Carnegie Hall Rental - dciny.org · MANUEL DE FALLA Ritual Fire Dance from El amor brujo JOAQUÍN...

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

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

presents

Song/PlayCHARLOTTE SYMPHONY YOUTH ORCHESTRA

ERNEST PEREIRA, Director

EMMANUEL CHABRIER España, Rhapsody for Orchestra

JULES MASSENET Ballet Music from Le CidAragonaiseCastillaneCatalaneMadrilèneNavarraise

MANUEL DE FALLA Ritual Fire Dance from El amor brujo

JOAQUÍN TURINA Orgía from Danzas fantásticas, Opus 22

Intermission

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

DISTINGUISHED CONCERTS ORCHESTRA DISTINGUISHED CONCERTS SINGERS INTERNATIONAL

CRISTIAN GRASES, Guest ConductorALBERTO GRAU, DCINY Composer-in-Residence

ALBERTO GRAU La Doncella1. Introduccion2. Danza de las Estrellitas3. Danza del Platero4. Danza del Jardinero5. Danza del Sol y La Luna6. Danza de la Doncella7. Valse del la Doncella8. Gran Danza Final

Pause

DISTINGUISHED CONCERTS ORCHESTRA DISTINGUISHED CONCERTS SINGERS INTERNATIONAL

MARÍA GUINAND, Guest ConductorALBERTO GRAU, DCINY Composer-in-Residence

ALBERTO GRAU La Avispa Brava (WORLD PREMIERE),Courtesy of the DCINY Premiere Project1. Overture2. 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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Notes ON THE PROGRAMEMMANUEL CHABRIER (1841-1894)España, Rhapsody for Orchestra (7 minutes)

Emmanuel Chabrier was born inAmbert, France, on January 18, 1841,and died in Paris, France, on September13, 1894. The first performance ofEspaña took place in Paris at the Théâtredu Château d’Eau on November 4, 1883,with Charles Lamoureux conducting theOrchestre de Société des Nouveaux-Con-certs. España is scored for piccolo, twoflutes, two oboes, two clarinets, four bas-soons, four horns, two trumpets, twocornets, three trombones, tuba, timpani,tambourine, triangle, cymbals, bassdrum, two harps and strings. Approxi-mate performance time is seven minutes.In 1882, French composer EmmanuelChabrier journeyed with his wife toSpain. In a letter written in November ofthat year, Chabrier told a friend of hisexperiences: Every evening, we go to thecafé concerts where the Malaguenas, theSoledas, the Zapateados and the Peten-eras are sung. Then the dances…If youcould see them wiggle, unjoint their hips,contort, I believe you would not try toget away! At Malaga the dancing becameso intense that I was compelled to take

my wife away; it wasn’t even amusingany more…This is the picture: twowomen dance, two silly men play—itdoesn’t matter what—on their guitars,and five or six women howl, with excru-ciating voices and in triple figures…It isvertiginous, it is unspeakable!…All themore cries, the more the dancer laughswith her mouth wide open, and turns herhips, and is mad with her body. WhenChabrier returned to France, heattempted to capture the flavor of thesewild, exotic Spanish nights in España.Chabrier originally composed the workfor piano, later adapting it for orchestra.España received its premiere in 1883,with Charles Lamoureux conducting. Ina letter to Lamoureux, Chabrierdescribed España as “an extraordinaryfantasia, muy española, based on memo-ries of this wonderful trip. I’ll make theaudience move to feverish rhythms, andmy melodies will be so voluptuous thateveryone will end up locked in a giantkiss.”

Notes by Ken Meltzer

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

Jules Massenet was born in Montaud,Saint-Étienne, France, on May 12, 1842,and died in Paris, France on August 13,1912. The first performance of Le Cid,took place at the Opéra in Paris onNovember 30, 1885. The Ballet Musicfrom Le Cid is scored for piccolo, twoflutes, two oboes, English horn, twoclarinets, two bassoons, four horns, twotrumpets, two cornets, three trombones,

tuba, timpani, bass drum, cymbals,snare drum, tenor drum, triangle, tam-bourine, castanets, two harps, andstrings. Approximate performance timeis fifteen minutes. Jules Massenet’s grandopera Le Cid is based upon a 1637tragedy by Corneille. The premiere,which took place at the Paris Opéra onNovember 30, 1885, featured severallegendary singers, including Jean and


Edouard de Reszke, and Pol Plançon.The story of Le Cid takes place in Spainduring the time of the Reconquista. Theyoung knight Rodrigue avenges an insultto his father. But in doing so, Rodriguekills the father of his beloved Chimène.She implores the King of Spain to punishRodrigue. As Rodrigue’s leadership isneeded in the impending battle againstthe Moors, his punishment is delayed.Rodrigue vows that if he survives, hewill return and submit to whatever sen-tence the King decrees. After the battle,the victorious Rodrigue gives the Kinghis sword. The King, in turn, decreesthat Chimène must impose sentence.Chimène remains torn between her lovefor Rodrigue and devotion to her father.

But when Rodrigue reaches for his dag-ger to kill himself, Chimène stays hishand. Chimène’s display of love forRodrigue brings Le Cid to its happy res-olution. In addition to masterful vocalwriting, Massenet’s operas are notablefor their rich, colorful, and brilliantorchestral palette. A fine example is theBallet Music from Act II of Le Cid,which takes place during springtime, inthe Square of Burgos. The assembledwatch a series of dances that evokeSpain’s provinces: Aragonaise, Castil-lane, Catalane, Madrilène, Navarraise.


