6-17 DCINY.qxp_Carnegie Hall Rental 6/7/17 11:49 AM Page 1

Saturday Evening, June 17, 2017, at 7:00 Isaac Stern Auditorium / Ronald O. Perelman Stage

Iris Derke, Co-Founder and General Director Jonathan Griffith, Co-Founder and Artistic Director

presents Song/Play

CHARLOTTE SYMPHONY YOUTH ERNEST PEREIRA, Director

EMMANUEL CHABRIER España, Rhapsody for Orchestra

JULES MASSENET Ballet Music from Le Cid Aragonaise Castillane Catalane Madrilène Navarraise

MANUEL DE FALLA from

JOAQUÍN TURINA Orgía from Danzas fantásticas, Opus 22

Intermission

(continued)

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. 6-17 DCINY.qxp_Carnegie Hall Rental 6/7/17 11:49 AM Page 2

DISTINGUISHED CONCERTS ORCHESTRA DISTINGUISHED CONCERTS SINGERS INTERNATIONAL CRISTIAN GRASES, Guest Conductor ALBERTO GRAU, DCINY -in-Residence

ALBERTO GRAU La Doncella 1. Introduccion 2. Danza de las Estrellitas 3. Danza del Platero 4. Danza del Jardinero 5. Danza del Sol y La Luna 6. Danza de la Doncella 7. Valse del la Doncella 8. Gran Danza Final

Pause

DISTINGUISHED CONCERTS ORCHESTRA DISTINGUISHED CONCERTS SINGERS INTERNATIONAL MARÍA GUINAND, Guest Conductor ALBERTO GRAU, DCINY Composer-in-Residence

ALBERTO GRAU La Avispa Brava (WORLD PREMIERE), Courtesy of the DCINY Premiere Project 1. Overture 2. That day, the wasp….(La avispa aquel día) 3. Nothing, nothing, nothing…….(Nada, Nada, Nada) 4. White Roses (Rosas blancas) 5. Good morning (Buen día) 6. Stunned! (Anonadada) 7. Blind as she was going…. (Ciega como iba) 8. Suddenly….. (Repentinamente) 9. A small glass (Un vaso pequeño) 10. Grumpy face (Mala cara) 11. Moral (Moraleja)

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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. 6-17 DCINY.qxp_Carnegie Hall Rental 6/7/17 11:49 AM Page 3

Notes ON THE PROGRAM

EMMANUEL CHABRIER (1841-1894) España, Rhapsody for Orchestra (7 minutes)

Emmanuel Chabrier was born in my wife away; it wasn’t even amusing Ambert, France, on January 18, 1841, any more…This is the picture: two and died in Paris, France, on September women dance, two silly men play—it 13, 1894. The first performance of doesn’t matter what—on their guitars, España took place in Paris at the Théâtre and five or six women howl, with excru - du Château d’Eau on November 4, 1883, ciating voices and in triple figures…It is with Charles Lamoureux conducting the vertiginous, it is unspeakable!…All the Orchestre de Société des Nouveaux-Con - more cries, the more the dancer laughs certs. España is scored for piccolo, two with her mouth wide open, and turns her , two , two , four bas - hips, and is mad with her body. When soons, four horns, two , two Chabrier returned to France, he , three trombones, tuba, , attempted to capture the flavor of these tambourine, triangle, cymbals, bass wild, exotic Spanish nights in España . drum, two harps and strings. Approxi - Chabrier originally composed the work mate performance time is seven minutes. for , later adapting it for orchestra. In 1882, French composer Emmanuel España received its premiere in 1883, Chabrier journeyed with his wife to with Charles Lamoureux conducting. In . In a letter written in November of a letter to Lamoureux, Chabrier that year, Chabrier told a friend of his described España as “an extraordinary experiences: Every evening, we go to the fantasia, muy española, based on memo - café concerts where the Malaguenas, the ries of this wonderful trip. I’ll make the Soledas, the Zapateados and the Peten - audience move to feverish rhythms, and eras are sung. Then the dances…If you my melodies will be so voluptuous that could see them wiggle, unjoint their hips, everyone will end up locked in a giant contort, I believe you would not try to kiss.” get away! At Malaga the dancing became so intense that I was compelled to take Notes by Ken Meltzer

JULES MASSENET (1842-1912) Ballet Music from Le Cid (15 minutes)

Jules Massenet was born in Montaud, tuba, timpani, bass drum, cymbals, Saint-Étienne, France, on May 12, 1842, snare drum, tenor drum, triangle, tam - and died in Paris, France on August 13, bourine, castanets, two harps, and 1912. The first performance of Le Cid , strings. Approximate performance time took place at the Opéra in Paris on is fifteen minutes. Jules Massenet’s grand November 30, 1885. The Ballet Music Le Cid is based upon a 1637 from Le Cid is scored for piccolo, two tragedy by Corneille. The premiere, flutes, two oboes, English horn, two which took place at the Paris Opéra on clarinets, two , four horns, two November 30, 1885, featured several trumpets, two cornets, three trombones, legendary singers, including Jean and 6-17 DCINY.qxp_Carnegie Hall Rental 6/7/17 11:49 AM Page 4

Edouard de Reszke, and Pol Plançon. But when Rodrigue reaches for his dag - The story of Le Cid takes place in Spain ger to kill himself, Chimène stays his during the time of the Reconquista. The hand. Chimène’s display of love for young knight Rodrigue avenges an insult Rodrigue brings Le Cid to its happy res - to his father. But in doing so, Rodrigue olution. In addition to masterful vocal kills the father of his beloved Chimène. writing, Massenet’s are notable She implores the King of Spain to punish for their rich, colorful, and brilliant Rodrigue. As Rodrigue’s leadership is orchestral palette. A fine example is the needed in the impending battle against Ballet Music from Act II of Le Cid , the Moors, his punishment is delayed. which takes place during springtime, in Rodrigue vows that if he survives, he the Square of Burgos. The assembled will return and submit to whatever sen - watch a series of dances that evoke tence the King decrees. After the battle, Spain’s provinces: Aragonaise, Castil - the victorious Rodrigue gives the King lane, Catalane, Madrilène, Navarraise. his sword. The King, in turn, decrees that Chimène must impose sentence. Notes by Ken Meltzer Chimène remains torn between her love for Rodrigue and devotion to her father.

