Monday Evening, March 20, 2017, at 7:00

Changing Lives through the Power of Performance

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

presents

Vocal Colors

TIMOTHY C. TAKACH One Boy Told MeTAKACH Epitaph

LISA HEFFTER, Viola SoloistTAKACH Goodbye ThenTAKACH Fragile

ERIC A. JOHNSON, ConductorTIMOTHY C. TAKACH, DCINY Visiting ComposerDISTINGUISHED CONCERTS SINGERS INTERNATIONAL

ERIC BARNUM Afternoon on a HillBARNUM Sweetheart of the SunBARNUM Summer’s OceanBARNUM Human HeartBARNUM After Music

ERIC BARNUM, Composer/ConductorDISTINGUISHED CONCERTS SINGERS INTERNATIONAL

Intermission

JOHN CONAHAN Wade in the WaterCONAHAN Love of LightCONAHAN c l a p / b a n gCONAHAN Pie JesuCONAHAN Non Capisco NienteCONAHAN Libera MeCONAHAN I Dreamed I Saw the Sky

JOHN CONAHAN, Composer/ConductorDISTINGUISHED CONCERTS SINGERS INTERNATIONAL

Alice Tully Hall Please make certain your cellular phone,pager, or watch alarm is switched off.

(program continued)

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Notes on the Program

One Boy Told MeTIMOTHY C. TAKACH (b. 1978)Duration: 4 minutes

When, out of the four or five texts I sub-mitted for this commission, we landed onthis one, I had no idea how I was going toturn it into a compelling piece of music.

But, not knowing how to do something canproduce really neat contributions to thecreative process. So this piece ended upbeing only a selection of the individual linesfrom Naomi's original poem, and sincethey are each their own sort of punchline,the phrases are repeated in a way thatallows each to develop on its own moodand character. But, there are a few that onlyare said once, so keep your ears open!

—Timothy C. Takach

ALEXI MATCHAVARIANI Doluri

LARS JANSSON To the Mothers in Brazil: Salve ReginaCHRISTOPHER GOKELMAN, Viola Soloist

ANDRÉ VAN DER MERWE UkuthulaELIZETTE GONZALEZ, SoloistCLARISSA SOTO, SoloistCARLOS HINOJOSA, SoloistMAURA NAVARRETE, Soloist

STEPHEN HATFIELD Job, JobAMY PONIATOWSKI, SoloistVICTORIA ACOSTA, Soloist

KIM ANDRÉ ARNESEN Even When He is Silent

GUIDO LÓPEZ-GAVILÁN El Guayaboso

WILLIAM GOKELMAN, DirectorUNIVERSITY OF THE INCARNATE WORD CARDINAL CHORALE

We Want To Hear From You!Use #VocalColors to post your post-concert and intermission photos and comments to@DCINY on Twitter, Facebook, and Instagram! | DCINY

DCINY thanks its kind sponsors in education: Artist Travel Consultants, VH-1 Save theMusic, Education Through Music, High 5, and WQXR.

For information about performing on DCINY’s series or about purchasing tickets, e-mailConcerts@DCINY.org, call (212) 707-8566, or visit our website at www.DCINY.org.

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

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EpitaphTIMOTHY C. TAKACHDuration: 5 minutes

A meditative setting of an ancient tombinscription, the lines are as honest andstraightforward today as they were then.The viola runs nonstop, a busy life filledwith eighth notes, while the singers ask usto stop and listen a moment. Rhythmicallybuoyant and harmonically honest, thevocal lines are almost always in pairs, play-ing off each other.

—Eric A. Johnson

Goodbye, ThenTIMOTHY C. TAKACHDuration: 4 minutes

This poem talks about saying goodbye tosomeone to whom you are close. It couldbe about a friend moving away, about leav-ing home to go to college, about losing aloved one. The context is never stated, butthe emotions are all very real and palpable.In my writing I always hope that thesingers embrace the song and jump inheadfirst and here, I hope that the singerswill let their guards down and sing orexpress what they want without fear ofbeing vulnerable. There is great power inbeing able to say these words out loud.

—Eric A. Johnson

FragileTIMOTHY C. TAKACHDuration: 5 minutes

On fictional television, in video games, andin movies we often see images and storiesof destruction, violence, oppression,abuse, the list goes on. And we pay to seeit. Unfortunately, though, the world hasmirrored this with actual, true accounts ofthe same kind of tragedies. In Fragile weare reminded that this stuff can be real.

Our actual lives include these same eventswe see so often in fiction. And so we haveto decide: as we accept this new reality,inclusive of tragedy, what is our role?Whom do we choose to be? With whomdo we surround ourselves?

—Timothy C. Takach

Notes by Eric Barnum

Afternoon on a HillERIC WILLIAM BARNUM (b. 1979)Duration: 5 minutes

Set to Edna St. Vincent Millay’s timelesspoem, this work examines pastoral themeswhile focusing on concepts of transience,transformation, and nostalgia. A day isspent with sun and warmth high atop awindy hill, and as evening approaches, theradiant lights of home guide one home.

Sweetheart of the SunERIC WILLIAM BARNUMDuration: 5 minutes

This rich setting captures Thomas Hood’smasterful retelling of the biblical story ofRuth and Boaz. Pastoral and calm, the sunshines warmly on the scene as Boaz, amida ray of light, stretches forth his hand toRuth saying “lay thy sheaf adown andcome, share my harvest and my home.”