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

Manuel de Falla was born in Cádiz,Spain, on November 23, 1876, and diedin Alta Gracia, Argentina, on November14, 1946. The first performance of Elamor brujo took place at the Teatro Larain Madrid, Spain, on April 15, 1915,with José Moreno Ballesteros conduct-ing. The Ritual Fire Dance is scored forpiccolo, two flutes, oboe, two clarinets,bassoon, two horns, two trumpets, tim-pani, piano, and strings. Approximateperformance time of the Ritual FireDance is four minutes. In 1907, Manuelde Falla moved to Paris. He finallyreturned to Madrid in 1914. Thismarked the beginning of an incrediblycreative period for the Spanish composer.Over the next few years, he completedsuch compositions as his work for solo

piano and orchestra, Nights in the Gar-dens of Spain (1915), the Suite populaireespagnole for voice and piano, and theballets El amor brujo (Love, the Magi-cian) (1915), and El sombrero de trespicos (The Three-Cornered Hat) (1919).All of these compositions demonstrateManuel de Falla’s masterful and beguil-ing synthesis of classical music and Spanish folk culture. The story of Elamor brujo concerns the beautiful gypsywoman Candélas, who is haunted by herdead lover. The most well-known excerptfrom the ballet is the passionate andseductive Ritual Fire Dance Candélasperforms in an attempt to exorcise herlover’s ghost.



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

Joaquín Turina was born in Seville,Spain, on December 9, 1882, and diedin Madrid, Spain, on January 14, 1949.The first performance of the orchestralversion of Danzas fantásticas took placein Madrid on February 13, 1920, withBartolomé Pérez Casas conducting theMadrid Philharmonic. The Danzas fan-tásticas are scored for piccolo, threeflutes, two oboes, English horn, twoclarinets, bass clarinet, two bassoons,contrabassoon, four horns, three trumpets, three trombones, tuba, tim-pani, glockenspiel, chimes, triangle,tambourine, cymbals, suspended cym-bal, bass drum, harp, and strings.Approximate performance time ofOrgía is five minutes. While still in histeens, Joaquín Turina established him-self in his native Seville both as acomposer and pianist. Turina latermoved to Madrid, where he studiedpiano at the Real Conservatorio Supe-rior de Música. In 1905, Turina movedto Paris. Two years later, Turinaappeared as pianist in a Paris perfor-mance of his Piano Quintet, Opus 1. In

the audience was Spanish composerIsaac Albéniz. After the hearing theQuintet, a work very much in theFrench classical tradition, Albéniz coun-seled Turina to look to Spanish folkmusic for inspiration. Turina’s friend,Spanish composer Manuel de Falla, hadpreviously offered similar advice. Turinaagreed, and embarked on a path thatproduced many of his most belovedworks. Upon his return to Spain in1914, Turina established himself as ahighly influential composer, teacher, andcritic. His numerous compositions spanthe genres of opera, orchestral, cham-ber, and guitar music, songs, and pianopieces. Turina’s Danzas fantásticas existin versions for piano and symphonyorchestra. The latter received its pre-miere in Madrid on February 13, 1920.The work is in three colorfully orches-trated movements. The concludingOrgía (Orgy) invokes the farruca, a typeof flamenco dance.


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

Alberto Grau’s ballet La Doncella formixed choir, narrator, and chamberensemble was awarded first prize inthe 1978 “International Day forChoral Singing” competition inBarcelona, Spain. Grau sets a poem byrenowned Spanish bard Salvador deMadariaga (1886-1978) using a morecontemporary musical language thatincludes many extended compositionaltechniques such as glides, whispering,whistling, talking, and clusters. Per-haps the most important addition inhis compositions is the use of eurhyth-

mic elements. Grau writes obbligatoparts for choir that combine stomps,claps, finger snapping, and a variety ofother choreographic elements. In thiswork, these motions are performedsometimes while the choir is singing,and sometimes just with the orchestralaccompaniment. This creates a richpalette of musical colors and texturesthat Grau uses to help convey the storyto the audience. The work is orches-trated for a traditional ensemble withthe addition of some non-traditionalinstruments such as electric guitar,


Venezuelan Cuatro, and some LatinAmerican percussion instruments. Ituses mixed meter throughout, which iscommon in Grau’s compositions. Grauuses mixed meter often to convey thenatural prosodic accents of the text,and uses these rhythmic patterns asmusical building blocks. The work isdivided into seven continuous move-ments that have rhythmic, harmonic,and melodic cohesion. He also

includes a narration of the entire poemin the Introduction. Grau uses the tri-tone as a fundamental harmonic ele-ment that prevails almost in all move-ments, and combines imaginativemelodies—at times of great lyricism—with an infectious rhythmic platformthat drives the narration of thisbeloved poem.