MANUEL DE FALLA (1876-1946) Ritual Fire Dance from El amor brujo (4 minutes)

Manuel de Falla was born in Cádiz, piano and orchestra, Nights in the Gar - Spain, on November 23, 1876, and died dens of Spain (1915), the Suite populaire in Alta Gracia, , on November espagnole for voice and piano, and the 14, 1946. The first performance of El ballets El amor brujo (Love, the Magi - amor brujo took place at the Teatro Lara cian ) (1915), and El sombrero de tres in Madrid, Spain, on April 15, 1915, picos (The Three-Cornered Hat ) (1919). with José Moreno Ballesteros conduct - All of these compositions demonstrate ing. The Ritual Fire Dance is scored for Manuel de Falla’s masterful and beguil - piccolo, two flutes, , two clarinets, ing synthesis of classical music and , two horns, two trumpets, tim - Spanish folk culture. The story of El pani, piano, and strings. Approximate amor brujo concerns the beautiful gypsy performance time of the Ritual Fire woman Candélas, who is haunted by her Dance is four minutes. In 1907, Manuel dead lover. The most well-known excerpt de Falla moved to Paris. He finally from the ballet is the passionate and returned to Madrid in 1914. This seductive Ritual Fire Dance Candélas marked the beginning of an incredibly performs in an attempt to exorcise her creative period for the Spanish composer. lover’s ghost. Over the next few years, he completed such compositions as his work for solo Notes by Ken Meltzer 6-17 DCINY.qxp_Carnegie Hall Rental 6/7/17 11:49 AM Page 5

JOAQUÍN TURINA (1882-1949) Orgía from Danzas fantásticas, Opus 22 (5 minutes)

Joaquín Turina was born in Seville, the audience was Spanish composer Spain, on December 9, 1882, and died Isaac Albéniz. After the hearing the in Madrid, Spain, on January 14, 1949. Quintet , a work very much in the The first performance of the orchestral French classical tradition, Albéniz coun - version of Danzas fantásticas took place seled Turina to look to Spanish folk in Madrid on February 13, 1920, with music for inspiration. Turina’s friend, Bartolomé Pérez Casas conducting the Spanish composer Manuel de Falla, had Madrid Philharmonic. The Danzas fan - previously offered similar advice. Turina tásticas are scored for piccolo, three agreed, and embarked on a path that flutes, two oboes, English horn, two produced many of his most beloved clarinets, bass , two bassoons, works. Upon his return to Spain in contrabassoon, four horns, three 1914, Turina established himself as a trumpets, three trombones, tuba, tim - highly influential composer, teacher, and pani, glockenspiel, chimes, triangle, critic. His numerous compositions span tambourine, cymbals, suspended cym - the genres of opera, orchestral, cham - bal, bass drum, harp, and strings. ber, and guitar music, songs, and piano Approximate performance time of pieces. Turina’s Danzas fantásticas exist Orgía is five minutes. While still in his in versions for piano and symphony teens, Joaquín Turina established him - orchestra. The latter received its pre - self in his native Seville both as a miere in Madrid on February 13, 1920. composer and pianist. Turina later The work is in three colorfully orches - moved to Madrid, where he studied trated movements. The concluding piano at the Real Conservatorio Supe - Orgía (Orgy) invokes the farruca, a type rior de Música. In 1905, Turina moved of dance. to Paris. Two years later, Turina appeared as pianist in a Paris perfor - Notes by Ken Meltzer mance of his Piano Quintet, Opus 1. In

ALBERTO GRAU (b. 1937) La Doncella (27 minutes)

Alberto Grau’s ballet La Doncella for mic elements. Grau writes obbligato mixed choir, narrator, and chamber parts for choir that combine stomps, ensemble was awarded first prize in claps, finger snapping, and a variety of the 1978 “International Day for other choreographic elements. In this Choral Singing” competition in work, these motions are performed Barcelona, Spain. Grau sets a poem by sometimes while the choir is singing, renowned Spanish bard Salvador de and sometimes just with the orchestral Madariaga (1886-1978) using a more accompaniment. This creates a rich contemporary musical language that palette of musical colors and textures includes many extended compositional that Grau uses to help convey the story techniques such as glides, whispering, to the audience. The work is orches - whistling, talking, and clusters. Per - trated for a traditional ensemble with haps the most important addition in the addition of some non-traditional his compositions is the use of eurhyth - instruments such as electric guitar, 6-17 DCINY.qxp_Carnegie Hall Rental 6/7/17 11:49 AM Page 6

Venezuelan Cuatro , and some Latin includes a narration of the entire poem American percussion instruments. It in the Introduction . Grau uses the tri - uses mixed meter throughout, which is tone as a fundamental harmonic ele - common in Grau’s compositions. Grau ment that prevails almost in all move - uses mixed meter often to convey the ments, and combines imaginative natural prosodic accents of the text, melodies—at times of great lyricism— and uses these rhythmic patterns as with an infectious rhythmic platform musical building blocks. The work is that drives the narration of this divided into seven continuous move - beloved poem. ments that have rhythmic, harmonic, and melodic cohesion. He also Notes by Cristian Grases