Summer’s OceanERIC WILLIAM BARNUMDuration: 6 minutes

Lord Byron’s dreamy and passionate poemof personified beauty displays the rich andprismatic imagery of ocean waves andmoonlit nights. Placid seas and deep swellsof emotion weave magically together whenlooking and listening in adoration to onefound so desperately beautiful.

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Human HeartERIC WILLIAM BARNUMDuration: 6 minutes

With text taken from Wordsworth’s cele-brated Ode: Intimations of Immortality fromRecollections of Early Childhood, this joyfuland vivid setting highlights not only thepoignant nature of memory and nostalgia,but also the wondrous heights of love ahuman heart can attain with its tender-ness, joys, and fears. So sublime is theheart of man that even the smallest flowercan bring one to tears.

After MusicERIC WILLIAM BARNUMDuration: 5 minutes

American poet Josephine Preston Peabodyrichly captures the essence of how musicspeaks deeply to us, how it helps usremember, and how it calls us forth. Singingcan provide meaning to our wandering livesin ways language could never express.Though we often stray like children, musicof the heart will always guide us homeonce again.

Notes by John Conahan

Wade in the WaterJOHN CONAHAN (b. 1974)Duration: 3 minutes

This is a setting of a traditional melody,commissioned and premiered by JeffreyBrillhart and Singing City in Philadelphia,Pennsylvania. Wade in the Water is amelody that I grew up singing throughoutmy life, so when Jeff asked me to set it, itwas very much like connecting with an oldfriend. However, instead of presenting aslow and languorous performance of themelody, I wanted to create an active,almost urgent impression—one where the

choir tries to grip the attention of its lis-tener and communicate the idea withvigor. The choir is required to clap, stomp,and sing out as loud as it can.

Love of LightJOHN CONAHANDuration: 6 minutes

I have always had a fascination with light, andmost specifically, the different ways artistsrepresent light in music. In this original text, Irefer to many of the qualities of light that I findmost fascinating: its weightlessness, its con-stant presence required for sight, the unde-fined comfort it can provide; these things mayseem simple and granted, but give me greatpause in meditation. This piece is a part of a“Love of…” study in choral music that I ampursuing via composition, including Love ofFire (poem by Sarah Hudlow) and Love ofWater (poem by Euan Tate).

c l a p / b a n g (World Premiere)JOHN CONAHANDuration: 3 minutes

This piece is an exploration for choir. Asvocalists, we have the opportunity toaccess our bodies, like our hands and feet,without holding an instrument. c l a p / b a n g requires the performer to sing onlyone or two pitches (depending on the voicepart), but execute a dynamic “melody” andsome variations through clapping. Thereare three micro-movements: the firstintroducing the clapped “melody,” thesecond creating a very different texturewith sustained pitches and introducing thepiano (requiring some extended tech-niques by the pianist), and finally a returnto the clapped “melody.” Although it maynot be considered a traditional choralwork, it takes full advantage of the musi-cal expertise available from a large groupof experienced choral singers, simply in adifferent manner.

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Pie JesuJOHN CONAHANDuration: 6 minutes

This is a lyric setting of two Latin texts, bothof which are found in the traditionalRequiem. My initial thought when I beganwriting this work was to play with the rela-tionship between the Pie Jesu (which is arequest to grant rest/peace to others), andthe Agnus Dei (which is a request to begranted it ourselves). Although this workdoesn’t require any particular dogma to com-municate meaning, the melody is meant toevoke a yearning and appeal to know peaceand to help share it with others. You willnotice the coupling of definitive references totraditional chant with rather romantic homo-phonic passages—all plaintive in nature.

Non Capisco NienteJOHN CONAHANDuration: 2 minutes

I was thrilled to have the opportunity to seta text by Tony Silvestri (notable for his col-laborations with choral composers EricWhitacre and Ola Gjeilo), especially one sofestive in nature! This text was originally atweet written in Italian, and thusly, I wantedto preserve its concise nature (a tweetexisting commonly as a quick, limited state-ment). These 140 characters seemed tohave three distinct moments within it, and Itried to reflect them in the music. The writerstates his “not knowing anything,” thenrefers to his growing awareness of “family,good friends, love,” concluding humorouslyby including the importance of “fiber.”

Libera MeJOHN CONAHANDuration: 4 minutes

This is a movement from my larger workThe Three Doors – A Requiem. I have

always been fascinated by the strengthand intensity of this text; the Requiem set-tings by Mozart, Verdi, Durufle, and othershad rather formative impressions on me inmy youth. Although my Requiem setting isin Latin and uses a number of the tradi-tional texts, the overall work does notrequire the listener to relate to a particulardoctrine, but rather reflect on the experi-ence of death as a passage to somewhereundefined. In Libera Me, my desire was towrite a work of intensity for both thesingers and the pianist that would commu-nicate the idea of desperate restraint fol-lowed by eventual euphoric freedom.

I Dreamed I Saw the SkyJOHN CONAHANDuration: 7 minutes

This piece plays with the idea of oppositesas it relates to the sea and the sky. It wasinspired very much by standing on theedge of the ocean and looking straight outat the horizon. In addition to the almostindeterminate division that occurs (espe-cially on humid days), there exists thistruly beautiful symbiosis of blues, the skyand sea—both so deep and mysterious,meeting in this nebulous horizon. I imag-ined a dream-like perspective of reversingthese two entities and how that mightbe perceived. Commissioned by my dearfriend, Von O’Dea, who allowed and en -couraged me to write a wholly unique andunusual work, I Dreamed I Saw the Skyhad its premiere at Carnegie Hall. The con-cluding moment of the piece is the “fore-arm sinistra” (or left forearm), requiringthe pianist use the right hand to depress anumber of keys without sounding themand then heavy-handedly attacking thepiano’s lower register with the left fore-arm, yielding a sympathetic ring of theright hand’s pitches (…the conclusion ofthe dream).