Notes by Cristian Grases

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

This new work by the composerAlberto Grau (1937) was inspired by apoem of the Venezuelan writer AquilesNazoa ‘La Avispa ahogada’. The liter-ary work of Aquiles Nazoa (1920-1976) is characterized by the variety ofgenres that he worked on, particularlyessays and poetry. He was also arenowned journalist. In his works thevalues of Venezuelan popular cultureand habits of life are expressed withsimplicity and remarkable humor. In hischildren's poems, the fable occupies aprivileged place, because it is a tool toconvey moral teachings to the littleones. These are the aspects of Nazoa’spoetry that captivated Alberto Grau,because in his work as a composer forchildren’s choirs he has always soughtpoetry that uses a rich language, andyet is not over complicated, that has amessage and that is joyful and creative.Grau believes that the child must learnto love and enjoy choral music throughthe texts and a more contemporarymusical language. In this work, Grauchanges the original title of the poem‘The drowned Wasp’ to ‘The angryWasp’ considering it more appropriatefor children. Alberto Grau is today themost prolific choral composer for thechildren in Latin America. His legacy,created over a period of 30 years, has

been inspired by the children and youthchoirs of the Program ‘Build by Singing’of the Foundation Schola Cantorum ofVenezuela. He has written music for allages of various levels of difficulty thatcan be used as a sequenced method ofteaching music through choral singing.The main characteristic aspects of hismusic can be summarized in some sen-tences. His music is didactic andaddresses the age of the children in sucha way that melody and rhythm alwaysgo hand in hand. In general, themelodies are simple and very lyrical,easy to remember; however, rhythmicpatterns are more complex. Many ofthem inspired on Latin American popu-lar music, are almost always accompa-nied by body movements (eurhythmics)which help the child to a better musicaldevelopment. Grau introduces in hisworks a great rhythmic variety by usingregular and irregular bars, and mixingdifferent rhythms in each one of thepieces and he also seeks to create fun,histrionic moments that can be com-bined with body expression and ele-ments of contemporary music such asthe rap.

In La Avispa Brava we will hear thecombinations of many Latin rhythms.It begins with a joyful “Overture” that


creates the right environment for thisstory. Our wasp goes through 10 differ-ent scenarios and in each of them thereare novel elements. The first one, is ‘LaAvispa aquel día’ (The wasp that day),which describes the sounds of the birdsand colors of the woods through ono-matopoeic syllables ‘larilarilari’ sung ina 6/8 rhythm that will be transformedinto the 5/8 of the Venezuelanmerengue. The next one ‘Nada, Nada,Nada’ (Nothing, nothing, nothing)shows the indifference of the waspthrough various dances. The firstencounter happens in ‘Rosas Blancas’(White Roses). It starts with a beautifullyric melody that portrays the roseswhich will be contrasted with the furyof the wasp in a very rhythmic ‘rap’,later combined with the Cuban Son. Anew friend greets her, the Bee,‘Buen día’(Good morning) with a happy Venezue-lan Joropo-Valse, later transformed

into a Chachachá and Bolero.The nextsong ‘Anonadada’ (Stunned) is a simpleand joyful melody that characterizesthis piece. Follows a group of threemovements ‘Ciega como iba’ (Blind asshe was going), ‘Repentinamente’ (Sud-denly), and ‘Un vaso pequeño’ (A smallglass) where the final outcome of thestory takes place. Before the ‘Moral’ issung, the composer introduced an extramovement ‘Mala Cara’ (Grumpy face)which is to be spoken rhythmically as arap portraying the people who haveangry faces, that command respect fortheir grumpiness. The “Moral” is awonderful genre to tell stories and edu-cate children, and when it is experi-enced and learned through joyfulmusic, the educational effect will bemore profound.

Notes by María Guinand


Texts & TRANSLATIONSLa DoncellaALBERTO GRAU

El sol es de oro, la luna de plata, y las estrellitas de hoja de lata.

Vino un gran platero que quiso com-prarlas.

¿Cuanto das por ellas?Mil onzas labradas.Para tantas joyas es poco dinero;vete con tus onzas, mísero platero.

El sol es de oro,la luna de plata,y las estrellitas de hoja de lata.

Vino un jardinero que quiso comprar-las.

¿Cuanto das por ellas?Mil rosas de Arabia.Para tantas joyas tus rosas son pocas; vete jardinero, vete con tus rosas.

El sol es de oro, la luna de plata,y las estrellitas de hoja de lata.

Vino una doncella, tez de terciopelo, los ojos azules como otros dos cielos.Doncella preciosa:¿cuanto das por ellas?Con solo mirarlas me quedo con ellas.

Mientras lo decía miró al firmamento,y sol, luna, y estrellas,y hasta los luceros,

The sun is made of gold,the moon of silver,and the little stars of tin foil.

There came a mighty silversmith whowanted to buy them.

How much would you give for them?One thousand pieces of wrought silver.For so many jewels that’s but littlemoney;begone with your pieces, wretched sil-versmith.

The Sun is made of gold,the moon of silver,and the little stars of tin foil.

There came a gardener who wanted tobuy them.

How much would you give for them?One thousand Arab roses.For so many jewels your roses are butfew;begone gardener, begone with yourroses.


There came a maiden, her skin of velvet,her eyes as blue as two other skies.Beautiful maiden:How much would you give for them?I have only to look at them and theywill be mine.

As she spoke she looked at the firma-ment,and sun, moon, and stars,


tomando sus ojos por otros dos cielos,radiantes de gozo se metieron dentro.

El sol es de oro,la luna de plata,y las estrellitas de hoja de lata.

and even the fireflies,thinking her eyes to be two new skies;radiant with joy entered them.


La avispa aquel díadesde la mañana,como de costumbrebravísima andaba.

Since morningthat day,the wasp, as usualwalked furious.

La Avispa Brava (WORLD PREMIERE)ALBERTO GRAU

1. Overture

El día era hermosola brisa liviana;cubierta la tierrade flores estabay mil pajaritoslos aires cruzaban.

