presents wind songs - dcinyhome: dcinythe wind theme is revisited, but this time segues into the...

Sunday Afternoon, March 12, 2017, at 2:00Isaac Stern Auditorium / Ronald O. Perelman Stage

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

presents

Wind SongsOLATHE NORTH HIGH SCHOOL SYMPHONIC BAND

JOHN WICKERSHAM, Assistant Director of Bands

PIERRE LA PLANTE American Riversongs

RANDALL D. Kinetic DancesSTANDRIDGE

MICHAEL MARKOWSKI The Cave You Fear

OLATHE NORTH HIGH SCHOOL PERCUSSION ENSEMBLEJOHN WICKERSHAM, Assistant Director of Bands

BRIAN BLUME Alarm!

OLATHE NORTH HIGH SCHOOL WIND ENSEMBLEJUSTIN W. LOVE, Director of Bands

GUSTAV HOLST Second Suite in F for Military Band

BRIAN BALMAGES Rippling Watercolors

ROSSANO GALANTE Transcendent Journey

Intermission

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES.

(continued)

3-12 DCINY.qxp_Carnegie Hall Rental 3/1/17 4:11 PM

KINGWOOD HIGH SCHOOL BANDDESTRY BALCH, Director

ROBERT W. SMITH Festive Fanfare (To Laud and Honor)

KINGWOOD HIGH SCHOOL BANDTYLER MORRISON, Assistant Director

SAMUEL R. HAZO …Go

SAMUEL R. HAZO Autumn on White Lake

JAMES SWEARINGEN Blue Ridge Saga

KINGWOOD HIGH SCHOOL BANDDESTRY BALCH, Director

BRIAN BALMAGES Summer Dances

PAUL DUKAS The Sorcerer’s Apprentice

BRIAN BALMAGES …Not Afraid to Dream

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For information about performing on DCINY’s series or about purchasingtickets, e-mail [email protected], call (212) 707-8566, or visit our websiteat www.DCINY.org.

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Notes ON THE PROGRAMby Justin W. Love & John Wickersham

The Cave You Fear (4 minutes)Michael Markowski (b. 1986)

The Cave You Fear, written in 2014,was inspired by the following quotefrom writer Joseph Campbell:

“The cave you fear to enter holds thetreasure you seek.”

Composer Michael Markowski aimedto compose a piece that reflects the ideaof venturing into the unknown, regard-less of how frightening it may be. TheCave You Fear starts out mysteriousand little unsure of itself. Once themain theme is established, it is inter-

rupted by loud brass and percussionnotes, possibly resembling fearfuldoubt one may have trying a new expe-rience. The slower middle section intro-duces haunting sounds created by theAlto Saxophone and Percussion. Afterpicking up the tempo to the beginningpace, the main theme is establishedonce again, this time by the low brass.The piece ends in a fury of loud noisesfrom the percussion and brass, in addi-tion to the melody played by the wood-winds and trumpets.

Kinetic Dances (3 minutes)Randall D. Standridge (b. 1976)

Kinetic Dances, written in 2015, is adance for concert band combining con-ventional and mixed meters. The move-ment back and forth between meterscreates a unique rhythmic flow inenergy and forward momentum. Theform of Kinetic Dances resembles aRondo, where the main melody is

surrounded by several contrasting sec-tions. The middle section features lowbrass swells and woodwind ostinatos,which all builds to a percussion featureand a fantastic return of the maintheme. Kinetic Dances is a high-energycomposition that ends with the samevitality as it began.

American Riversongs (6 minutes)Pierre La Plante (b. 1943)

American Riversongs, written in 1991,is based on traditional and composedmusic of an earlier time, when therivers and waterways were the lifelinesof a growing nation. The piece beginswith a rousing setting of “Down theRiver,” followed by an expansive anddramatic treatment of “Shenandoah.”After a brief transition, a brass band is

heard playing a quadrille-like versionof Stephen Foster’s “The GlendyBurk,” along with another theme basedon a Creole “bamboula,” presumablyfrom the Louisiana delta region. Thisbamboula theme, marked by incessantsyncopated ragtime rhythm, bringsAmerican Riversongs to a foot-stomp-ing ending!