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Notes by William Gokelman

DoluriALEXI MATCHAVARIANI (1913–95)Duration: 2 minutes

Alexi Matchavariani was one of the mostprominent Georgian composers of the Sovietperiod. Doluri, or “drum dance,” was writtenat a time when official controls on Sovietcomposers were very stringent. In it,Matchavariani displays his own individualityin combining the imitative sounds of the doli,a two-sided drum similar to a field drum, withthe melodic structures taken from folkmusic, and a rich harmonic palette. Thesingers use differently colored phonemes toimitate the many timbres of the drum.

To The Mothers in Brazil: Salve ReginaLARS JANSSON (b. 1951)arr. Gunnar ErikssonDuration: 4 minutes

Children are not the only ones who some-times cry out for their mothers. Almost allof us, at some point, feel the desire to cry outfor our “mama” like children. Mothers all overthe world travel to the frontlines of war andviolence to bring their children home to them-selves. Here, Lars Jansson’s composition ispaired up with the traditional “Salve Regina”text because Mary, Mother of Jesus, repre-sents well the loving, mothering qualities thatdraw people throughout the world to continu-ally turn to her for comfort and aid.

UkuthulaANDRÉ VAN DER MERWE (b. 1967)Duration: 4 minutes

Ukuthula is a simple, yet powerful, prayer forpeace. It originated in churches and commu-nities of pre-democratic South Africa, and isnow sung and prayed by many people acrossthe globe who long for peace and unity.

Job, JobSTEPHEN HATFIELD (b. 1956)Duration: 6 minutes

Composer, conductor, educator, and clinician,Stephen Hatfield is known for his excitingand engaging choral compositions andarrangements. His music is interesting toboth performers and audiences, and oftenincludes elements from diverse cultures.Job, Job is adapted from a traditional African-American slave chant, centered around thebiblical story of Job. The music is bluesy,moaning, and—in Hatfield’s words—a “soul-ful pile driver with a monster backbeat.”

Even When He is SilentKIM ANDRÉ ARNESEN (b. 1980)Duration: 6 minutes

Norwegian composer Kim André Arnesenwrote this piece on a commission by theSt. Olaf Choir. The text was found on a wallat a concentration camp after World War II.Arnesen writes, “as I read [the text], it wasa Credo—when everything is dark and dif-ficult in life you might wonder where Godis, or if God is there at all. This is aboutkeeping faith in God, love, and hope….Even if people take away your freedom,your friends, the people you love—theycannot take God away from you.”

El GuayabosoGUIDO LÓPEZ-GAVILÁN (b. 1944)Duration: 4 minutes

Guido López-Gavilán is a well-knownCuban composer and educator whosecompositions have been widely recog-nized in elite national competitions. ElGuayaboso is a choral guaguancó, a type ofCuban rumba. The nonsense words comefrom poems and stories told to the com-poser in childhood, and strewn together asthe text of the piece. In this music the

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Texts & TranslationsOne Boy Told MeTIMOTHY C. TAKACH

Music lives inside my legs, It’s coming out when I talk.

There’s a stopper in my armthat’s not going to let me grow any bigger. I’ll be like this always, small.

I’ll invite a bee to live in your shoe. What if you found your shoefull of honey?

My tongue is the car wash for the spoon.

Just think–no one has ever seen inside this peanut before!

When I grow up my old names will live in the housewhere we live now.

I’ll come and visit them.

What does minus mean?I never want to minus you.

I do and don’t love you – isn’t that happiness?—Naomi Shihab Nye

EpitaphTIMOTHY C. TAKACH

Stranger, my message is short. Stand by and read it through.

Here is the unlovely tomb of a lovely woman.Her parents called her Claudia by name.

voices provide the percussive parts, as wellas the four - seven part harmonization of thetext. The music combines rich harmonies

with Afro-Cuban rhythms, creating a dizzy-ing complexity, and making it one of themost popular choral works in Cuba.

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She was charming in converse, yet gentle in bearing. She loved her husband with all her heart.She bore two sons;of these she leaves one on earth;the other she has placed under the earth.She kept house, she made wool.

That’s my last word. Go your way.- Ancient Roman Tomb Inscription (c. 130 BC)

Goodbye, ThenTIMOTHY C. TAKACH

We said goodbye thenWith people thereSo it wouldn’t be quite so hard.And we had said what we wanted to say Or at least we knew by thenWhat didn’t need to be said,So it wasn’t so hard.

We would see each other againThought we didn’t know whenAnd we could call and talkAcross the thousands of miles between us. After all we had known each otherAll this timeAnd would know each other always and anywhere.So it wasn’t hard.

But – both of us – our eyes were tearsAnd the world and the people were not there, And that last hug –How could I not hold you?How could we separate our heartsWhen we felt them beating together?And how – God, how – could I let go?—Doug Wilhide

FragileTIMOTHY C. TAKACH

You now know that anything could happen; things that never happened before,things that only happenedin movies and nightmares

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are happening now,as if nothing could stop them.

You know now that you are not safe,you know you live in fragile skin and bones, that even steel and concrete can melt away, and that the earth itself can come unhinged, shaken from its orbit around the sun.