The day was beautiful,the light breezecovered the earth.There were flowersand a thousand birdscrossed the air.

2. That day, the wasp….(La avispa aquel día)

Pero a nuestra avispa—nuestra avispa brava—nada le atraía,no veía nadapor ir como ibacomida de rabia.

But our wasp,our angry wasp,was not interestedin anything,because she wasfull of rage.

3. Nothing, nothing, nothing…..(Nada, Nada, Nada)

“Adiós”, le dijeronunas rosas blancas,y ella ni siquierase volvió a mirarlaspor ir abstraída,torva, ensimismada,con la furia sordaque la devoraba.

Goodbye said to hersome white roses,but she did not evenlooked at them.She walked abstracted,baleful, self-absorbed,with a deaf furythat devoured her.

4. White Roses (Rosas blancas)


“Buen día”, le dijola abeja, su hermana,y ella que de furiacasi reventaba,por toda respuestale echó una roncadaque a la pobre abejadejó anonadada.

'Good morning', said to her the bee, her sister,but since she wasalmost bursting in fury,her only replywas a loud snore,that left stunnedthe poor bee.

5. Good morning (Buen día)

¡Un vaso pequeñomenor que una cuarta

A small glass,Less than a hand span.

6. Stunned! (Anonadada)

Ciega como ibala avispa de rabia,repentinamentecomo en una trampase encontró metidadentro de una casa.Echando mil pestesal verse encerrada,en vez de ponerseserena y con calmaa buscar por dondesalir de la estancia,¿sabéis lo que hizo?¡Se puso más brava!Se puso en los vidriosa dar cabezadas,sin ver en su furiaque a corta distanciaventanas y puertasabiertas estaban;y como en la iraque la dominabacasi no veíapor donde volaba,en una embestidaque dio de la rabia,cayó nuestra avispaen un vaso de agua.

Blind as she was goingall of a sudden,like in a trap,she found herselfstuck inside a house.Casting thousand insults.because she was enclosed.Instead of actingwith serenity and calm,and trying to find a way out,Do you know what she did?She became angrier!She nod against the glasseswithout seeing in her furythat windows and doorswere opened at a short distance.And becauseshe was dominated by anger,she hardly sawwhere she was flying,and in a furious rush,our wasp fellin a glass of water.

7. Blind as she was going…. (Ciega como iba)


Ciega como ibala avispa de rabia,repentinamentecomo en una trampase encontró metidadentro de una casa.Echando mil pestesal verse encerrada,en vez de ponerseserena y con calmaa buscar por dondesalir de la estancia,¿sabéis lo que hizo?¡Se puso más brava!Se puso en los vidriosa dar cabezadas,sin ver en su furiaque a corta distanciaventanas y puertasabiertas estaban;y como en la iraque la dominabacasi no veíapor donde volaba,en una embestidaque dio de la rabia,cayó nuestra avispaen un vaso de agua.¡Un vaso pequeñomenor que una cuartadonde hasta un mosquitonadando se salva!…

Blind as she was goingall of a sudden,like in a trap,she found herselfstuck inside a house.Casting thousand insults.because she was enclosed.Instead of actingwith serenity and calm,and trying to find a way out,Do you know what he did?She became angrier!She nod against the glasseswithout seeing in her furythat windows and doorswere opened at a short distance.And becauseShe was dominated by anger,she hardly sawwhere she was flying,and in a furious rush,our wasp fellin a glass of water.A small glass,Less than a hand spanfrom which even a mosquitoCould get out and save himself!

8. Suddenly….. (Repentinamente)

¡Un vaso pequeñomenor que una cuartadonde hasta un mosquitonadando se salva!…Pero nuestra avispa,nuestra avispa brava,más brava se pusoal verse mojada,en vez de ocuparsela muy insensatade ganar la orillabatiendo las alasse puso a echar pestesy a tirar picadas

A small glassless than a hand span,where even a mosquitocould swim and save himself!But our wasp,our angry wasp,got angrier to be soaked,and the very foolishinstead of tryingto win the shore,flapping her wings,she made threats,launched bites,and casted spells.

9. A small glass (Un vaso pequeño)


y a lanzar conjurosy a emitir mentadas,Tal como la avispaque cuenta esta fábula

and issued insults.As the storywhich tells the fable ...

El mundo está llenode personas bravas,que infunden respetopor su mala cara.

y así poco a pocofue quedando exhaustahasta que furiosa,pero emparamada,terminó la avispapor morir ahogada.

There are many peoplewho have angry faces,that command respectfor their grumpiness.

…and so graduallythe wasp was exhaustedand still very furious,and soaked,our angry wasp ended by drowning herself.

10. Grumpy face (Mala cara)

El mundo está llenode personas bravas,que infunden respetopor su mala cara.que se hacen famosasdebido a sus rabiasy al final se ahoganen un vaso de agua.

As the wasp of this storythe world is fullof angry people,that command respectfor their grumpiness,that become famousbecause of their anger,and eventually drown themselves,in a glass of water.

