe, cum Most High, Jesus Christ, with the Sancto Spiritu, in gloria Dei Holy Spirit in the glory of God the Patris. Amen. Father. Amen. 01-17 DCINY:Carnegie Hall Rental 1/7/11 11:07 AM Page 8

KARL JENKINS Stabat Mater Stabat Mater is a 13th-century Roman written story, recorded on clay tablets Catholic poem attributed to Jacopone in the seventh century B.C.E., and based da Todi. Its title is an abbreviation of on material from the third millennium the first line, Stabat Mater dolorosa B.C.E.. It is from the ancient Babylonian (“ the sorrowful mother was standing ”). civilization, which means, of course, This text, one of the most powerful and that it has come from what is now Iraq, immediate of medieval poems, medi - so it has real resonance for our current tates on the suffering of Mary, Jesus time. It tells the story of the hero Gilga- Christ’s mother, during his crucifixion. mesh and his exploits. The central point is the cursing and subsequent death of It has been set to music by many com- Gilgamesh’s friend and companion, posers, among them Haydn, Dv oˇrák, Enkidu. Gilgamesh laments him bitterly Vivaldi, Rossini, Pergolesi, Gounod, and, stricken with the fear of death, Penderecki, Poulenc, Szymanowski, goes in search of immortality, ultimately Alessandro Scarlatti, Domenico Scar - without success. The extract set is latti, and Verdi. where Gilgamesh laments his friend.

In addition I have set six texts that lie Now my life is only weeping is by Jalal outside the original poem. These com - al-Din Rumi, the 13th-century Persian prise a choral arrangement of the Ave mystic poet, for whom grief was a cen - Verum that I originally composed for tral fact of his personal history. He had Bryn Terfel; And the Mother did weep , an intense relationship with a spiritual comprising a single line of mine sung mentor called Shams al-Din Tabrizi in English, Hebrew, Latin, Greek, and whose apparent murder turned Rumi Aramaic (the common language of the into a poet and mystic who sought period in the Middle East); Lament by consolation in the Divine. Carol Barratt, written especially for this work; Incantation , semi-improvised The scoring of Stabat Mater features in nature and sung partly in early Arabic; ancient instruments and modes from then two settings of ancient texts, revised the Middle East/Holy Land: percussion into the original Stabat Mater rhyming such as the darabuca , def , doholla , and scheme by the poet Grahame Davies, riq ; the double-reed woodwind instru - sung in both English and Aramaic. ment the mey ; and, alongside western harmony, scales or modes ( maqams ) Of the two ancient texts, Are you lost such as Hijaz and Bayati . out in darkness? comes from the Epic of Gilgamesh , which is the world’s oldest —Note by Karl Jenkins 01-17 DCINY:Carnegie Hall Rental 1/7/11 11:07 AM Page 9

Text and translation for Stabat Mater

1. Cantus lacrimosus Stabat Mater dolorosa There stood the Mother grieving, Juxta crucem lacrymosa, Beside the cross weeping, Dum pendebat Filius. While on it hung her Son.

Cujus animam gementem, Whose saddened soul, Contristatam et dolentem, Sighing and suffering, Pertransivit gladius. A sword pierced through.

O quam tristis et afflicta O how sad and how afflicted Fuit illa benedicta Was that blessed Mother Mater unigeniti! Of the Only-Begotten!

Quae maerebat et dolebat, Loving Mother, who was grieving Pia Mater, dum videbat And suffering, while she beheld Nati poenas incliti. The torments of her glorious Son.

2. Incantation (Arabic) Salli li ajlinaa, Pray for us, ya qaddisa Maryam, O Holy Mary, ya walidat Allah, O child of God al adharaal adhara O virgin of virgins, salli li ajlinaa. Pray for us.

3. Vidit Jesum in tormentis Quis est homo qui non fleret, Who is the man who would not weep Matrem Christi si videret If he should see the Mother of Christ In tanto supplicio? In such great distress?

Quis non posset contristari Who could not be saddened Christi Matrem contemplari If he should behold the Mother of Christ Dolentem cum Filio? Suffering with her only Son?

Pro peccatis suae gentis For the sins of his people, Vidit Iesum in tormentis, She saw Jesus in torments Et flagellis subditum. And subjected to stripes.

Vidit suum dulcem natum She saw her own sweet Son, Moriendo desolatum, Whose dying caused his desolation, Dum emisit spiritum. While he yielded up his Spirit.