You know, now that anything can happen, it’s hard to know what will,and what will you donow that you know?What words will you saynow that you could say anything? What hands will you hold? Whose heart will beat inside you?—Joyce Sutphen

Afternoon on a HillERIC WILLIAM BARNUM

I will be the gladdest thingUnder the sun!

I will touch a hundred flowersAnd not pick one.

I will look at cliffs and cloudsWith quiet eyes,

Watch the wind bow down the grass,And the grass rise.

And when lights begin to showUp from the town,

I will mark which must be mine,And then start down!

—Edna St. Vincent Millay (1892–1950)

Sweetheart of the SunERIC WILLIAM BARNUM

She stood breast-high amid the corn,Clasp'd by the golden light of morn,Like the sweetheart of the sun,Who many a glowing kiss had won.

On her cheek an autumn flush,Deeply ripen’d;—such a blush

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In the midst of brown was born,Like red poppies grown with corn.

Round her eyes her tresses fell,Which were blackest none could tell,But long lashes veil’d a light,That had else been all too bright.

And her hat, with shady brim,Made her tressy forehead dim;Thus she stood amid the stooks,Praising God with sweetest looks:—

Sure, I said, Heav’n did not mean,Where I reap thou shouldst but glean,Lay thy sheaf adown and come,Share my harvest and my home.—Thomas Hood (1798–1845)

Summer’s OceanERIC WILLIAM BARNUM

There be none of Beauty’s daughtersWith a magic like thee;And like music on the watersIs thy sweet voice to me:When, as if its sound were causingThe charmèd ocean’s pausing,The waves lie still and gleaming,And the lull'd winds seem dreaming:

And the midnight moon is weavingHer bright chain o’er the deep;Whose breast is gently heaving, As an infant’s asleep:So the spirit bows before thee,To listen and adore thee;With a full but soft emotion,Like the swell of Summer’s ocean.—George Gordon Byron, Lord Byron (1788–1824)

Human Heartfrom Ode: Intimations of Immortality from Recollections of Early ChildhoodERIC WILLIAM BARNUM

O joy! that in our embersIs something that doth live,

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That nature yet remembersWhat was so fugitive!The thought of our past years in me doth breedPerpetual benediction: not indeedFor that which is most worthy to be blest –Delight and liberty, the simple creedOf childhood, whether busy or at rest,With new-fledged hope still fluttering in his breast: –

Hence in a season of calm weatherThough inland far we be,Our souls have sight of that immortal seaWhich brought us hither,Can in a moment travel thither,And see the children sport upon the shore,And hear the mighty waters rolling evermore.

Thanks to the human heart by which we live,Thanks to its tenderness, its joys, and fears,To me the meanest flower that blows can giveThoughts that do often lie too deep for tears.—William Wordsworth (1770–1850)

After MusicERIC WILLIAM BARNUM

I saw not they were strange, the ways I roam,Until the music called, and called me thence,And tears stirred in my heart as tears may comeTo lonely children straying far from home,Who know not how they wandered so, nor whence.

If I might follow far and far awayUnto the country where these songs abide,I think my soul would wake and find it day,Would tell me who I am, and why I stray,—Would tell me who I was before I died.—Josephine Preston Peabody (1874–1922)

Pie JesuJOHN CONAHAN

Pie Jesu Domine,Domine eis RequiemDona eis sempiternam requiem

Agnus Dei,qui tollis peccata mundi,

Pious Lord Jesus,Give to them rest.Give to them everlasting rest.

Lamb of God, Who takes away the sins of the world,

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miserere nobis.Agnus Dei,qui tollis peccata mundi,Dona nobis pacem.

Non Capisco NienteText by Charles Anthony SilvestriJOHN CONAHAN

Non capisco niente, non nulla.Ma comincio a conoscere il valoredella famiglia, degli amici gentile,e dell’amore... oh, e della fibra.

Libera MeJOHN CONAHAN

Libera me, Domine,De morte aeterna,in die illa tremenda.Quando coeli movendi sunt et terra.Dum veneris iudicare saeculumper ignem.Tremens factus sum ego,in timeo, dum discussio venerit,atque ventura ira.Quando coeli movendi sunt et terra.Dies illa, dies irae,calamitatis et miseriae,dies magna et amara valde.Dum veneris iudicare saeculumper ignem.Requiem aeternam dona eis,Domine, et lux perpetua luceat eis.

have mercy on us.Lamb of God,Who takes away the sins of the world,Give us peace.

I don’t understand anything, nothing at all.But I’m beginning to know the value of family, of good friends, and of love…oh, and fiber!

Free me, Lordfrom eternal deathOn that fearful day.When the heavens and earth are moved.When the world is judged by fire.I am made to tremblein time when judgment comesAnd the wrath to comeWhen the heavens and earth are moved.This day, a day of wrathcalamity and miseryDay of great bitternessWhen the world is judged by fire.Grant to them eternal restLord, and ligh eternal shine upon them.

DoluriALEXI MATCHAVARIANI

I have conquered 100 castles with my sword and I shade my eyes. How can it be that Ican no longer conquer your heart? Oh my lovely one, enchantress of the magic wind,open your heart’s door!

To The Mothers in Brazil: Salve ReginaLARS JANSSON

Hail holy Queen, Mother of mercy, to thee do we cry, poor banished children of Eve.Queen of heaven, rejoice, alleluia. O clement, O loving, O sweet Virgin Mary. AndJesus the blessed fruit of thy womb.