11. Moral (Moraleja)


The Symphony Guild of CharlotteEndowed Chair and Conductor of theCharlotte Symphony Youth Orchestras,Dr. Pereira has vigorously improved andexpanded the two ensembles over thepast twenty years, leading the CSYOin performances at Charlotte’s Festival inthe Park and Summer Pops at Sym-phony Park, as well as the prestigiousvenues of Piccolo Spoleto in Charleston,SC, and Carnegie Hall in New York, NY.He has guest conducted the CharlotteCivic Orchestra and has appeared onseveral local chamber music series aseither a violinist or conductor. For anumber of years, Dr. Pereira was fea-tured at the Charlotte Symphony’sannual Youth Festival, conducting theCharlotte Symphony Orchestra as wellas the combined professional and youthorchestras. He currently co-directs, withDr. Nitsch, the Fun with Chamber Musicprogram for youth at Queens University.Students from his orchestra and privateteaching studio have gone on to major in music at noted conservatories and

universities, including the ClevelandInstitute of Music, the Juilliard School,University of Texas at Austin, the YaleSchool of Music, the Peabody Institute atthe Johns Hopkins University, OberlinCollege, North Carolina School of theArts, UNC-Chapel Hill, and VanderbiltUniversity. A native of South Africa, Dr.Pereira received his early training in vio-lin in Pretoria from Walter Mony andAlan Solomon and holds Teacher andPerformer Licentiates from the Univer-sity of South Africa. He studied in thiscountry with David Cerone, graduatingas valedictorian from the Cleveland Insti-tute of Music with a Bachelor of Musicdegree in 1981 and a Master of Musicdegree in 1982. He received his Doctorof Musical Arts from the University ofTexas in 1987, studying with VincentFrittelli. Dr. Pereira served as Concert-master of both the Cleveland Institute ofMusic Orchestra as well as the Universityof Texas Orchestra and conducted theUniversity of Texas String ProjectOrchestra. Since 1985, Dr. Pereira hasbeen a member of the Charlotte Sym-phony Orchestra. He has appearedfrequently as a soloist and chambermusician in the United States, SouthAfrica and Namibia and has soloed withthe Charlotte Symphony Orchestra and the Charlotte Civic Orchestra.He believes strongly in educating youngmusicians and maintains an activeand successful violin studio.

The Charlotte Symphony Youth Orches-tra is a core educational component ofthe Charlotte Symphony Orchestra. TheYouth Orchestra program offers nearly200 students in the greater Charlotte

ERNEST PEREIRA, Director, The Charlotte Symphony YouthOrchestra

THE Artists


Distinguished composer, conductor, andteacher Alberto Grau (b. 1937) hasearned a place of honor among the bestcontemporary venezuelan musicians.Alberto Grau is best know for his workas a choral conductor, but as a composerhe has become one of the leading figuresin Latin America and many of his workshave been published by Earthsongs(USA), N.J.Kjos (USA), A Coeur Joie(France), Oxford University Press (Eng-land), GGM editors (Venezuela) andreceives permanently many commissionsfrom choirs all over the world. Hisbooks on Choral Conducting and Com-position The making of a conductor andThe making of the composer are refer-ences for young conductors and musi-cians. In 1967, he founded the ScholaCantorum de Caracas and won FirstPrize in the 1974, Guido D’Arezzo Inter-national Competition in Italy. Since thenhe has attended many important interna-

tional congresses and festivals with hischoirs such as ACDA Conventions,World Choral Symposia, Europa andAmerica Cantat Festivals. Also he hasbeen invited as a guest conductor, adju-dicator, and professor of choral music inEurope, USA, Latin America and Asia.The International Federation for ChoralMusic gave him in 2015 the ‘Life LongAcievement Award’ for his work as acomposer and pedagogue. More thanthirty recordings provide evidence of hisfine musicianship and extensive knowl-edge of international and Latin Americanchoral repertoire. He is the honoraryand founder director of Schola Canto-rum de Venezuela, the Orfeón Universi-tario Simón Bolívar and the Ave FenixChoir, and is a member of the DirectiveBoard of the Fundacion del Estado paralas Orquestas Infantiles y Juveniles deVenezuela, FESNOJIV. Currently he isartistic advisor and composer in resi-dency of the Progam Pequeños Cantoresde la Schola and of the Project of SocialAction for Music of CAF. For more than30 years he was professor of ChoralConducting in several institutions, suchas the Musical Institute and the Univer-sity Simón Bolívar in Caracas and Direc-tor of the Choral Symphonic produc-tions of FESNOJIV. He has studied withVenezuela’s most gifted teachers: VicenteEmilio Sojo, Angel Sauce, Juan BautistaPlaza and Gonzalo Castellanos. AlbertoGrau has won the José Angel MonteroNational Competition Award inVenezuela three times: in 1967 for hisTriptych for Low Voice & Piano, in

ALBERTO GRAU, DCINY Composer-in-Residence

area a unique opportunity to study under and perform with professional symphony musicians. Open to musiciansin grades 8-12, the Youth Orchestra sea-son runs from summer camp in Augustthrough June. The groups perform anaverage of six concerts per year, one on

stage performing side-by-side with theCharlotte Symphony. The CharlotteSymphony Youth Orchestra has per-formed at the Piccolo Spoleto Festival inSouth Carolina, the Atlas Theater inWashington, DC and at Carnegie Hall.


1983 with Dies Irae for Mixed Chorus;and in 1987 with his Pater Noster forMixed Chorus. His ballet La Doncellafor mixed choir, speaker & chamberensemble was awarded first prize in the1978 International Day for ChoralSinging competition in Barcelona, Spain

and his Opereta Ecológicawon the Prizeof Composition from the ComunidadAutónoma de Canarias, Spain in 1999.He received a commission from the 6thWorld Choral Symposium in Minneapo-lis in 2002.