Eja Mater, fons amoris, Oh Mother, fount of love, Me sentire vim doloris Make me feel the force of your grief Fac, ut tecum lugeam. So that I may mourn with you, 01-17 DCINY:Carnegie Hall Rental 1/7/11 11:07 AM Page 10

Fac, ut ardeat cor meum Grant that my heart may burn In amando Christum Deum, In loving Christ my God, Ut sibi complaceam. So that I may be pleasing to him.

4. Lament (Carol Barratt) Feeling all the grief and sorrow We live life with shadows in our hearts and minds, with tears that wait to fall when sorrow in the world is more than we can truly bear.

We hear the cries of children, we see death cast shadows on their hearts and minds, as mothers in their grief stand crying, weeping, weeping, crying, crying, weeping, weeping for this world.

5. Sancta Mater Sancta Mater, istud agas Holy Mother, may you do this: Crucifixi fige plagas Fix the stripes of the Crucified Cordi meo valide. Deeply into my heart.

Tui nati vulnerati, Share with me the pains Tam dignati pro me pati, Of your wounded Son Poenas mecum divide. Who deigned to suffer so much for me.

Fac me tecum pie flere, Make me lovingly weep with you, Crucifixo condolere, To suffer with the Crucified Donec ego vixero. So long as I shall live.

Juxta Crucem tecum stare, To stand with you beside the cross, Et me tibi sociare And to join with you in deep lament: In planctu desidero. This I long for and desire.

6. Now my life is only weeping (Rumi, sung in English and Aramaic) Barchay balchoordd hasha haina, Now my life is only weeping, sharach barmooth shaooth shra, Like a candle melting, barmooth baroof rauvai kal. Like a my cries are song.

7. And the Mother did weep (Karl Jenkins) Vehaeym bachetah (Hebrew) And the Mother did weep Lacrimavit Mater (Latin) Warkath hahi imma (Aramaic) Kai eklausen he meter (Greek) 01-17 DCINY:Carnegie Hall Rental 1/7/11 11:07 AM Page 11

8. Virgo virginum Virgo virginum praeclara, O Virgin all virgins excelling, Mihi iam non sis amara, Be not inclement with me now; Fac me tecum plangere. Cause me to mourn with you.

9. Are you lost out in darkness? (anon, sung in English and Aramaic) Ahtu sheereek bercheshka? Are you lost out in darkness? Damkuthak shetkaak dalalam? Is your sleep, your silence, endless? Meshar arlam mashma kaalee? Can you no more hear my voice?

10. Ave Verum Ave verum corpus natum Hail, true body, De Maria Virgine. Born of the Virgin Mary, Vere passum, immolatum Truly suffered, sacrificed In cruce pro homine. On the cross for mankind,

Cujus latus perforatum Whose pierced side Fluxit aqua et sanguine. Flowed with water and blood, Esto nobis praegustatum Be for us a foretaste Mortis in examine. In the trial of death.

Jesu dulcis! Jesu pie, Sweet Jesus! Blessed Jesus, Fili Mariae. Son of Mary. Amen. Amen.

11. Fac, ut portem Christi mortem Fac, ut portem Christi mortem, Grant that I may bear the death of Christ; Passionis fac me sortem, Make me a sharer in His Passion Et plagas recolere. And ever mindful of his wounds.

Fac me plagis vulnenari, Let me be wounded by His wounds, Fac me cruce inebriari, Cause me to be inebriated by the Et cruore Filii. Cross And the Blood of your Son.

12. Paradisi gloria Flammis ne urar succensus, Lest I burn in flames enkindled, Per te, Virgo, sim defensus May I, through thee, O Virgin, In die iudicii. Be defended on Judgment Day.

Christe, cum sit hinc exire, O Christ, when from here I must depart, Da per Matrem me venire Grant that, through your Mother, Ad palmam victoriae. I may obtain the palm of victory.