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Meet the Artists

Eric A. Johnson is the founding artisticdirector of Cor Cantiamo and director ofchoral activities at Northern Illinois University.Ensembles under his direction have per-formed at national and division conventionsfor the National Collegiate Choral Organ -ization, American Choral Directors Asso -ciation, and the Music Educator’s NationalConference. He has served as a guest con-ductor in Avery Fisher Hall, Lincoln Centerwith DCINY (2009, 2013), toured interna-tionally (England 2006 and 2010, Swedenand Denmark 2004, Poland 2002), and pre-pared choruses for collaborations with pro-fessional orchestras. Internationally, Dr.Johnson has served as a guest conductorof the Clare College Chapel Choir, Cambridge,England, taught at Makumira University,

Tanzania, the Universidade do Estado doRio Grande do Norte, Brazil, and directedguest choral residencies at Canterbury andWorcester Cathedrals. As the artistic direc-tor of Cor Cantiamo, Dr. Johnson has re -corded commercial CDs released on CentaurRecords and the Divine Arts record labels.He has collaborated with many leadingcomposers of our time including MortenLauridsen, Libby Larsen, Sir John Tavener,Jaakko Mäntyjärvi, James Whitbourn, andTimothy C. Takach. Dr. Johnson has pub-lished music with Santa Barbara MusicPublishing and has published articles in theChoral Journal. He is active nationally as aclinician and guest conductor.

Reviewed as “gorgeous” (Washington Post)and “stunning” (Lawrence Journal-World),the music of Timothy C. Takach has risen

Eric A. Johnson,Conductor

Timothy C.Takach, DCINYVisiting Composer

UkuthulaANDRÉ VAN DER MERWE

We find peace! In this sinful world, through the blood of Jesus. We are filled with gratitude!In the sinful world…We will conquer! In this sinful world…

Even When He is SilentKIM ANDRÉ ARNESEN

I believe in the sun even when it's not shining. I believe in love even when I feel it not.I believe in God even when He is silent.

El GuayabosoGUIDO LÓPEZ-GAVILÁN

Translation: I saw dance a danzón on the edge of a knife a mosquito wearing trousersand a fly dressed in a shirt. I saw a crab plowing, a pig blowing a whistle, and an oldgrowling woman sitting in an armchair. And a skinny calf die laughing upon seeing aone-eyed goat mending a sandal.

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fast in the concert world. Applauded for hismelodic lines and rich, intriguing harmonies,Mr. Takach has received commissions fromvarious organizations including the the St.Paul Chamber Orchestra, St. Olaf Band,Cantus, Pavia Winds, Lorelei Ensemble,VocalEssence, the DeBartolo Performing ArtsCenter, The Rose Ensemble, and numeroushigh school and university choirs. His compo-sitions have been performed on A PrairieHome Companion, The Boston Pops holidaytour, multiple All-State and festival pro-grams, and at venues such as the Library ofCongress, the Kennedy Center, and RoyalOpera House Muscat. Mr. Takach has re -ceived grants from the American ComposersForum, Meet the Composer, Minnesota StateArts Board, Metropolitan Regional ArtsCouncil, and ASCAP. He is a co-creator of thetheatrical production of All is Calm: theChristmas Truce of 1914, by Peter Rothstein.The critically adored show has had more than100 performances since its premiere in 2006.He was also selected for the 2014 NautilusMusic-Theater Composer-Librettist Studio.Mr. Takach studied music composition at St.Olaf College, Northfield, Minnesota, where hegraduated with honors. He has frequent workas a composer-in-residence, presenter, clini-cian, and lecturer for conventions, schools,and organizations across the country. He is afull-time composer and lives in Minneapoliswith his wife and two sons.

A conductor and composer, Eric WilliamBarnum continues to passionately seeknew ground in the choral field. Workingwith choirs of all kinds, his collaborativeleitmotif endeavors to provide intenselymeaningful experiences for singers andaudiences. Mr. Barnum is currently the

director of choral music at the University ofWisconsin, Oshkosh. He holds a D.M.A. inchoral conducting from the University ofWashington, under the direction of Dr.Geoffrey Boers. He has an advanceddegree in conducting from MinnesotaState Uni versity, primary study with Dr.David Dickau, as well as B.A.s in composi-tion and vocal performance from BemidjiState University. He has appeared as a con-ductor across the United States, and hashad the opportunity to work with some ofthe most innovative minds in the choralfield. His compositional voice and visioncontinues to gain popularity around theglobe with performances from choirs inter-nationally. He composes for choral ensem-bles of all types, from professional to youthchoirs, and has received numerous awardsand prestigious grants such as a BushFoundation Artist Fellowship and a McKnightFoundation Grant. He has also held resi-dencies with such ensembles as ChoralArts (Seattle, WA), The Rose Ensemble (St.Paul, MN), Kantorei (Denver, CO), MagnumChorum (Minneapolis, MN), Coro VocalArtists (Tucson, AZ), as well as with manyhigh schools and collegiate choirs.