Alarm! (3 minutes)Brian Blume (b. 1985)

Alarm!, written in 2011, was com-posed for 3 snare drums, 3 concerttoms, and a concert bass drum. Byusing different drum pitches, the com-poser creatively integrates a variety ofmelodies as the musical line movesbetween drums. The staging of the

instruments also plays an importantrole as an added visual element. Withthe snare drums on the left and concerttoms on the right, the audience will seethe melody move from side to side,inside to out, and other visual ideas.

Second Suite in F for Military Band (12 minutes)Gustav Holst (1874-1934)

British composer Gustav Holst’s contri-butions to the wind band repertoire aresignificant, in that he was one of thefirst prominent orchestral composers towrite for the wind band. Though com-posed in 1911, Second Suite in F didnot receive its first public performanceuntil 1922. Since that time the SecondSuite has earned a position as a stapleof wind band literature. Consisting offour movements, the Second Suite uti-lizes English folk tunes and dances. Thefirst movement, March, opens with alively Morris Dance and then moves toa rousing version of “Swansea Song.”An abrupt change of key and meterintroduces the tune “Claudy Banks”

before a repeat of the original twotunes. Song Without Words is a haunt-ingly beautiful arrangement of the Eng-lish song “I’ll Love my Love.” Song ofthe Blacksmith uses shifting meters,syncopated rhythmic figures, andunique percussion scoring to recreatethe sounds of a blacksmith working inthe shop. The final movement, Fantasiaon the Dargason uses the sixteenth cen-tury dance tune “Dargason” in a nearlyendless repetition while overlaying itwith the traditional tune of“Greensleeves.” The Second Suite is amasterpiece that is both a joy to hearand perform.

Rippling Watercolors (4 minutes)Brian Balmages (b. 1975)

This lush lyrical work has limited tech-nical demands for the performers, butallows for a wide range of musicalexpression through a magnificent tonalpalate. The composer Brian Balmageswrites:

“The idea for this piece came from asimple set of watercolors. When

children get hold of these and use theirimagination, the most amazing thingscan happen. Children can see thingsthat adults never see. They open ourminds while we help them grow andlearn…The smallest drop can changethe pattern and create somethingentirely new.”


Transcendent Journey (6 minutes) Rossano Galante (b. 1967)

Rossano Galante is a graduate of theUniversity of Southern California’s FilmScoring Program. He has composedand orchestrated music for a widerange of films. He has also written anumber of compositions for windbands incorporating a variety of filmscoring techniques giving a dramaticand story-like quality to his music.

Transcendent Journey begins with abold and exhilarating opening chordthat gives way to an uplifting melodythat transports the listener through amusical journey. The composer statesthat the “listener should feel as thoughthey can accomplish anything, no mat-ter how challenging.”

Festive Fanfare (To Laud and Honor) (1 minute) Robert W. Smith (b. 1958)

Festive Fanfare is an energetic andenthusiastic composition that was cre-ated as a gift from the 2005 graduatingseniors of the Pikesville (Maryland)

High School Band to their director, Mr.Tedd Wilson. The work was originallypremiered under the title “Wilson Fan-fare: To Laud and Honor”.

Notes by Destry Balch

...Go (3 minutes) Samuel R. Hazo (b. 1966)

“In a way, …Go is a tribute to themany composers whom I hold in highregard. I didn’t set out to do this, butthe conglomeration of ideas I was hear-ing in my head was a wonderful mix ofinfluences. Ravel, Hindemith, andRodrigo in the opening … Holst andVaughan Williams in the middle.

Please don’t get me wrong! This com-position is ‘all me’, written in my style.I wrote every theme and each note tothe best needs of the piece. It’s that

some composers, through musicallegacy, can leave you with seeds of cre-ativity. I just planted them all at once.

…Go was written to be an impact-filledopener that would truly set the concerthall on notice. There are many greatpieces that, when placed in the overtureslot, just come up short. This is why Iset out to write …Go. I wanted to offerthe wind band world an obvious leave-off hitter with power.”

– Samuel Hazo

Autumn on White Lake (6 minutes) Samuel R. Hazo

Autumn on White Lake was commis-sioned by Lakeland High School ofWhite Lake, Michigan; Robert Green,Conductor. Lakeland High School wasthe first school to ever invite me as a

composer/clinician. I vividly rememberthat crisp October Saturday and howwonderful it was to hear my music beingplayed by an ensemble other than myown or those of my friends. Years later in


2006, Bob Green commissioned me towrite a piece for Lakeland to be playedby the present members of the band aswell as members who were there duringmy visit. Autumn on White Lake com-memorates that first visit.