Quando corpus morietur, When my body perishes, Fac, ut animae donetur Grant that my soul be given Paradisi gloria. Amen. Alleluia. The glory of Paradise. Amen. Alleluia. 01-17 DCINY:Carnegie Hall Rental 1/7/11 11:07 AM Page 12

MEET THE Artists JONATHAN GRIFFITH The co-founder of Distinguished Con - certs International New York, Jonathan Griffith is an active conductor, educa - tor, lecturer, and consultant. His many conducting credits include the Mor - mon Tabernacle Choir, Salt Lake City; Manhattan Philharmonic and New England Symphonic Ensemble, both in performances at Carnegie Hall; The European Symphony Orchestra, Spain; Bohuslava Marti n˚u Philharmonia and Philharmonia Chorus, Virtuosi Pregen - sis Chamber Orchestra, Karlovy Vary Symphony Orchestra, and Dv oˇrák Chamber Orchestra, Czech Republic; Bialystok State Philharmonic, Poland; Bernstein’s Song of Nature , and Robert and regional orchestras and choruses Convery’s The Unknown Region and I in the United States. Have a Dream .

Maestro Griffith made his Carnegie Hall Most recently , in the summer of 2009, con ducting debut in 1989. His com - Maestro Griffith led his vocal ensemble, bined 50-plus conducting appearances the Jonathan Griffith Singers, to the at Carnegie Hall and Lincoln Center People’s Republic of China, conducting span the major works of the classical two China Premieres of Karl Jenkins’ repertoire and include the U.S. pre - The Armed Man: Music for Peace per - mieres of Welsh composer Karl Jenkins’ formed by the celebrated XinYa KongQi Stabat Mater and Te Deum , Russian Symphony Orchestra at Beijing’s Forbid - composer Sergei Taneyev’s Upon Read - den City Concert Hall and Shanghai’s ing a Psalm , Czech composer Miloš Oriental Arts Center. These highly antic - Bok’s Missa Solemnis , Luigi Boccherini’s ipated concert events were recognized Villancicos , and Eugène Goossens’ re- internationally, as they commemorated orchestration of Handel’s Messiah ; as the 30th anniversary of the normaliza - well as numerous world premieres, tion of diplomatic relations between the including Eric Funk’s Pamelia , Seymour United States and China. 01-17 DCINY:Carnegie Hall Rental 1/7/11 11:07 AM Page 13

KARL JENKINS Karl Jenkins, educated at Gowerton Grammar School, Cardiff University, and the , Lon - don, is one of the most prolific, popular, and performed composers in the world today. The Armed Man: A Mass for Peace alone has been performed over 700 times in 20 different countries since the CD was released , while his recorded output has resulted in 17 gold and plat - inum disc awards.

His style and integrity has transcended musical boundaries encompassing jazz- rock with Soft Machine, the global cross-over phenomenon , at five universities or conservatories, soundtracks for Levis and British Air - including the Royal Academy of Music, ways, while stopping off along the way where a room has been named in his to score a Kiefer Sutherland movie, be honor. In recent years he has consistently a castaway on BBC Desert Island been the highest placed living composer Discs , be featured by Melvyn Bragg on in Classic FM’s Hall of Fame. the ITV seminal South Bank Show , and received the Freedom of the City He holds the Classic FM Red F Award of London. Recent recordings include for outstanding service to classical Requiem , Stabat Mater , and Quirk , music, and was awarded the Order of while he’s composed music for HRH the British Empire (OBE), by Her The Prince of Wales, Bryn Terfel, Majesty the Queen, in the 2005 New Dame Kiri Te Kanawa, Dame Evelyn Years Honors List for his services to Glennie, and the London Symphony music. In 2010 he received his CBE Orchestra amongst many others. (Commander of the Order of the British Empire) from Her Majesty the Queen. A doctor of music, he holds fellowships, honorary doctorates, and professorships 01-17 DCINY:Carnegie Hall Rental 1/7/11 11:07 AM Page 14

CHARLOTTE DAW PAULSEN Charlotte Daw Paulsen, mezzo-soprano, possesses a voice described as unusually rich and complex. She received critical acclaim in the New York Times for her performance of Rossini’s Petite Messe Solennelle : “The real star, Charlotte Daw Paulsen, a mezzo-soprano with real contralto gravity and power in her lower register, in the Agnus Dei, her performance grew dramatic in the best sense and utterly gripping.”