John Conahan is a composer, conductor, per-former, and educator. As a composer, Mr.Conahan’s choral and instrumental workshave received much acclaim and are per-formed frequently all over the world. Hisworks have been premiered by an array ofartists including Lorin Maazel, Marin Alsop,Denyce Graves, Donald Nally & The Crossing,Deborah Voigt, Antioch Chamber Ensemble,Jeffrey Brillhart & Singing City, Lyric Fest, andSir James Galway—at venues includingCarnegie Hall, the Kennedy Center for the

Eric Barnum, Composer/Conductor

John Conahan, Composer/Conductor

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Performing Arts, and Lincoln Center. Mr.Conahan is a frequently featured guest con-ductor and visiting clinician for a number ofensembles, including state music educationfestivals, choral unions, and numerous acade-mic institutions. In addition to his life as a com-poser and conductor, Mr. Conahan is an activeperformer and recording artist, maintaining anumber of albums as a singer-songwriter, aswell as with an experimental improvisationtrio, and as a solo pianist focusing on his spon-taneous piano works. His recordings are fea-tured both on television and in film, recentlyincluding PBS’ Great Performances.

William Gokelman, professor of music andchair of the UIW Department of Music,directs the Cardinal Chorale, the CardinalSingers, teaches accompanying, vocal coach-ing, and diction. Mr. Gokelman was keyboardartist with the San Antonio Symphony foreight years, and accompanist and assistantdirector of New Jersey’s Pro Arte Chorale,performing with the New York Philharmonic,New Jersey Symphony, Philadelphia Orches -tra, and for Pope John Paul II while touring inItaly. Mr. Gokelman is a presenter and per-former for the National Association ofPastoral Musicians. His Mass of Renewal,co-composed with David Kauffman, won firstplace in the new Mass settings national com-petition in 2010. As a musical theater director,Mr. Gokelman earned a GLOBE Award forBest Musical Direction for UIW’s productionof Cottonpatch Gospel. He and David co-wrote Moses and the Burning Within, amusical performed regionally throughout theUnited States and Canada. Mr. Gokelman’sCD of original piano/orchestral compositions,Steal Away, reached no. 69 on the Top 100

New Age chart, and continues to be played onsatellite radio. Mr. Gokelman earned a B.M. inpiano, and an M.M. from Westminster ChoirCollege. In 2006 he received the UIW Presi -dential Teaching Award, and was voted the2011–12 UIW Moody Professor.

University of the Incarnate WordCardinal ChoraleThe Cardinal Chorale is the primary vocalensemble of the University of the IncarnateWord Department of Music. It is comprisedof students from many different academicdisciplines, all across the campus. TheChorale has performed in various festivals,community, and school events, in venuessuch as Carnegie Hall (2000, 2010), SanAntonio’s Tobin Center for the PerformingArts (2015), San Fernando Cathedral, andon numerous radio and television programs,especially during the Christmas season. TheChorale was invited to sing for the 25thanniversary Mass of San Antonio ArchbishopPatrick Flores in 1995. In 1996 the Choralewas asked to sing the “Star-SpangledBanner” (arranged by William Gokelman) withTejano star Emilio Navaira at the NBA All-StarGame, held in the Alamodome. The CardinalChorale has performed on two CDs of liturgi-cal choral music, Behold, and Mirad, bothpublished and distributed by Good For TheSoul Music (available on iTunes and Amazon).A major ensemble in the UIW Department ofMusic, the Chorale is also the largest studentorganization on campus. UIW is a Catholic, lib-eral arts university that was founded by theSisters of Charity of the Incarnate Word.

Distinguished Concerts SingersInternationalDistinguished Concerts Singers International(DCSI) forms the backbone of DistinguishedConcerts International New York (DCINY),the city’s preeminent producer of choral andorchestral concerts in New York’s mostprestigious concert venues. DCSI is com-prised of singers and chorus members

WilliamGokelman, Director

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Ephrem AckerClaire AdamsEmily AfflerbachJihan AldadaLeah AlderferBrianna AlegerSamuel AlexanderBrittany AndersonWesley AndersonOwen AraceIsabella AveryAllyson BaggettZion BaileyTamir BakerTess BakerJonathan BarberMaddie BatesAshlyn BedingfieldChristina BeiterElaine BenningtonZoe BentleyClaire BerganDerek BoozLiam BoydBen BracaleMaria Brinceno-RivieroSpencer BrooksStephen BurfordKhalia ButlerRyan CallieSarah CammarotaCheyenne CampAndrew CampbellJody-Ann Campbell

Hannah CandelaKevin CannonPaul CannonGrace CantrellSharon CarlsonSarah CastroMegan ChangPeter Ch'enSierra ClicknerChristina ClingerAnnie CohenJacob CohenMackenzie ColeCaden ColemanOlivia CombsAshley ComptonAlena CookJayda CookJulie CooperA.J. CoppBrianna CosseyJulia CroccoIsabel DaileyMadeleine DaileyAlexandra DannunzioGracelyn DavenportEthan DavisIva DedijerNatalie DeKokOriane DemandolxGabrielle DennisAri DettmanHarry DitillioCharity Dodds

Gabrielle DriscollAdrienne DuesberryAriel DukesHalley DunnHannah DuranKristen DuranEva DurandTrinity DuvallMadison EagerJackie EdgersAllison ElkinsAlexis EllerBerta EscudeJohn FathNicole FaulknerTrever FishLiam FlaniganClaire FloraMia FloraEmma FordLucas FoxDeanna FrancesAmanda FrattarelliJenna FrazerDaisy FriasMiguel FuentesSilvano GarciaEmma GardnerDavid GayleAshley GeislerNico GiminoKaitlynn GoffRachel GoldCaleb Goldberg

Nathalie GolikEamon GoucherKira GoutzioulisDani GraftonAmanda GrahamPreston GrandpreKimber GreenfieldMolly GressHannah GriffinHaley GriffithMitzi GutierrezNick HallKayla HallmanAmelia HarlovicTaylor HartCameron HartAntonio HayesAquil HayesBrian HayesCaleb HayesHope HeilmannNaomi HemingwayJorge HernandezMichaela HersheyHana HibinoMichael HigginsClaire HightonCaleb HildebrandTyjshier HillAbby HirschRose HoffmanRylie HoltGrant HopkinsCatelyn Huang

Performing Arts Partners ListDCINY would like to thank our Performing Arts Partners, who, with their financial support, havemade this performance possible.