The opening segment represents fallingleaves followed by a theme representingthe autumn winds. The theme represent-ing leaves then recapitulates and devel-ops slightly. The next theme representschildhood memories of autumn … thesmell of the air, raking piles of fallen

leaves and the slight chill of the earlyevening. The next theme symbolizes thegolden and auburn colors that paintshills and plains during that time of year.The wind theme is revisited, but this timesegues into the theme representing grayskies and autumn rains. This then leadsinto the key change and the re-emergingof the childhood theme leading to thegolden colors theme. The piece closeswith the wind theme and leaves fallingfrom that wind.

– Samuel Hazo

Blue Ridge Saga (6 minutes) James Swearingen (b. 1947)

Eminent composer, James Swearingen,once again shows the reason for hisexceptional popularity as a writer forschool bands! This offering utilizes afolk setting that reflects on the beautyand history of the Blue Ridge Moun-tains of North Carolina. Jim Swearin-gen has written, and masterfully scored,some of his best themes to date in thiscomposition, which is certain to be con-sidered a significant work. All of themusical qualities you have grownaccustomed to are evident in this work,which is perfectly suited for highschool/junior high festival and contestperformances.

Like most of James Swearingen's music,this is packed with teachable concepts.First, the piece is switching between aduple and triple meter. Next, the pieceis constantly changing styles, from stac-cato, to accented, marcato and legato.This piece will give directors an oppor-tunity to teach the difference between >and ^ accents. There are also duplenotes printed in the 6/8 sections, whichmay be a new concept for some players.Finally, this piece will take quite a bit ofendurance and will help to teach play-ers to rely on air instead of their chopsalone to make it through.

Summer Dances (6 minutes) Brian Balmages

Summer Dances was written for theColumbia Concert Band, Columbia,Maryland, for an outdoor summer con-cert. The piece was written to capturethe beauty and spirit of the many festi-vals and events associated with the sea-son. In writing the piece, elements wereincluded to make it very appropriate toperform in or out of the concert hall.

The piece thrives on a rhythmic pulsethroughout. The fast rhythmic figuresof the opening are contrasted with themore stately motives presented later inthe piece in the slower, more lyrical section.


The Sorcerer’s Apprentice (11 minutes) Paul Dukas (1865–1935)

The Sorcerer’s Apprentice is not only thebest-known work of French composer,Paul Dukas; it remains one of the mostfamiliar of all concert pieces. The Sor-cerer’s Apprentice, an instant success at its1897 premiere, continued to enjoytremendous popularity for the next severaldecades. Then, in 1940, The Sorcerer’sApprenticewas immortalized on the silverscreen, courtesy of the Walt Disney ani-mated classic, Fantasia. In the film,Mickey Mouse portrays the haplessapprentice, whose misadventures are setto Dukas’ brilliant score, performed byLeopold Stokowski and the PhiladelphiaOrchestra.

The great German poet, Johann Wolf-gang von Goethe (1749-1832), providedthe inspiration for Dukas’ magicalorchestral scherzo. In a ballad, entitledDie Zauberlehrling, Goethe tells thestory of a magician’s apprentice. Theapprentice has observed his master’sability to bring a broomstick to life inorder to do the sorcerer’s bidding. Theapprentice has divined the sorcerer’smagical incantation. And so, when thesorcerer departs, the apprentice ani-mates the broomstick and orders it tofetch water. The broomstick complies,but much too enthusiastically—soon,the magician’s house is overflowing withwater. The apprentice tries to stop the

disaster by chopping the broom in halfwith an axe, but that causes two broomsto emerge and further inundate thehouse with water. Finally, the sorcererreturns, and with a wave of his hand,restores calm.

All of the action of Goethe’s poem ismasterfully portrayed in Dukas’ scintil-lating music. A mysterious, slow intro-duction (Assez lent) transports theaudience to the magician’s home. Thescurrying apprentice is portrayed by aquicksilver woodwind figure (Vif). Astroke of the kettledrum is followed bya moment of silence. Isolated notes sug-gest that the broom is beginning to stir.Finally, its bumptious theme is playedin full by the bassoons. From here, themusic proceeds on its inexorablecourse, gaining power and momentumalong the way. There is a brief pausewhen the apprentice splits the broom intwo. But soon, the fury returns whenthe rejuvenated brooms wreak morehavoc. Finally, the action comes to acrashing halt, as the sorcerer returnshome. The hushed, introductory musicbriefly returns, whisked aside by anorchestral flourish.”