ALBERTO GRAU La Avispa Brava (WORLD PREMIERE), Courtesy of the DCINY Premiere Project (29 minutes)

This new work by the composer been inspired by the children and youth Alberto Grau (1937) was inspired by a choirs of the Program ‘Build by Singing’ poem of the Venezuelan writer Aquiles of the Foundation Schola Cantorum of Nazoa ‘La Avispa ahogada’. The liter - Venezuela. He has written music for all ary work of Aquiles Nazoa (1920- ages of various levels of difficulty that 1976) is characterized by the variety of can be used as a sequenced method of genres that he worked on, particularly teaching music through choral singing. essays and poetry. He was also a The main characteristic aspects of his renowned journalist. In his works the music can be summarized in some sen - values of Venezuelan popular culture tences. His music is didactic and and habits of life are expressed with addresses the age of the children in such simplicity and remarkable humor. In his a way that melody and rhythm always children's poems, the fable occupies a go hand in hand. In general, the privileged place, because it is a tool to melodies are simple and very lyrical, convey moral teachings to the little easy to remember; however, rhythmic ones. These are the aspects of Nazoa’s patterns are more complex. Many of poetry that captivated Alberto Grau, them inspired on Latin American popu - because in his work as a composer for lar music, are almost always accompa - children’s choirs he has always sought nied by body movements (eurhythmics) poetry that uses a rich language, and which help the child to a better musical yet is not over complicated, that has a development. Grau introduces in his message and that is joyful and creative. works a great rhythmic variety by using Grau believes that the child must learn regular and irregular bars, and mixing to love and enjoy choral music through different rhythms in each one of the the texts and a more contemporary pieces and he also seeks to create fun, musical language. In this work, Grau histrionic moments that can be com - changes the original title of the poem bined with body expression and ele - ‘The drowned Wasp’ to ‘The angry ments of contemporary music such as Wasp’ considering it more appropriate the rap. for children. Alberto Grau is today the most prolific choral composer for the In La Avispa Brava we will hear the children in Latin America. His legacy, combinations of many Latin rhythms. created over a period of 30 years, has It begins with a joyful “Overture” that 6-17 DCINY.qxp_Carnegie Hall Rental 6/7/17 11:49 AM Page 7

creates the right environment for this into a Chachachá and Bolero.The next story. Our wasp goes through 10 differ - song ‘Anonadada’ (Stunned) is a simple ent scenarios and in each of them there and joyful melody that characterizes are novel elements. The first one, is ‘La this piece. Follows a group of three Avispa aquel día’ (The wasp that day), movements ‘Ciega como iba’ (Blind as which describes the sounds of she was going), ‘Repentinamente’ (Sud - and colors of the woods through ono - denly), and ‘Un vaso pequeño’ (A small matopoeic syllables ‘larilarilari’ sung in glass) where the final outcome of the a 6/8 rhythm that will be transformed story takes place. Before the ‘Moral’ is into the 5/8 of the Venezuelan sung, the composer introduced an extra merengue. The next one ‘Nada, Nada, movement ‘Mala Cara’ (Grumpy face) Nada’ (Nothing, nothing, nothing) which is to be spoken rhythmically as a shows the indifference of the wasp rap portraying the people who have through various dances. The first angry faces, that command respect for encounter happens in ‘Rosas Blancas’ their grumpiness. The “Moral” is a (White Roses). It starts with a beautiful wonderful genre to tell stories and edu - lyric melody that portrays the roses cate children, and when it is experi - which will be contrasted with the fury enced and learned through joyful of the wasp in a very rhythmic ‘rap’, music, the educational effect will be later combined with the Cuban Son. A more profound. new friend greets her, the Bee,‘Buen día’ (Good morning) with a happy Venezue - Notes by María Guinand lan Joropo-Valse, later transformed 6-17 DCINY.qxp_Carnegie Hall Rental 6/7/17 11:49 AM Page 8

Texts & TRANSLATIONS La Doncella ALBERTO GRAU

El sol es de oro, The sun is made of gold, la luna de plata, the moon of silver, y las estrellitas de hoja de lata. and the little stars of tin foil.

Vino un gran platero que quiso com - There came a mighty silversmith who prarlas. wanted to buy them.

¿Cuanto das por ellas? How much would you give for them? Mil onzas labradas. One thousand pieces of wrought silver. Para tantas joyas es poco dinero; For so many jewels that’s but little vete con tus onzas, mísero platero. money; begone with your pieces, wretched sil - versmith.

El sol es de oro, The Sun is made of gold, la luna de plata, the moon of silver, y las estrellitas de hoja de lata. and the little stars of tin foil.

Vino un jardinero que quiso comprar - There came a gardener who wanted to las. buy them.

¿Cuanto das por ellas? How much would you give for them? Mil rosas de Arabia. One thousand Arab roses. Para tantas joyas tus rosas son pocas; For so many jewels your roses are but vete jardinero, vete con tus rosas. few; begone gardener, begone with your roses.

El sol es de oro, The Sun is made of gold, la luna de plata, the moon of silver, y las estrellitas de hoja de lata. and the little stars of tin foil.

Vino una doncella, tez de terciopelo, There came a maiden, her skin of velvet, los ojos azules como otros dos cielos. her eyes as blue as two other skies. Doncella preciosa: Beautiful maiden: ¿cuanto das por ellas? How much would you give for them? Con solo mirarlas me quedo con ellas. I have only to look at them and they will be mine.

