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04-12 DCINY_CH Rental 4/3/15 9:53 AM Page 1 Sunday Evening, April 12, 2015, at 8:30 Isaac Stern Auditorium / Ronald O. Perelman Stage Iris Derke, Co-Founder and General Director Jonathan Griffith, Co-Founder and Artistic Director presents GRANT US PEACE Distinguished Concerts Orchestra Distinguished Concerts Singers International WOLFGANG AMADEUS Mass in C major (“Coronation”), K.317 MOZART I. Kyrie II. Gloria III. Credo IV. Sanctus V. Benedictus VI. Agnus Dei CATHERINE SAILER, DCINY Debut Conductor MEEAE NAM, Soprano CABIRIA JACOBSEN, Mezzo-soprano NATHAN BIRD, Tenor STEVEN TAYLOR, Baritone Brief Pause RALPH VAUGHAN Dona Nobis Pacem WILLIAMS I. Agnus Dei II. Beat! Beat! Drums! III. Reconciliation IV. Dirge for Two Veterans V. The Angel of Death VI. O Man Greatly Beloved TREY JACOBS, DCINY Debut Conductor MEEAE NAM, Soprano STEVEN TAYLOR, Baritone Intermission PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. 04-12 DCINY_CH Rental 4/3/15 9:53 AM Page 2 Inglemoor High School Orchestra JAMES RICE, Director GUSTAV HOLST St. Paul’s Suite for String Orchestra , Op. 29, No. 2 I. Jig IV. Finale (the Dargason) JACK JARRETT Serenade for Strings III. Meditation ERNEST BLOCH Concerto Grosso No. 1, for String Orchestra with Piano Obbligato I. Prelude Brief Pause Inglemoor High School Wind Ensemble TED CHRISTENSEN, Director WILLIAM CHERRY Dedicatory Fanfare TIMOTHY MAHR Endurance JULIUS FU čÍK The Florentiner (“Grande Marcia Italiana”) We Want To Hear From You! Upload your intermission photos and post-show feedback to Twitter, Instagram, and Facebook! #Grant UsPeace @DCINY DCINY thanks its kind sponsors and partners in education: Artist Travel Consultants, VH-1 Save the Music, Education Through Music, and High 5. 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. DISTINGUISHED CONCERTS INTERNATIONAL NEW YORK 250 W. 57TH STREET, SUITE 1610 NEW YORK, NY 10107 212-707-8566 04-12 DCINY_CH Rental 4/3/15 9:53 AM Page 3 Notes ON THE PROGRAM WOLFGANG AMADEUS MOZART Mass in C major (“Coronation”), K.317 Mozart’s choices for how to set the the dignity and importance of the mass. “Coronation Mass” are clear. The Gloria Mozart’s Kyrie is in keeping with the and Credo are set almost syllabically, with tradition. In the Sanctus the words one syllable for every note and very few “Hosanna in excelsis” surround the sub - text repetitions. Mozart breaks up the division “Bene dictus,” which traditionally Gloria into its customary subdivisions by was a place for slowing down with a solo alternating the ensemble of soloists with ensemble. Again, Mozart follows suit. the chorus, without slowing down the momentum. The musical structure of the Like the Kyrie , the Agnus Dei is a text Gloria is neatly rounded out into a large involving a three-part prayer. But while A-B-A structure. He handles the Credo in the Kyrie is a prayer of praise, the Agnus the same manner, except for the “Et incar - Dei is an appeal for mercy. Mozart sets nates est,” the incarnation, passion, and the first two invocations of the Agnus death of Jesus where masses since the Dei into a long soprano aria, while the Middle Ages have typically slowed down final invocation, ending “Dona nobis with contrasting emotive music. pacem,” (Grant us peace) is an extended reprise of the music of the Kyrie to unify For the shorter movements Mozart gener - the entire mass setting. ally keeps up a pretty good clip. In the Classical period the Kyrie was generally —Program note by Joseph and Elizabeth set as a stately opening number befitting Kahn RALPH VAUGHAN WILLIAMS Dona Nobis Pacem Ralph Vaughan Williams experienced excerpt from John Bright’s famous the senseless brutality and carnage of speech to the House of Commons dur - World War I first hand. Although nearly ing the Crimean war, (“The Angel of 42, he enlisted and served as a wagon Death has been throughout the land”), orderly with the Royal Army Medical culminating in a prayer for peace and Corps in France and on the Salonika brotherhood, and interspersing them (Greece) front, later returning to with the invocative refrain “Dona France as an artillery officer. nobis pacem” by the soprano four times during the course of the cantata. In 1936, anguished at the palpable gathering clouds of another war, he The work opens with the soprano and composed Dona nobis pacem , in which chorus intoning the Agnus Dei , the final he combined Latin liturgical material section of the ordinary of the Catholic with biblical texts and modern vernac - Mass. Vaughan Williams then begins the ular poetry. He set to music three of series of violent contrasts he will make Walt Whitman’s antiwar poems, an throughout the work: gentle pleading, 04-12 DCINY_CH Rental 4/3/15 9:53 AM Page 4 gut-wrenching anguish, portrayal of the aptly fitted World War I as well. brutality of war, and despair. Vaughan Williams actually