During the 2010 –11 concert season she performs Judas Maccabaeus with Berkshire Choral Festival , Jeptha with Sacred Music in a Sacred Space , Israel Included among her repertoire of operatic in Egypt with Musica Sacra , and Aida roles are Amneris in Aida , Octavian in with Greater Bridgeport Symphony. Der Rosenkavalier , Charlotte in Werther , Kostelnicka in Je n˚ufa , Cherubino in Le She is frequently invited to perform nozze di Figaro , and La Cenerentola . works of depth and emotional expres - sion, such as the New York premiere of Ms. Paulsen was awarded first place in Et la vie l’emporte by Frank Martin the Liederkranz Foundation Awards, with I Cantori; Women of Valor based Wagnerian Voice division. She was on Proverbs 31 by Andrea Clearfield selected in Paris for the Pavarotti com - with Lehigh Valley Chamber Orches - petition. She represented the United tra; the U.S. premieres of Stabat Mater States in Zurich Switzerland as part of and The Armed Man: A Mass for the International Opera Studio. Peace by Karl Jenkins; Mahler’s Resur - rection Symphony with the Louisiana Philharmonic; and Mussorgsky’s Songs and Dances of Death . 01-17 DCINY:Carnegie Hall Rental 1/7/11 11:07 AM Page 15

BELINDA SYKES Belinda Sykes has recorded and sung solo with Red Byrd , New London Consort , Tragicomedia , Harp Consort , Ensemble Unicorn, and Oni Wytars. She has also performed on numerous film and television soundtracks with artists as diverse as Ladysmith Black Mambazo, The Berlin Philharmonic Orchestra (soloist on the BBC’s Planet Earth documentaries), and the Master Musicians of Joujouka. She was most recently heard on television in The Last Enemy (Magnus Fiennes), The Passion (Debbie Wiseman), and Planet Earth (George Fenton). and musical director for Richard III As a double-reed player she has played and Antony and Cleopatra at Shake - for the Gabrieli Consort , The English speare’s Globe Theater. Concert , The King’s Consort , The BBC Symphony Orchestra , The Orchestra of Ms. Sykes directs the multi-cultural The Age of Enlightenment, and The medieval music ensemble Joglaresa , with Hanover Band, and won the 1990 whom she has released CDs. Joglaresa Reichenberg Award for Baroque Oboe. has toured throughout Europe and the As an oboist, she worked closely with Middle East and has broadcast numer - Sir Harrison Birtwistle when she played ous concerts for BBC Radio 3 and many in his setting of Bacchai for oboe, clar - other international radio stations. inet, and percussion at the Royal National Theatre in 2002 (Sir Peter Ms. Sykes is professor of medieval music Hall’s production). She was composer at Trinity College of Music.

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DISTINGUISHED CONCERTS SINGERS INTERNATIONAL

Participating in Gloria : Kings Chorale (Canada), William Perrot, Director Laramie County Community College Choir (WY), Nancy Cornish, Director Methodist College Chapel Choir (Ireland), Ruth McCartney, Director Ottawa University Concert Choir (KS), Jeff Anderson, Director Sno-King Community Chorale (WA) , Frank DeMiero , Director

Participating in Stabat Mater : Kirk Choir of Pasadena Presbyterian Church (CA), Timothy Howard, Director Mendelssohn Choir of Connecticut and the Fairfield University Chamber Singers (CT), Carole Ann Maxwell , Director Saddleworth Musical Society (England) , Harry Butterworth , Director Sine Nomine Singers (NC), Finley C. Woolston, Director University of Johannesburg Choir (South Africa), Renette Bouwer, Director West Windsor-Plainsboro High School South Chorus (NJ) , Janice Chapin , Director

DCINY ADMINISTRATIVE STAFF

Iris Derke, Danuta Gross, Co-Founder and General Director Director of Finance and Jonathan Griffith, Administration Co-Founder, Artistic Director, Naghma Husain, and Principal Conductor Director of Design and Johanna Kodlick, Promotions Director of Artistic Operations Jeffery R. Thyer, Sara Sarakanti, Program Development Coordinator Director of Promotions and Nicole Cotton, Audience Development Production Manager Phil Bravo, Lynn Tsai, Education and Program Advisor Executive Assistant

DCINY extends a special thank you to Catrin Brace and the Welsh Assembly.

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

For information about performing on DCINY’s series or about purchasing tickets to scheduled concerts, e-mail [email protected], call 212–707–8566 or 877–MYDCINY (toll free), or visit our website at www.DCINY.org.

DISTINGUISHED CONCERTS INTERNATIONAL NEW YORK 250 W. 57TH STREET, SUITE 1610 NEW YORK, NY 10107 212-707-8566