Mientras lo decía miró al firmamento, As she spoke she looked at the firma - y sol, luna, y estrellas, ment, y hasta los luceros, and sun, moon, and stars, 6-17 DCINY.qxp_Carnegie Hall Rental 6/7/17 11:49 AM Page 9

tomando sus ojos por otros dos cielos, and even the fireflies, radiantes de gozo se metieron dentro. thinking her eyes to be two new skies; radiant with joy entered them.

El sol es de oro, The Sun is made of gold, la luna de plata, the moon of silver, y las estrellitas de hoja de lata. and the little stars of tin foil.

La Avispa Brava (WORLD PREMIERE) ALBERTO GRAU

1. Overture La avispa aquel día Since morning desde la mañana, that day, como de costumbre the wasp, as usual bravísima andaba. walked furious.

2. That day, the wasp….(La avispa aquel día) El día era hermoso The day was beautiful, la brisa liviana; the light breeze cubierta la tierra covered the earth. de flores estaba There were flowers y mil pajaritos and a thousand birds los aires cruzaban. crossed the air.

3. Nothing, nothing, nothing…..(Nada, Nada, Nada) Pero a nuestra avispa But our wasp, —nuestra avispa brava— our angry wasp, nada le atraía, was not interested no veía nada in anything, por ir como iba because she was comida de rabia. full of rage.

4. White Roses (Rosas blancas) “Adiós”, le dijeron Goodbye said to her unas rosas blancas, some white roses, y ella ni siquiera but she did not even se volvió a mirarlas looked at them. por ir abstraída, She walked abstracted, torva, ensimismada, baleful, self-absorbed, con la furia sorda with a deaf fury que la devoraba. that devoured her. 6-17 DCINY.qxp_Carnegie Hall Rental 6/7/17 11:49 AM Page 10

5. Good morning (Buen día) “Buen día”, le dijo 'Good morning', la abeja, su hermana, said to her y ella que de furia the bee, her sister, casi reventaba, but since she was por toda respuesta almost bursting in fury, le echó una roncada her only reply que a la pobre abeja was a loud snore, dejó anonadada. that left stunned the poor bee.

6. Stunned! (Anonadada) ¡Un vaso pequeño A small glass, menor que una cuarta Less than a hand span.

7. Blind as she was going…. (Ciega como iba) Ciega como iba Blind as she was going la avispa de rabia, all of a sudden, repentinamente like in a trap, como en una trampa she found herself se encontró metida stuck inside a house. dentro de una casa. Casting thousand insults. Echando mil pestes because she was enclosed. al verse encerrada, Instead of acting en vez de ponerse with serenity and calm, serena y con calma and trying to find a way out, a buscar por donde Do you know what she did? salir de la estancia, She became angrier! ¿sabéis lo que hizo? She nod against the glasses ¡Se puso más brava! without seeing in her fury Se puso en los vidrios that windows and doors a dar cabezadas, were opened sin ver en su furia at a short distance. que a corta distancia And because ventanas y puertas she was dominated by anger, abiertas estaban; she hardly saw y como en la ira where she was flying, que la dominaba and in a furious rush, casi no veía our wasp fell por donde volaba, in a glass of water. en una embestida que dio de la rabia, cayó nuestra avispa en un vaso de agua. 6-17 DCINY.qxp_Carnegie Hall Rental 6/7/17 11:49 AM Page 11

8. Suddenly….. (Repentinamente) Ciega como iba Blind as she was going la avispa de rabia, all of a sudden, repentinamente like in a trap, como en una trampa she found herself se encontró metida stuck inside a house. dentro de una casa. Casting thousand insults. Echando mil pestes because she was enclosed. al verse encerrada, Instead of acting en vez de ponerse with serenity and calm, serena y con calma and trying to find a way out, a buscar por donde Do you know what he did? salir de la estancia, She became angrier! ¿sabéis lo que hizo? She nod against the glasses ¡Se puso más brava! without seeing in her fury Se puso en los vidrios that windows and doors a dar cabezadas, were opened sin ver en su furia at a short distance. que a corta distancia And because ventanas y puertas She was dominated by anger, abiertas estaban; she hardly saw y como en la ira where she was flying, que la dominaba and in a furious rush, casi no veía our wasp fell por donde volaba, in a glass of water. en una embestida A small glass, que dio de la rabia, Less than a hand span cayó nuestra avispa from which even a mosquito en un vaso de agua. Could get out and save himself! ¡Un vaso pequeño menor que una cuarta donde hasta un mosquito nadando se salva!…

9. A small glass (Un vaso pequeño) ¡Un vaso pequeño A small glass menor que una cuarta less than a hand span, donde hasta un mosquito where even a mosquito nadando se salva!… could swim and save himself! Pero nuestra avispa, But our wasp, nuestra avispa brava, our angry wasp, más brava se puso got angrier to be soaked, al verse mojada, and the very foolish en vez de ocuparse instead of trying la muy insensata to win the shore, de ganar la orilla flapping her wings, batiendo las alas she made threats, se puso a echar pestes launched bites, y a tirar picadas and casted spells. 6-17 DCINY.qxp_Carnegie Hall Rental 6/7/17 11:49 AM Page 12

y a lanzar conjuros and issued insults. y a emitir mentadas, As the story Tal como la avispa which tells the fable ... que cuenta esta fábula

10. Grumpy face (Mala cara) El mundo está lleno There are many people de personas bravas, who have angry faces, que infunden respeto that command respect por su mala cara. for their grumpiness.

y así poco a poco …and so gradually fue quedando exhausta the wasp was exhausted hasta que furiosa, and still very furious, pero emparamada, and soaked, terminó la avispa our angry wasp por morir ahogada. ended by drowning herself.