Venezuelan native Cristian Grases joinedthe University of Southern California

faculty in the Fall 2010 semester and iscurrently an associate professor ofchoral music and conductor of the USCThornton Concert Choir. As a sought-out conductor, clinician, academic, andadjudicator, he has traveled to Europe,North and South America, Asia, andAustralia, conducting in prestigious hallssuch as Carnegie Hall, and presenting innumerous international conventions andsymposia. Grases is also an award-win-ning composer whose works have beencommissioned and sung by numerousprestigious ensembles such as the SantaFe Desert Chorale and the Los AngelesMaster Chorale. This is Dr. Grases’ thirdappearance with DCINY.

CRISTIAN GRASES, Guest Conductor

María Guinand is a choral conductor,university professor, and leader of

many choral projects both nationallyand internationally. Frequently invitedas conductor and teacher to differentevents and concerts in U.S.A, Europe,Asia, and Latin America, she has spe-cialized in Latin-American ChoralMusic of the 20th and 21st centuries.At present, she conducts the ScholaCantorum de Venezuela with whom shehas toured extensively and recordedmany times. Always interested in newchoral music, there have been somevery important projects in which shehas participated with the Schola Canto-rum de Venezuela such as the premiereand more than 45 performances and 2recordings for the labels DeutscheGrammophon (Echo Prize 2010) and

MARÍA GUINAND, Guest Conductor


Hanssler–Verlag (Grammy nominated2002) of Osvaldo Golijov s Pasiónsegún San Marcos (commissioned bythe Internationale BachakademieStuttgart for the Bach’s year 2000); thepremiere and recording for Nonesuchof John Adam s A Flowering Tree(commissioned by the Vienna Festivalin the Mozart’s year 2006). She hasbeen for more than 30 years (1976-2009) Associated Conductor and Advi-sor of Choral Symphonic Performancesand Activities of El Sistema; she teachesin the Master Degree Program forChoral Conductors at the UniversitySimón Bolívar where she has worked asprofessor and conductor for 28 years.She collaborated closely with HelmuthRilling conducting the Youth Choir ofthe Festivalensemble in the EuropeanMusic Festival from 2001-2004, shehas conducted the World Youth Choir(1998 and 2003) and has participatedwith her ensembles and as lecturer inseveral of the Simposia for ChoralMusic of the ‘International Federationfor Choral Music’. In 2010, she wasguest conductor in the Disney Hall inLos Angeles in the opening season ofGustavo Dudamel in the Festival‘America and the Americans’. She hasled the Simón Bolívar SymphonyOrchestra, the Symphony Orchestra of

Venezuela, the Municipal Orchestrafrom Caracas, the Symphony Orchestraof Los Teques, Mérida SymphonyOrchestra; Bundesjugend Orchester(Germany).

As a choral promoter, she is the ArtisticDirector of the Schola Cantorum ofVenezuela Foundation, and coordinatesthe permanent development of choralcenters for children and youth of loweconomic resources in Venezuela andother Latin American countries in theProject Voces Latinas a Coro’, spon-sored by the Andean Corporation Bank(CAF) and also advises in a similar pro-ject the Palau de la Música (Barcelona,Spain). She served for 12 years as LatinAmerican Vice-President of the IFCMand she is currently Advisor to theBoard. She was also a member of the ‘International Music Council’(UNESCO). She is editor of the seriesMusica de Latinoamerica by Earth-songs Editions and of several publica-tions by Carus Verlag.

She graduated from Bristol University(England) and studied choral conduct-ing with Alberto Grau. She further herconducting and musical education withHelmuth Rilling, Luigi Agustoni andJohannes B. Goeschl.

DISTINGUISHED CONCERTS ORCHESTRA

Founded in 2008 by esteemed choraland orchestral conductor, JonathanGriffith, Distinguished ConcertsOrchestra (DCO) is the resident orches-tra for Distinguished Concerts Interna-tional New York (DCINY), the city’spreeminent producer of choral andorchestral concerts in New York’s mostprestigious concert venues. The DCOis comprised of some of the top orches-tral musicians in the area includingnumerous graduates of Juilliard, TheManhattan School of Music, The New

England Conservatory and BostonConservatory. While the vast majorityof these players have performed inevery DCINY production since itsinception, those players who have leftthe New York area have gone on to per-manent posts in orchestras such as theBoston Symphony, Los Angeles Philhar-monic and the London Philharmonic.

Under the direction of Jonathan Griffithand DCINY’s roster of notable guestconductors, the DCO performs in


DISTINGUISHED CONCERTS SINGERS INTERNATIONAL

Distinguished Concerts Singers Interna-tional (DCSI) forms the backbone ofDistinguished Concerts InternationalNew York (DCINY), the city’s preemi-nent producer of choral and orchestralconcerts in New York’s most presti-gious concert venues. DCSI is com-prised of singers and chorus membersfrom around the world. Between 30-40% of the singers are alumni of DCSIand have sung in 2 or more of theDCINY concert series over the years.The DCSI has drawn members from 43

countries and 6 continents. While themajority of singers are dedicated ama-teur musicians, many professional andsemi-professional ensembles, as well asindividual professional singers, havealso participated in the DCSI. Allsingers and/or ensembles go through anaudition process reviewed by theDCINY Artistic team in order toreceive an invitation to appear on theDCINY concert series. The DCSI canvary in size from between 100 to 500singers, depending upon the repertoire.