Distinguished Concerts Singers InternationalBellevue High School Chamber and Treble Choir (WA), Andrew Jacobson, Director*Bexley High School Vocal Ensemble (OH), Amy Johnston Blosser, DirectorCatalina Foothills High School Concert Chorale (AZ), Leah Seitz, DirectorGlenpool High School Warrior Singers (OK), Kristen Womack-Hayes, Director*NIU Concert Choir (IL), Eric A. Johnson, DirectorNorristown Area High School Select Choir (PA), Lynne Danoff, DirectorSouderton Area High School Advanced Choir (PA), Teresa Washam, DirectorSpringfield Township High School Concert Choir (PA), Andrew Puntel, Director*Wissahickon Camerata (PA), John Conahan, Director

*Denotes DCINY Alumni

from professional, semi-professional, anddedicated amateur ensembles, who havebeen invited by DCINY to appear on theirconcert series following a rigorous auditionprocess with DCINY’s Artistic Team. DCSI

can vary in size from between 100 to 500singers, depending upon the repertoire, andhas drawn members from around the world,with 43 countries and six continents repre-sented to date.

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Kristen HubbsLaura HugebackKaylan HughesKatelyn HurstChris JacksonLogan JimenezAbigail JohnsonAnya JohnsonBeverly JohnsonJackie JohnsonJessica JohnsonDysine JonesSteven JonesZachary JoostenSamantha JorgensenAaron KaminskyEmmett KatzAnna KellyAlissa KerrAlexis KhuuSierra KnipeJordan KnudsenAlison KohneSamantha KrotSamuel KuiLexi LapeJason LeeSoleil LegariaHannah LelandJacob LevinJeffrey LinStephen LinAlexandra LittleElizabeth LylesSophia MaAisha MagsiMatthew MaialeSamuel MajkaMegan MajorNicholas MarateoAiden MarcelisBen MartinNatalee MartinAlexander MastNa'Lise MayerAvary McCall

Taryn McCallSpencer McClureRichard McCrayMadison McCueRiley McGinnChristina McMillanSavannah MeachamMakayla MeeseVeronica MendivilAllison MeyerMichaela MillerAlly MillsJeanne MingsuLexi MooreMikayla MooreMolly MoralezJohn MorefieldKaitlin MorehouseAnnika MorkenJoshua MorrisKira MorrisKursten MorrisOlivia MossAmeenah MuhammadRachel NamBrandon NelsonStephen NivenAnna NoelAndrew OhAnna OldOrion O’NeillAmy OttmanKorbynn OwensMikelena PanchesinThaddaeus PeayJordan PedigoMariel PelloEstaban PerezInge Pham-SwannKatherine PinesAshley PittnerRyan PittnerAnnie PolitiLeah PolitiMarissa PoolGabrielle Poth

Shea ProbstJared QahashEmily RamageWade RandleSophia RankinAllison RasconAlex RatanaAllison RepsikFaith RichardsonDestinie RobertsAbby RoemerPiper RungeKyle RyanShelby RyderNeethu SajiMax SalvadoreAdriana SanchezEmily SchaumbergMurisah SchlienzAndrew SchneiderGianna ScomaStephen ScottLaly SeratoMcKinley SeversonZach ShapiroTommy ShenSophia SimonsRachel SittKinzie SlaughterBailey SmithJason SmithMadison SmithAlan SmitheeCynnamon SpencerNichole StacyDylan StantonMolly StarkRyan SteinbrookAlfre StevensLeah StevensonEvan SuittIrviana SwittenburgKiarra TagueTanya TaimanaAna TanakaKelli Taylor

Kassandra TejedaAngelina TerpoilliErik TheleWilliam ThiriotJames ThompsonCourteny TigerMelissa TillmanLauren TofelTiffany TonEvan TrabitzAnna TranMatthew TrycieckyjJaya TuckerBrit UnangstFelix UnderwoodSarah WagnerHayden WallingfordJeffrey WangLois WangMax WebbDavid WeissNigel WellsAneesa WermersZara WermersAlex Westley-ShermanNicholas WhalingDanavia WilliamsKileigh WilliamsonChloe WilsonHaley WilsonMckenzie WisemanRandee WismerClaire WoernerKristen Womack-HayesLauren WoolfTimothy WoolfSarah WrightChristy YangSophia YatesAnnabelle YiNicholas YoungMillie YuetEllie ZatorskiJustyn Zeider

University of the Incarnate Word Cardinal Chorale

Victoria AcostaAlyssa AguirreJoshua BarriosMariana BarronSierra BelmaresAndrew BeltranJacob BissellBrandon BullsMarisa CastroSarah Catherine CatlettDavid ChavezJordan ClappAndrew ColdwellRebecca Colvin