11. Moral (Moraleja) El mundo está lleno As the wasp of this story de personas bravas, the world is full que infunden respeto of angry people, por su mala cara. that command respect que se hacen famosas for their grumpiness, debido a sus rabias that become famous y al final se ahogan because of their anger, en un vaso de agua. and eventually drown themselves, in a glass of water. 6-17 DCINY.qxp_Carnegie Hall Rental 6/7/17 11:49 AM Page 13

THE Artists

ERNEST PEREIRA, Director, The Charlotte Symphony Youth Orchestra

universities, including the Cleveland Institute of Music, the Juilliard School, University of Texas at Austin, the Yale School of Music, the Peabody Institute at the Johns Hopkins University, Oberlin College, North Carolina School of the Arts, UNC-Chapel Hill, and Vanderbilt University. A native of South Africa, Dr. Pereira received his early training in vio - lin in Pretoria from Walter Mony and Alan Solomon and holds Teacher and Performer Licentiates from the Univer - sity of South Africa. He studied in this country with David Cerone, graduating as valedictorian from the Cleveland Insti - tute of Music with a Bachelor of Music The Symphony Guild of Charlotte degree in 1981 and a Master of Music Endowed Chair and Conductor of the degree in 1982. He received his Doctor Charlotte Symphony Youth , of Musical Arts from the University of Dr. Pereira has vigorously improved and Texas in 1987, studying with Vincent expanded the two ensembles over the Frittelli. Dr. Pereira served as Concert - past twenty years, leading the CSYO master of both the Cleveland Institute of in performances at Charlotte’s Festival in Music Orchestra as well as the University the Park and Summer Pops at Sym - of Texas Orchestra and conducted the phony Park, as well as the prestigious University of Texas String Project venues of Piccolo Spoleto in Charleston, Orchestra. Since 1985, Dr. Pereira has SC, and Carnegie Hall in New York, NY. been a member of the Charlotte Sym - He has guest conducted the Charlotte phony Orchestra. He has appeared Civic Orchestra and has appeared on frequently as a soloist and chamber several local series as musician in the United States, South either a violinist or conductor. For a Africa and Namibia and has soloed with number of years, Dr. Pereira was fea - the Charlotte Symphony Orchestra tured at the Charlotte Symphony’s and the Charlotte Civic Orchestra. annual Youth Festival, conducting the He believes strongly in educating young Charlotte Symphony Orchestra as well musicians and maintains an active as the combined professional and youth and successful studio. orchestras. He currently co-directs, with Dr. Nitsch, the Fun with Chamber Music The Charlotte Symphony Youth Orches - program for youth at Queens University. tra is a core educational component of Students from his orchestra and private the Charlotte Symphony Orchestra. The teaching studio have gone on to major Youth Orchestra program offers nearly in music at noted conservatories and 200 students in the greater Charlotte 6-17 DCINY.qxp_Carnegie Hall Rental 6/7/17 11:49 AM Page 14

area a unique opportunity to study stage performing side-by-side with the under and perform with professional Charlotte Symphony. The Charlotte symphony musicians. Open to musicians Symphony Youth Orchestra has per - in grades 8-12, the Youth Orchestra sea - formed at the Piccolo Spoleto Festival in son runs from summer camp in August South Carolina, the Atlas Theater in through June. The groups perform an Washington, DC and at Carnegie Hall. average of six concerts per year, one on

ALBERTO GRAU, DCINY Composer-in-Residence

tional congresses and festivals with his choirs such as ACDA Conventions, World Choral Symposia, Europa and America Cantat Festivals. Also he has been invited as a guest conductor, adju - dicator, and professor of choral music in Europe, USA, Latin America and Asia. The International Federation for Choral Music gave him in 2015 the ‘Life Long Acievement Award’ for his work as a composer and pedagogue. More than thirty recordings provide evidence of his fine musicianship and extensive knowl - edge of international and Latin American choral repertoire. He is the honorary and founder director of Schola Canto - Distinguished composer, conductor, and rum de Venezuela, the Orfeón Universi - teacher Alberto Grau (b. 1937) has tario Simón Bolívar and the Ave Fenix earned a place of honor among the best Choir, and is a member of the Directive contemporary venezuelan musicians. Board of the Fundacion del Estado para Alberto Grau is best know for his work las Orquestas Infantiles y Juveniles de as a choral conductor, but as a composer Venezuela, FESNOJIV. Currently he is he has become one of the leading figures artistic advisor and composer in resi - in Latin America and many of his works dency of the Progam Pequeños Cantores have been published by Earthsongs de la Schola and of the Project of Social (USA), N.J.Kjos (USA), A Coeur Joie Action for Music of CAF. For more than (France), Oxford University Press (Eng - 30 years he was professor of Choral land), GGM editors (Venezuela) and Conducting in several institutions, such receives permanently many commissions as the Musical Institute and the Univer - from choirs all over the world. His sity Simón Bolívar in Caracas and Direc - books on Choral Conducting and Com - tor of the Choral Symphonic produc - position The making of a conductor and tions of FESNOJIV. He has studied with The making of the composer are refer - Venezuela’s most gifted teachers: Vicente ences for young conductors and musi - Emilio Sojo, Angel Sauce, Juan Bautista cians. In 1967, he founded the Schola Plaza and Gonzalo Castellanos. Alberto Cantorum de Caracas and won First Grau has won the José Angel Montero Prize in the 1974, Guido D’Arezzo Inter - National Competition Award in national Competition in Italy. Since then Venezuela three times: in 1967 for his he has attended many important interna - Triptych for Low Voice & Piano, in 6-17 DCINY.qxp_Carnegie Hall Rental 6/7/17 11:49 AM Page 15

