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Monday Evening, January 18, 2016, at 7:00 Isaac Stern Auditorium / Ronald O. Perelman Stage Changing Lives through the Power of Performance Iris Derke, Co-Founder and General Director Jonathan Griffith, Co-Founder and Artistic Director presents The Music of Karl Jenkins JONATHAN GRIFFITH, DCINY Artistic Director and Principal Conductor KARL JENKINS, Composer-in-Residence Distinguished Concerts Orchestra Distinguished Concerts Singers International KARL JENKINS Songs of Sanctuary (for treble voices) I. Adiemus II. Tintinnabulum III. Cantus Inaequalis IV. Cantus Insolitus V. In Caelum Fero VI. Cantus Iteratus VII. Amaté Adea VIII. Kayama IX. Hymn JOANIE BRITTINGHAM, Soprano KATHERINE PRACHT, Mezzo-Soprano IRIS DERKE, Recorder KARL JENKINS Te Deum PENNSBURY HIGH SCHOOL CONCERT CHOIR PENNSBURY COMMUNITY CHORUS (PA) Intermission Please hold your applause until the end of each complete work. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. KARL JENKINS The Armed Man: A Mass for Peace Accompanied by the film The Armed Man I. The Armed Man II. The Call to Prayers III. Kyrie IV. Save Me from Bloody Men V. Sanctus VI. Hymn Before Action VII. Charge! VIII. Angry Flames IX. Torches X. Agnus Dei XI. Now the Guns Have Stopped XII. Benedictus XIII. Better Is Peace JOANIE BRITTINGHAM , Soprano KATHERINE PRACHT , Mezzo-Soprano PETER SCOTT DRACKLEY , Tenor MICHAEL SCARCELLE , Baritone ALMEDIN JASHARI , Muezzin Warner Classics will host a post-concert signing with Sir Karl Jenkins in the Rose Museum immediately following the performance. Copies of his new autobiography Still With The Music , and the accompanying CD, are available for purchase in the Carnegie Hall Bookstore. We Want To Hear From You! Upload your pre-concert, intermission photos and post-show feedback to Twitter, Instagram, and Facebook! #KarlJenkin s|DCINY DCINY thanks its kind sponsors and partners in education: Artist Travel Consultants, VH-1 Save the Music, Education Through Music, and High 5. Special thanks to the Welsh Government for their generous support. 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 Notes ON THE PROGRAM KARL JENKINS Songs of Sanctuary (for treble voices) Performance time: 54 minutes Adiemus was the first project in which patterns that interlock to create a com - Karl Jenkins combined European music pound-time meter, reminiscent of many with traditions from other cultures. The dances from different cultures around collection, written for voices and instru - the world. ments, is a series of albums that started with the release Adiemus: Songs of The second collection of works in this Sanctuary in 1995. Unlike traditional project was Adiemus II: Cantata choral works however, the composer Mundi (1997). The orchestra was created the text using newly invented expanded greatly from the previous words. In doing this Jenkins was able to work, adding woodwind, a large brass have greater control of vocal tone with - ensemble, and a number of non-western out the restrictions of literary themes instruments from across the continents and the rules of language. The effect is including: Indian tabla, West African powerful and allows for the voices to udo pot and the Brazilian pandeiro, act more like instruments using phonet - Song of the Spirit demonstrates the larg - ics to create different sonic effects. er forces from the outset with a power - ful brass introduction and imaginative In the mid-1990s Delta Airlines orchestrations throughout. Songs of approached Jenkins and asked him to the Plains starts with unaccompanied compose “something ethnic” for a com - voic es, very much in the style of South mercial. The result was Adiemus . In African vocal traditions. The phonetic Adiemus: Songs of Sanctuary the scoring sounds of “ba, ma, ka” are much harder demonstrates this “ethnic” approach, than in some of the more ecclesiastical particularly using sub-Sahara African Latin influenced texts and are closer to influences. A feature of traditional Zulu and other sub-Saharan languages. African group singing is the incorpora - tion of large amounts of un-pitched per - These excerpts from the Adiemus col - cussion. The first album reflects this lection draw influence from a number with scoring for voices, solo recorder, of different cultures, fused with western strings, and eight percussion parts. The choral traditions to demonstrate a truly relentless drumming has a magical hyp - cross-pollinated compositional style. notic quality and serves as a wonderful accompaniment to the harmonized —Program note used with kind permis - vocal forces. From the same release, In sion from Raymond Gubbay Limited. Caelum Fero , begins with forceful stabbed strings. This is followed by the Michael McLeish © Raymond Gubbay introduction of a number of repeated Ltd. KARL JENKINS Te Deum Performance