Carnegie Hall and in Lincoln Center.Whether performing choral/orchestralmasterworks or premiering adventure-some new compositions, the DCO hasbeen lauded by conductors and review-ers alike for its fresh interpretations,musical subtlety and virtuosic ensembleplaying. Dr. Griffith and the DCO arepast winners of the prestigious American

Prize in the professional orchestra category, awarded in 2014 and semi-finalists for the 2015 and 2016competitions. Distinguished ConcertsOrchestra is driven by passion, innova-tive vision, a total belief in its artists, andan unwavering commitment to bringforth an unforgettable musical experi-ence for performer and public alike.

Distinguished Concerts Singers InternationalAmazonia Vocal Ensemble (FL), Anaida Carquez-Soler, DirectorBendigo Youth Choir (Australia), Valerie Broad OAM and Gail Godber, DirectorBenton Middle School Choirs (VA), Kimberley Blair, DirectorBishop Kearney High School Chorus (NY), Anastasia Rege, DirectorCentury Singers (ID), Joyce Brien, Director*The Mississippi Girlchoir (MS), Kristy Brumfield, DirectorPonca City High School Chorale (OK), Chad W. Keilman, DirectorPresentation of Mary Academy Children’s Choir (NH), María Leticia GonzálezLozada, DirectorPurwa Caraka Music Studio Children Choir (Indonesia), Jessica FedoraAmadea, DirectorSt. Bonaventure Children’s Chorale (FL), Ysomar Echazabal Granados, DirectorTraughber Junior High Choral Ensemble (IL), Kimberly Moorman, DirectorAnd Individual Singers from around the globe

*Denotes DCINY Alumni


PERFORMING ARTS PARTNERS

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

Distinguished Concerts Singers InternationalNicole AbbateLeevia AcquavivaNatalia Gabrielle AdaraSydney AfonsoSarah Nur AiniJarred AlbanoKaitlyn Allan

Anna AmentBrodrick AndersonGarret AndersonAnnisya Maryam AnjaniAnjaniSantiago AnnunziatoMaria Arnal

Eduardo AscanioLeigha AshleyMaria AvilanYanni BalocatingFarid BashirovDonatella BavaroAbigail Beauchemin

Violin ICaroline SmoakDrew DansbyLaurence LuGabija ZilinskaiteVictor ChuBrian ZhanLiddy FarleyCody QiuPatrick NegusIrene ParkAnna WeiHannah MieleDaniel ClarksonEthan HuangJennifer FanJill PownallElena Jacoby

Violin IIElise BloomAndrew DeWeeseMartha-Grace JacksonTiffany ZhouSoorya VasanJanice XuCarol YunAnna NorrisHarin LimAudrey LinCamillia SimondsEvelyn GlukhomanKyung-Ah HwangAudrey NelsonEvelyn TownsendRobert Capaldo

ViolaDaniel ChabedaMarissa BergerSamhitha SunkaraKatie GroenhoutCaroline PalmerElizabeth DoransDaniel BoyleEmma Story

Brian DeHorityEric ZhangLaura MooneyAbigail SilverAmy OharaSteve YoonAnn Marie Lawing

CelloMathew LinGrace KimCass JacksonAsa ZhaoMaren ShawenKristina RollerSooA ChoiRyan MitchellKristen LeakeConnor FrunziChaewon YoonYena KangBrian Park

Double BassZach McMillanAlex WarmathLydia NusbaumEllen GarfinkleKylie JohnsonCam Doherty

FluteJamie LeeSydney HornerCharles Yang

OboeDaniel HallerJamison HillianEllie RasmussenShelby McMehan

ClarinetDavid LiBryan KirkJackson Boatwright

BassoonZachary VonCannonZoe MaxwellChristopher Maldonado

French HornRickie CarballoTristan BurnsSarah AustinDavis ZakaryElijah Hornback

TrumpetDuncan MooreAbigail DeweyJasmine LeahyWill LynchYoung-Woo Lee

TromboneJohn RoselliGavin KelleyMitchell Erb

TubaPaul Ryerson

HarpConnor May KellyAshleigh Jones

PianoVeronica Leahy

PercussionAustin CantrellRoss JarrellOlivia JonesLucas KabasakalianVarun RajaSophia Roper

Charlotte Symphony Youth Orchestra (NC)


Amanda BellJuan A. BenatuilJuan F. BenatuilJadyn BentonGabrielle BernardCadence BiceMckenzie BlairKatelyn BoffiAva BonseyJohn Brady BookoutAlexander BoostromSamantha BoronDaylan Boyer-GillilandElizabeth BoyettTinika BrightErica BroadAlice CarpenterMegan CarpenterRyan CarpenterMorgan CarrollKelley CastroScarlett CastroAudrey CaughlinChloe ChandlerMia ChangChun Ying ChiangJoshua ChrismanRose ChurbaAnna ClarkKenneth ClarkSophie ClokeConner CofflandJulia ColonChristopher ComerGavin CopeFlávia CorreiaJesse CrabtreeSarah CrandallGamble DavisCaitlin De BeerAlejandro De SantisLaura Kate DeckerMary DeenRyanne DelaneySera DelinskiCarter DentonJohn DerouenKristin DerouenElsa DominguezRyan DukesKassandra DurstSarah El AshuhSamantha EmeryFabio FabbianiJasmine Kurnia FadhilahCut Cheryl Bernice FaenzaTyler FallisAudrey Aura FarhaniMichaela FeddesSeth FetroNatalie FlintAnna FondakowskiLane FountainEmily FrandsenEmily Franzoni