1983 with Dies Irae for Mixed Chorus; and his Opereta Ecológica won the Prize and in 1987 with his Pater Noster for of Composition from the Comunidad Mixed Chorus. His ballet La Doncella Autónoma de Canarias, Spain in 1999. for mixed choir, speaker & chamber He received a commission from the 6th ensemble was awarded first prize in the World Choral Symposium in Minneapo - 1978 International Day for Choral lis in 2002. Singing competition in Barcelona, Spain

CRISTIAN GRASES, Guest Conductor

faculty in the Fall 2010 semester and is currently an associate professor of choral music and conductor of the USC Thornton Concert Choir. As a sought- out conductor, clinician, academic, and adjudicator, he has traveled to Europe, North and South America, Asia, and Australia, conducting in prestigious halls such as Carnegie Hall, and presenting in numerous international conventions and symposia. Grases is also an award-win - ning composer whose works have been commissioned and sung by numerous prestigious ensembles such as the Santa Fe Desert Chorale and the Los Angeles Master Chorale. This is Dr. Grases’ third Venezuelan native Cristian Grases joined appearance with DCINY. the University of Southern California

MARÍA GUINAND, Guest Conductor

many choral projects both nationally and internationally. Frequently invited as conductor and teacher to different events and concerts in U.S.A, Europe, Asia, and Latin America, she has spe - cialized in Latin-American Choral Music of the 20th and 21st centuries. At present, she conducts the Schola Cantorum de Venezuela with whom she has toured extensively and recorded many times. Always interested in new choral music, there have been some very important projects in which she has participated with the Schola Canto - rum de Venezuela such as the premiere and more than 45 performances and 2 María Guinand is a choral conductor, recordings for the labels Deutsche university professor, and leader of Grammophon (Echo Prize 2010) and 6-17 DCINY.qxp_Carnegie Hall Rental 6/7/17 11:49 AM Page 16

Hanssler–Verlag (Grammy nominated Venezuela, the Municipal Orchestra 2002) of Osvaldo Golijov s Pasión from Caracas, the Symphony Orchestra según San Marcos (commissioned by of Los Teques, Mérida Symphony the Internationale Bachakademie Orchestra; Bundesjugend Orchester Stuttgart for the Bach’s year 2000); the (Germany). premiere and recording for Nonesuch of John Adam s A Flowering Tree As a choral promoter, she is the Artistic (commissioned by the Vienna Festival Director of the Schola Cantorum of in the Mozart’s year 2006). She has Venezuela Foundation, and coordinates been for more than 30 years (1976- the permanent development of choral 2009) Associated Conductor and Advi - centers for children and youth of low sor of Choral Symphonic Performances economic resources in Venezuela and and Activities of El Sistema; she teaches other Latin American countries in the in the Master Degree Program for Project Voces Latinas a Coro’, spon - Choral Conductors at the University sored by the Andean Corporation Bank Simón Bolívar where she has worked as (CAF) and also advises in a similar pro - professor and conductor for 28 years. ject the Palau de la Música (Barcelona, She collaborated closely with Helmuth Spain). She served for 12 years as Latin Rilling conducting the Youth Choir of American Vice-President of the IFCM the Festivalensemble in the European and she is currently Advisor to the Music Festival from 2001-2004, she Board. She was also a member of has conducted the World Youth Choir the ‘International Music Council’ (1998 and 2003) and has participated (UNESCO). She is editor of the series with her ensembles and as lecturer in Musica de Latinoamerica by Earth - several of the Simposia for Choral songs Editions and of several publica - Music of the ‘International Federation tions by Carus Verlag. for Choral Music’. In 2010, she was guest conductor in the Disney Hall in She graduated from Bristol University Los Angeles in the opening season of (England) and studied choral conduct - Gustavo Dudamel in the Festival ing with Alberto Grau. She further her ‘America and the Americans’. She has conducting and musical education with led the Simón Bolívar Symphony Helmuth Rilling, Luigi Agustoni and Orchestra, the Symphony Orchestra of Johannes B. Goeschl.

DISTINGUISHED CONCERTS ORCHESTRA

Founded in 2008 by esteemed choral England Conservatory and Boston and orchestral conductor, Jonathan Conservatory. While the vast majority Griffith, Distinguished Concerts of these players have performed in Orchestra (DCO) is the resident orches - every DCINY production since its tra for Distinguished Concerts Interna - inception, those players who have left tional New York (DCINY), the city’s the New York area have gone on to per - preeminent producer of choral and manent posts in orchestras such as the orchestral concerts in New York’s most Boston Symphony, Los Angeles Philhar - prestigious concert venues. The DCO monic and the London Philharmonic. is comprised of some of the top orches - tral musicians in the area including Under the direction of Jonathan Griffith numerous graduates of Juilliard, The and DCINY’s roster of notable guest Manhattan School of Music, The New conductors, the DCO performs in 6-17 DCINY.qxp_Carnegie Hall Rental 6/7/17 11:49 AM Page 17

Carnegie Hall and in Lincoln Center. Prize in the professional orchestra Whether performing choral/orchestral category, awarded in 2014 and masterworks or premiering adventure - semi-finalists for the 2015 and 2016 some new compositions, the DCO has competitions. Distinguished Concerts been lauded by conductors and review - Orchestra is driven by passion, innova - ers alike for its fresh interpretations, tive vision, a total belief in its artists, and musical subtlety and virtuosic ensemble an unwavering commitment to bring playing. Dr. Griffith and the DCO are forth an unforgettable musical experi - past winners of the prestigious American ence for performer and public alike.