time: 15 minutes The Te Deum was commissioned by the Orchestra, with the composer conduct - Liverpool’s European City of Culture ing on November 30, 2008. It is in one 2008 celebrations. The work was pre - continuous 15-minute movement. miered at Philharmonic Hall, Liverpool, —Karl Jenkins with the Royal Liverpool Philharmonic KARL JENKINS The Armed Man: A Mass for Peace Performance time: 63 minutes Accompanied by the film The Armed Man Produced by Hefin Owen and Edited by Chris Lawrence The Armed Man: A Mass For Peace is inevitable consequence—war in all its the result of a special millennial commis - uncontrolled cacophony of destruction, sion from the Royal Armouries and the then the eerie silence of the battlefield latest in a six-century-old tradition of after the battle and, finally, the burial “Armed Man ” masses that take the of the dead. Surely nothing can be 15th-century French song L’Homme worse than this? But think again. At the Arm é as their starting point. The theme very center of the work is “Angry that the A rmed Man must be feared, Flames,” an excerpt from a poem which is the message of the song, seemed about the horrors of the atom bomb painfully relevant to the 20th century attack on Hiroshima. and so the idea was born to commission a modern “ Armed Man Mass. ” The “Agnus Dei,” with its lyrical chorale theme, reminds us of Christ ’s The Mass begins with the beat of ultimate sacrifice. The “Benedictus” drums, the orchestra gradually building heals those wounds in its slow and state ly to the choir ’s entrance, singing the 15th- affirmation of faith and leads us to the century theme tune “The Armed Man.” final, positive climax of the work. This After the scene is set, the style and pace begins back where we started in the 15th change, and we are prepared for reflec - century with Lancelot and Guinevere ’s tion by first the Muslim Call to Prayers declaration, born of bitter experience, (Adhaan) and then the Kyrie . Next, to a that peace is better than war. plainsong setting, we hear words from the Psalms asking for God ’s help against The Armed Man: A Mass For Peace our enemies. The “Sanctus” that fol - received its world premiere in April lows is full of menace, and has a 2000 at London ’s Royal Albert Hall. In primeval, tribal character that adds to a rapturous performance, by turns vis - its power. The menace grows in the next ceral and ethereal, the Mass was “a fire movement as Kipling ’s “Hymn Before bomb of orchestral and human voices” Action” builds to its final devastating (The London Times ) that drew “pro - line, “Lord grant us strength to die.” longed shouts of approval from the audience” ( The Independent ). War is now inevitable. “Charge!” —Guy Wilson, opens with a seductive paean to martial Master of The Armouries, glory which is followed by the Britain’ s oldest National M useum Texts and Translations Songs of Sanctuary KARL JENKINS Songs of Sanctuary is an extended choral-type work based on the European classical tradition, but where the vocal sound is more akin to “ethnic” or “world” music. The idea was to have some thematic unity within the work as a whole, rather than a col - lection of disparate pieces in song form. The structure of Songs of Sanctuary are influenced, in the main, by classical form, eg modified rondo, ternary, da capo aria. This is of extra importance because of the lack of lyric message that sustains conventional song form. The text was written phonet - ically with the words viewed as instrumental sound, the idea being to maximize the melisma (an expressive vocal phrase) by removing the distraction, if one can call it that, of words. The sound is universal, as is the language of music. —Karl Jenkins Te Deum KARL JENKINS Te Deum laudamus: We praise thee, O God; Te Dominum confitemur. We acknowledge thee to be the Lord. Te aeternum Patrem All the earth doth worship thee, Omnis terra veneratur. The Father everlasting. Tibi omnes Angeli, To thee all Angels, Tibi Caeli et universae Potestates, the Heavens, and all the Powers, Tibi Cherubim et Seraphim The Cherubim and Seraphim Incessabili voce proclamant: Proclaim without ceasing: Sanctus: Sanctus: Sanctus: Holy, Holy, Holy, Dominus Deus Sabaoth. Lord God of Hosts! Pieni sunt caeli et terra The heavens and the earth Majestatis gloriae tuae. Are full of the majesty of thy glory. Te gloriosus Apostulorum chorus, The glorious chorus of the Apostles, Te Prophetarum laudabilis numerus, The admirable company of the Prophets, Te Martyrum candidatus The white-robed army of Martyrs Laudat exercitus. Praises thee. Le per orbem terrarium Throughout the whole world Sancta confitetur Ecclesia The holy Church gives praise to thee, Patrem immensae majestatis The Father of infinite majesty; Venerandum tuum verum, et unicum They praise your admirable, true, and Filium: only Son; Sanctum quoque Paraclitum Spiritum.