Melina FurlanMiren GabiolaAna GarciaRamiro GarciaLaura Maria GarzonMariana GarzonMarissa GerberMaria GiambancoGabriella GilbertAlice GladwellAbbey GlaserAnela GomesDavid GomezKayla GonzalezSara GonzalezAnthony GrandeSonnet GrayGabrielle GrieseLucie GriffinSaree GrimesDaniela GuanipaGabriella GuzmanGeorge HabibAmelia HadinataLevina HadinataElla HaleAddison HallAlicia HannafordBrayden HardersenNicole HarmonMaria HartwellEmily HeisenCaitlin Michaela HermawanJawuan HillKathryn HinesKimberly HinesGrace HodanichPaytan HodgsonMeredith HornsbyJordan HoudeJoshua HoudeNatalie JacobsAntoinette JacquesJessica JilekAbigail JobgenCeleste JohnsonNatalie JohnsonBrady JohnstonAshton JonesEva Grace JonesJessica JonesSabrina JonesBaden JuddMaya KaplanSimone KaplanNichols KathrynFlorentina Resa KawatuHannah KeatingHannah KempPhoebe KiblerPatrice KuglerRebecca LambertNora LarsonClare Chien-Lun LeeJake Lee

Jessica LehmanVivian LeonDong LiuBailey LizzieRyan LudwigSydney LytleKiara MainaEmma ManieriJavier ManriqueAlexis MarineczYasmira MartínezAlexander MasonRebecca Mattei-BrownMiranda MaynardCaroline McbrideBethany McdonaldFaith McdonaldMegan McinerneyLola MendozaAllison MetcalfAlexa MeyerCici MilamKathryn MillerMorgan MillerKesyahara Olivia MirabelHelenn MontillaJane MorrisseySean MorrisseyPaige MortonTaylor MullinsPaloma MuñozBrianna MurrayStefano MussoCorbin MyersMaria Michelle AranaNaibahoAlexander NavarroMarie NeraLillie NewbyHailey NielsenGizka Aulia NurafifahGabrielle O'connorSofia OcqueTess Lulu OrbanGemma OrlandoAndres OrtizChloe OuelletteCourtney ParksSophia PelussoAngelina PenningtonBreanna PickeringMichael PickeringKevin PlataJulian PosadaMaria PradoAndini Sekar PrameswariLilia PrietoSonia PrietoBrianna PritchardJanuary PunwattanaKayla QuigleyHadasa Arum RantiAnastasia RegeJulia ResterSofia Riccardi


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 DirectorJonathan Griffith, Co-Founder, Artistic Director & Principal ConductorDanuta Gross, Director of Finance & AdministrationKevin Taylor, Director of Program DevelopmentJames M. Meaders, Associate Artistic Director & ConductorJason Mlynek, Associate Director of Program DevelopmentMark Riddles, Program DevelopmentKatie Sims Silvestre, Program DevelopmentJulia Falkenburg, Program DevelopmentMaria Braginsky, Program Development AssistantKimberly Wetzel, Program Development AssistantJeff Binner, Program Development AssistantJason Arnold, Program Development AssistantTabitha Glista, Production ManagerAndrea Niederman, Associate Director of Marketing, Box Office & PromotionsKatherine Shen, Box Office & Marketing AssistantDeAnna Choi, Office Operations Manager, Accounting & BillingMarisa Tornello, Concert Operations AssociateMorgan Yachinich, Concert OperationsGary Crowley, Graphic Design & WebsiteJessica Zakula, Intern

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

DISTINGUISHED CONCERTS INTERNATIONAL NEW YORK250 W. 57TH STREET, SUITE 1610NEW YORK, NY 10107(212) 707-8566 | DCINY.org

Tareva RiggsAnasofia RiveraFranchesca RodriguezRuth RomeroSofia RosadoAlexander RossCarlos RuizCamila SantanaRiley SchumanKate SeddonVictoria ShandSashi Ursula SistanalaNayla Faidza KhariskaSiswantoSophia SkalliGrace SmithJacee SmithOlivia SmithTara SmithAlan Smithee

Aliyah Nariswari SoedharmaVenus SuarezColleen SullivanSerra SullivanChristopher SutedjaAnjali SweetmanBariq Mahatma SyachJacqueline TartellSalsabila TasyahMaci TaylorChelsea TheinkeuCharlotte TiffanyVictoria TilleyLuciana TjongNorcelia TobiasCamila Trujillo-BehrensSerena TuckerDomenic TuneLachlan TuneValerie Valdes

Jillian ValentinoMateo VaqueroLuciana VelardeRenata VelardeCatalina VillamarinMaggie VivotJake WalshCara WareDylan WatsonCyrus WellsMaria Cristina WezkiewiczFaith WherryGrace WherryDiva Aurora WijayaSamantha WilliamsJulianne WilmotMarisa WuerschNadya Andini WulandariAndrew YoungZilong Zee


Carnegie Hall Rental - dciny.org · MANUEL DE FALLA Ritual Fire Dance from El amor brujo JOAQUÍN...

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Transcript of Carnegie Hall Rental - dciny.org · MANUEL DE FALLA Ritual Fire Dance from El amor brujo JOAQUÍN...