DISTINGUISHED CONCERTS SINGERS INTERNATIONAL

Distinguished Concerts Singers Interna - countries and 6 continents. While the tional (DCSI) forms the backbone of majority of singers are dedicated ama - Distinguished Concerts International teur musicians, many professional and New York (DCINY), the city’s preemi - semi-professional ensembles, as well as nent producer of choral and orchestral individual professional singers, have concerts in New York’s most presti - also participated in the DCSI. All gious concert venues. DCSI is com - singers and/or ensembles go through an prised of singers and chorus members audition process reviewed by the from around the world. Between 30- DCINY Artistic team in order to 40% of the singers are alumni of DCSI receive an invitation to appear on the and have sung in 2 or more of the DCINY concert series. The DCSI can DCINY concert series over the years. vary in size from between 100 to 500 The DCSI has drawn members from 43 singers, depending upon the repertoire.

Distinguished Concerts Singers International Amazonia Vocal Ensemble (FL), Anaida Carquez-Soler, Director Bendigo Youth Choir (Australia), Valerie Broad OAM and Gail Godber, Director Benton Middle School Choirs (VA), Kimberley Blair, Director Bishop Kearney High School Chorus (NY), Anastasia Rege, Director Century Singers (ID), Joyce Brien, Director *The Mississippi Girlchoir (MS), Kristy Brumfield, Director Ponca City High School Chorale (OK), Chad W. Keilman, Director Presentation of Mary Academy Children’s Choir (NH), María Leticia González Lozada, Director Purwa Caraka Music Studio Children Choir (Indonesia), Jessica Fedora Amadea, Director St. Bonaventure Children’s Chorale (FL), Ysomar Echazabal Granados, Director Traughber Junior High Choral Ensemble (IL), Kimberly Moorman, Director And Individual Singers from around the globe

*Denotes DCINY Alumni 6-17 DCINY.qxp_Carnegie Hall Rental 6/7/17 11:49 AM Page 18

PERFORMING ARTS PARTNERS

DCINY would like to thank our Performing Arts Partners, who, with their financial sup - port, have made this performance possible.

Charlotte Symphony Youth Orchestra (NC) Violin I Brian DeHority Bassoon Caroline Smoak Eric Zhang Zachary VonCannon Drew Dansby Laura Mooney Zoe Maxwell Laurence Lu Abigail Silver Christopher Maldonado Gabija Zilinskaite Amy Ohara Victor Chu Steve Yoon Brian Zhan Ann Marie Lawing Rickie Carballo Liddy Farley Tristan Burns Cody Qiu Sarah Austin Patrick Negus Mathew Lin Davis Zakary Irene Park Grace Kim Elijah Hornback Anna Wei Cass Jackson Hannah Miele Asa Zhao Daniel Clarkson Maren Shawen Duncan Moore Ethan Huang Kristina Roller Abigail Dewey Jennifer Fan SooA Choi Jasmine Leahy Jill Pownall Ryan Mitchell Will Lynch Elena Jacoby Kristen Leake Young-Woo Lee Connor Frunzi Violin II Chaewon Yoon Trombone Elise Bloom Yena Kang John Roselli Andrew DeWeese Brian Park Gavin Kelley Martha-Grace Jackson Mitchell Erb Tiffany Zhou Soorya Vasan Zach McMillan Tuba Janice Xu Alex Warmath Paul Ryerson Carol Yun Lydia Nusbaum Anna Norris Ellen Garfinkle Harp Harin Lim Kylie Johnson Connor May Kelly Audrey Lin Cam Doherty Ashleigh Jones Camillia Simonds Evelyn Glukhoman Piano Kyung-Ah Hwang Jamie Lee Veronica Leahy Audrey Nelson Sydney Horner Evelyn Townsend Charles Yang Percussion Robert Capaldo Austin Cantrell Oboe Ross Jarrell Daniel Haller Olivia Jones Daniel Chabeda Jamison Hillian Lucas Kabasakalian Marissa Berger Ellie Rasmussen Varun Raja Samhitha Sunkara Shelby McMehan Sophia Roper Katie Groenhout Caroline Palmer Clarinet Elizabeth Dorans David Li Daniel Boyle Bryan Kirk Emma Story Jackson Boatwright

Distinguished Concerts Singers International Nicole Abbate Anna Ament Eduardo Ascanio Leevia Acquaviva Brodrick Anderson Leigha Ashley Natalia Gabrielle Adara Garret Anderson Maria Avilan Sydney Afonso Annisya Maryam Anjani Yanni Balocating Sarah Nur Aini Anjani Farid Bashirov Jarred Albano Santiago Annunziato Donatella Bavaro Kaitlyn Allan Maria Arnal Abigail Beauchemin 6-17 DCINY.qxp_Carnegie Hall Rental 6/7/17 11:49 AM Page 19