Audrey CorbinBianca DiazLucinda EsquivelGabriella FesquezAriel FloresDiego FresquezAndrea GalvanRamiro Garcia-VillarrealElizette GonzalezGilberto GonzalezJorge GonzalezElisabeth HandEllen HebertAmanda Hernandez

Elizabeth HidalgoCarlos HinojosaTabitha HoxieJosh HutchinsonMeghan KeaneyJames KirkpatrickRylee KrkosaJennifer KroonKarina LagoCarolina LiraRachel LockerbieLucian LodicoAriana MartinezGavin Massay

Angela MattinglyJoanna MitchellJennifer MorquechoMaura NavarreteDiandra PalacioJesus PolitronAmy PoniatowskiKaitlyn PowellCynthia RaelGabriel RamosChristina RiveraKevin SalfenJoseph SanchezKathleen Sanchez

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Distinguished Concerts International New York (DCINY)Founded by Iris Derke and Jonathan Griffith, Distinguished Concerts International NewYork (DCINY) is the leading producer of dynamically charged musical excellence. With itsunforgettable concert experiences in renowned venues, empowering educational pro-grams, and its global community of artists and audiences, DCINY changes lives throughthe power of performance.

For more information about Distinguished Concerts International New York, and upcom-ing DCINY musical events around the world, please visit: www.DCINY.org.

DCINY Administrative StaffIris 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 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 Operations/ProductionGary Crowley, Graphic Design & Website

For PR and media inquiries, please contact us at Press@DCINY.org or (212) 707-8566 Ext. 307.

DCINY 2017 Concert Series

Friday Evening, March 24, 2017, at 7:00Alice Tully Hall, Lincoln CenterAn Evening with Troy Colt BandsThe Troy Jazz EnsembleThe Troy Concert Band

Connor SharpMatthew ShaversCeranda Silva

Noah SlavinClarissa SotoDominic Trevino

Rebecca VillarrealVictoria VillarrealTeresa Vincent

Kiae Waite

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

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The Troy Symphonic BandBrian P. Nutting, Director

Sunday Afternoon, April 9, 2017, at 2:00Stern Auditorium/Perelman Stage, Carnegie HallTotal VocalDeke Sharon, Guest Conductor and Creative DirectorCast Members of Pitch Perfect and Broadway’s In TransitDistinguished Concerts Singers International

Monday Evening, April 10, 2017, at 7:00Alice Tully Hall, Lincoln CenterGreen Valley High School Band and Hershey SymphonyGreen Valley High School (NV)Diane Koutsulis, DirectorHershey Symphony (PA)Sandra Dackow, Director

Sunday Evening, April 30, 2017, at 7:00David Geffen Hall, Lincoln CenterViva La Musica de ArgentinaMartín Palmeri: Tango Credo (World Premiere)Saul Zaks, Guest ConductorAriel Ramírez: Misa CriollaJonathan Griffith, DCINY Artistic Director and Principal ConductorDistinguished Concerts Orchestra and Distinguished Concerts Singers International

Friday Evening, May 26, 2017, at 7:00Stern Auditorium/Perelman Stage, Carnegie HallCelebration & ReflectionDieter Wagner, Guest ConductorDistinguished Concerts Singers InternationalThe Hudson Festival Chorus (OH)Thomas Scott, DirectorDanilo Guanais: Missa de Alçacuz (20th Anniversary)Vladimir Silva, Director

Sunday Evening, May 28, 2017, at 8:30Stern Auditorium/Perelman Stage, Carnegie HallBrahms’ RequiemJonathan Griffith, DCINY Artistic Director and Principal ConductorDistinguished Concerts Orchestra and Distinguished Concerts Singers International

Monday Evening, May 29, 2017, at 7:00David Geffen Hall, Lincoln CenterWith Strength & JoyAntonio Vivaldi: Gloria

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William Powell, Guest ConductorPepper Choplin: Psalm 23: A Journey with The Shepherd Pepper Choplin, Composer/ConductorDistinguished Concerts Orchestra and Distinguished Concerts Singers International

Tuesday Evening, May 30, 2017, at 7:00Weill Recital Hall, Carnegie HallIan Gindes, Pianist

Sunday Afternoon, June 4, 2017, at 2:00David Geffen Hall, Lincoln CenterPortraits of HealingTyler’s SuiteTim Seelig, Guest ConductorAnn Hampton Callaway, SopranoKellan Christopher, TenorThe Music of Ola GjeiloJames M. Meaders, DCINY Associate Artistic Director and ConductorDistinguished Concerts Orchestra and Distinguished Concerts Singers International

Sunday Afternoon. June 11, 2017, at 2:00Stern Auditorium/Perelman Stage, Carnegie HallThe Music of Vaughan WilliamsVaughan Williams: Sancta CivitasCraig Jessop, Guest ConductorVaughan Williams: Dona Nobis PacemNina Nash-Robertson, Guest ConductorDistinguished Concerts Orchestra and Distinguished Concerts Singers International

Saturday Evening, June 17, 2017, at 7:00Stern Auditorium/Perelman Stage, Carnegie HallSong/PlayAlberto Grau: La DoncellaCristian Grases, Guest ConductorAlberto Grau: La Avispa Brava (World Premiere)María Guinand, Guest ConductorDistinguished Concerts Orchestra and Distinguished Concerts Singers InternationalCharlotte Symphony Youth Orchestra (NC)Ernest Pereira, Director

For DCINY’s full season listing, visit www.DCINY.org

Distinguished Concerts International New York250 West 57th St., SUITE 1610New York, NY 10107212.707.8566 | DCINY.org

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