had com - posed this movement as a separate Whitman’s grim and powerful “Beat! work a quarter century earlier but it Beat! Drums!” follows without pause, had never been published or performed sung by the chorus. Like the drums of before its incorporation into Dona war, this harsh setting cancels out all nobis pacem , where it fits all too well other aspects of normal life. Descending with the looming inevitability of another chromatic lines like extended sighs com - war. His emotions are palpable in the bin e with the percussive pounding of slow funereal march, projecting the the orchestra. sense of doom. The contrasting second movement, Bright’s famous speech opens the final Whitman’s “Reconciliation,” for bari - section, declaimed by the baritone over tone and chorus, is a heart-wrenching sparse orchestra. Following these few depiction of the impact of war on the lines the invocation is shrieked out by individual—after the all-consuming the chorus and soprano as if in terror. drums have fallen silent—centering The compilation of biblical verses begin - around the most moving words “For ning with Jeremiah progresses from my enemy is dead, a man divine as despair to a transcendent combined myself is dead!” There follows again prayer and statement of faith in the the soprano’s gentle plea “Dona kingdom of God—perhaps the only true nobis pacem.” peace. As if to mirror the renewed sense of hope, the soprano’s final invocation, The “Dirge for two veterans” is proba - supported by a cappella chorus, is trans - bly Whitman’s most moving and des - formed into a gentle uplifting melody. perate condemnation of war. Although penned in response to the ravages of —Program note by Joseph and Elizabeth the American Civil War, his lines all too Kahn GUSTAV HOLST St. Paul’s Suite for String Orchestra , Op. 29, No. 2 Holst completed the St. Paul’s Suite in The first movement begins with a 1913 in thanks to the St. Paul’s Girls’ robust Jig . The final movement, School for providing him with a large Dargason is introduced very softly, soundproof room for his work. This then cellos enter playing the beautiful new studio sported double windows, Green sleeves and the two folksongs two pianos, and central heating! are played together. Tonight’s program features the first and final movements from this suite. —James Rice JACK JARRETT Serenade for Strings Meditation is an exceptionally lyrical opportunities allow our orchestra to strive work taken from Jarrett’s Serenade for for the highest levels of musicianship. Strings. The engaging harmonies, slow de - velopment, and full breadth of expressive —James Rice 04-12 DCINY_CH Rental 4/3/15 9:53 AM Page 5 ERNEST BLOCH Concerto Grosso No. 1, for String Orchestra with Piano Obbligato Concerto Grosso No. 1 was composed the melodic material is often short during 1925 and 1926 and is scored and motivic. This piece wonderfully for string orchestra with piano obbli - contrasts the Baroque compositional gato in four movements. The contrast - techniques with the 20th-century ing timbres of the strings and the piano techniques of polytonal clashes and suggest the Baroque figured bass and polymetric shifts. the texture is generally contrapuntal and actually polytonal. In the Prelude —James Rice WILLIAM CHERRY Dedicatory Fanfare Dedicatory Fanfare by contemporary other high-ranking dignitaries. This composer William Cherry follows the particular fanfare is very contemporary traditional purpose of this type of com - in sound, with rich harmonies, various position: to introduce an instrumental styles, and broad melodic lines, yet it performance. Fanfares are also well manages to maintain the pomp and cir - known for their use in military bands in cumstance of the traditional fanfare. the United States to announce the arrival of the president, a general, or —Ted Christensen TIMOTHY MAHR Endurance Endurance , by composer Timothy and his crew of 27. They survived for Mahr (b. 1956 ), is a reflection on the 15 months exposed to the unrelenting, infinite endurance of the human spirit, dangerous Antarctic weather and mirac - the religious spirit and the spirit of the ulously lived to tell the tale. The earth. Initial inspiration for this work strength of character by these men in came from a book of the same title by enduring incredible hardships is truly Alfred Landsing, documenting the awe-inspiring. All three spirits—human, amazing story of the ill-fated expedi - religious, and earth—are intertwined in tions of the Antarctic explorer Sir this amazing story of human survival Edward Shackelton in 1914. His ship against all odds. the Endurance became ice-bound and eventually sank, stranding Shackelton —Ted Christensen JULIUS FU CˇÍK The Florentiner (“Grande Marcia Italiana”) Composer Fu čík (1872 –1917) was bandmaster to the 86th Hungarian among the brightest jewels in wind Infantry Regiment at Budapest, Fu čík band composers.