Amanda Bell Melina Furlan Jessica Lehman Juan A. Benatuil Miren Gabiola Vivian Leon Juan F. Benatuil Ana Garcia Dong Liu Jadyn Benton Ramiro Garcia Bailey Lizzie Gabrielle Bernard Laura Maria Garzon Ryan Ludwig Cadence Bice Mariana Garzon Sydney Lytle Mckenzie Blair Marissa Gerber Kiara Maina Katelyn Boffi Maria Giambanco Emma Manieri Ava Bonsey Gabriella Gilbert Javier Manrique John Brady Bookout Alice Gladwell Alexis Marinecz Alexander Boostrom Abbey Glaser Yasmira Martínez Samantha Boron Anela Gomes Alexander Mason Daylan Boyer-Gilliland David Gomez Rebecca Mattei-Brown Elizabeth Boyett Kayla Gonzalez Miranda Maynard Tinika Bright Sara Gonzalez Caroline Mcbride Erica Broad Anthony Grande Bethany Mcdonald Alice Carpenter Sonnet Gray Faith Mcdonald Megan Carpenter Gabrielle Griese Megan Mcinerney Ryan Carpenter Lucie Griffin Lola Mendoza Morgan Carroll Saree Grimes Allison Metcalf Kelley Castro Daniela Guanipa Alexa Meyer Scarlett Castro Gabriella Guzman Cici Milam Audrey Caughlin George Habib Kathryn Miller Chloe Chandler Amelia Hadinata Morgan Miller Mia Chang Levina Hadinata Kesyahara Olivia Mirabel Chun Ying Chiang Ella Hale Helenn Montilla Joshua Chrisman Addison Hall Jane Morrissey Rose Churba Alicia Hannaford Sean Morrissey Anna Clark Brayden Hardersen Paige Morton Kenneth Clark Nicole Harmon Taylor Mullins Sophie Cloke Maria Hartwell Paloma Muñoz Conner Coffland Emily Heisen Brianna Murray Julia Colon Caitlin Michaela Hermawan Stefano Musso Christopher Comer Jawuan Hill Corbin Myers Gavin Cope Kathryn Hines Maria Michelle Arana Flávia Correia Kimberly Hines Naibaho Jesse Crabtree Grace Hodanich Alexander Navarro Sarah Crandall Paytan Hodgson Marie Nera Gamble Davis Meredith Hornsby Lillie Newby Caitlin De Beer Jordan Houde Hailey Nielsen Alejandro De Santis Joshua Houde Gizka Aulia Nurafifah Laura Kate Decker Natalie Jacobs Gabrielle O'connor Mary Deen Antoinette Jacques Sofia Ocque Ryanne Delaney Jessica Jilek Tess Lulu Orban Sera Delinski Abigail Jobgen Gemma Orlando Carter Denton Celeste Johnson Andres Ortiz John Derouen Natalie Johnson Chloe Ouellette Kristin Derouen Brady Johnston Courtney Parks Elsa Dominguez Ashton Jones Sophia Pelusso Ryan Dukes Eva Grace Jones Angelina Pennington Kassandra Durst Jessica Jones Breanna Pickering Sarah El Ashuh Sabrina Jones Michael Pickering Samantha Emery Baden Judd Kevin Plata Fabio Fabbiani Maya Kaplan Julian Posada Jasmine Kurnia Fadhilah Simone Kaplan Maria Prado Cut Cheryl Bernice Faenza Nichols Kathryn Andini Sekar Prameswari Tyler Fallis Florentina Resa Kawatu Lilia Prieto Audrey Aura Farhani Hannah Keating Sonia Prieto Michaela Feddes Hannah Kemp Brianna Pritchard Seth Fetro Phoebe Kibler January Punwattana Natalie Flint Patrice Kugler Kayla Quigley Anna Fondakowski Rebecca Lambert Hadasa Arum Ranti Lane Fountain Nora Larson Anastasia Rege Emily Frandsen Clare Chien-Lun Lee Julia Rester Emily Franzoni Jake Lee Sofia Riccardi 6-17 DCINY.qxp_Carnegie Hall Rental 6/7/17 11:49 AM Page 20

Tareva Riggs Aliyah Nariswari Soedharma Jillian Valentino Anasofia Rivera Venus Suarez Mateo Vaquero Franchesca Rodriguez Colleen Sullivan Luciana Velarde Ruth Romero Serra Sullivan Renata Velarde Sofia Rosado Christopher Sutedja Catalina Villamarin Alexander Ross Anjali Sweetman Maggie Vivot Carlos Ruiz Bariq Mahatma Syach Jake Walsh Camila Santana Jacqueline Tartell Cara Ware Riley Schuman Salsabila Tasyah Dylan Watson Kate Seddon Maci Taylor Cyrus Wells Victoria Shand Chelsea Theinkeu Maria Cristina Wezkiewicz Sashi Ursula Sistanala Charlotte Tiffany Faith Wherry Nayla Faidza Khariska Victoria Tilley Grace Wherry Siswanto Luciana Tjong Diva Aurora Wijaya Sophia Skalli Norcelia Tobias Samantha Williams Grace Smith Camila Trujillo-Behrens Julianne Wilmot Jacee Smith Serena Tucker Marisa Wuersch Olivia Smith Domenic Tune Nadya Andini Wulandari Tara Smith Lachlan Tune Andrew Young Alan Smithee Valerie Valdes Zilong Zee

The Performing Arts Partners list includes names supplied by directors. Any questions regarding missing or misspelled names should be addressed to the individual directors.

DCINY ADMINISTRATIVE STAFF

Iris Derke, Co-Founder and General Director Jonathan Griffith, Co-Founder, Artistic Director & Principal Conductor Danuta Gross, Director of Finance & Administration Kevin Taylor, Director of Program Development James M. Meaders, Associate Artistic Director & Conductor Jason Mlynek, Associate Director of Program Development Mark Riddles, Program Development Katie Sims Silvestre, Program Development Julia Falkenburg, Program Development Maria Braginsky, Program Development Assistant Kimberly Wetzel, Program Development Assistant Jeff Binner, Program Development Assistant Jason Arnold, Program Development Assistant Tabitha Glista, Production Manager Andrea Niederman, Associate Director of Marketing, Box Office & Promotions Katherine Shen, Box Office & Marketing Assistant DeAnna Choi, Office Operations Manager, Accounting & Billing Marisa Tornello, Concert Operations Associate Morgan Yachinich, Concert Operations Gary Crowley, Graphic Design & Website Jessica Zakula, Intern

For PR and media inquiries, please contact [email protected] or (212) 707-8566 Ext. 307.

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