– Ken Meltzer, Atlanta Symphony Orchestra

...Not Afraid to Dream (6 minutes) Brian Balmages

...Not Afraid to Dream is written inmemory of Kevin Langlie, a high schoolsenior who tragically passed away. Atthe request of his school, it is designed toserve two purposes: to help bring closureto everyone at the school, and to cele-brate his life, both the serious and ‘not-so-serious’ moments. The title comesfrom the eulogy delivered by his band

director, Christopher W. Jarvis: “Hisfocus on the positive and the possible leftno room in his life for negative attitudesand excuses … He wasn’t afraid todream and share those dreams …”

The work opens with the sounds of var-ious chimes, almost mimicking thesound of church bells. This somber


beginning is reflective in nature and is amusical ‘moment of silence’. As themelodies and harmonies grow out ofthis silence, it is almost as though a rayof sunshine beams through the sound ofthe band to counter the earlier pas-sages. A solo trumpet hints at the open-ing of Lift High the Cross, one of thehymns that was sung at Kevin’s wake.

Eventually, the tone of the piece turnsto a much lighter note, picking up inboth mood and tempo. A lightheartedmelody intertwines with changingmeters as it begins to reflect on Kevin’ssense of humor and enthusiasm. Thepiece then falls into a groove beginningwith low brass (Kevin’s instrument was

tuba) and eventually spreadingthroughout the entire ensemble, muchlike his personality tended to do.

As the piece drives forward, a fullrefrain of Lift High the Cross appears,undergoing several changes in harmonyas it competes with the main rhythmicmotif for the spotlight. Eventually, theundeniable spirit of the opening themeof this section comes back to triumphas the piece builds to one final climax.A brief tuba duet reminds everyone thatKevin is still in the band; then theensemble joins in for a whirlwind ofharmonies that eventually finds its wayhome.

Justin Love has served as the Director ofBands at Olathe North High Schoolsince 2008. His teaching responsibilitiesinclude marching band, wind ensemble,concert band, jazz band, and music the-

ory. Prior to teaching in Olathe, Justintaught band in De Soto, Kansas for eightyears and in Ulysses, Kansas for twoyears. Justin received both his Bachelorsand Masters Degrees from the Universityof Kansas. He is also a 1993 graduate ofKingwood High School in Kingwood,Texas. Justin was recognized in 2005 asthe Kansas Bandmasters Association /Phi Beta Mu Outstanding Young BandDirector. He was also named the DeSoto High School Teacher of the Year in2002 and 2004. Ensembles underJustin’s direction have performed at theMusic for All National Concert Festivaland at the Kansas Music EducatorsAssociation In-Service Workshop. Justinhas served as guest conductor and adju-dicator for music festivals aroundKansas. Justin is a member of theNational Association for Music

JUSTIN W. LOVE, DirectorOlathe North High School Wind Ensemble and Symphonic Band

THE Artists


Education, Kansas Music EducatorsAssociation, Kansas Band Masters Asso-ciation, Phi Beta Mu, and the OlatheNEA. Justin is currently serving as thePresident-Elect for the East Central Dis-trict of KMEA. He is also the co-directorof the City of Shawnee Concert Band.Justin and his wife Bee make their homein Olathe with their son and daughter.

Olathe North High School boasts anenrollment of over 2,300 students, and isone of four comprehensive high schoolsin the Olathe Public School District. TheOlathe North Band Program serves over200 students in grades 9-12 through avariety of curricular and extra-curricularensembles. These include three concertbands, marching band, pep band, twojazz ensembles, percussion ensemble,and pit orchestra. The Olathe NorthScreamin’ Eagle Marching Band hasachieved consistent success earning topratings and marching band champi-onships in Kansas and Missouri, includ-ing being named the 2015 and 2016

Kansas Bandmasters Association 6AChampion. The Marching Band has per-formed in Canada, the Bahamas, Texas,Florida, and in the Tournament of RosesParade. The Olathe North Wind Ensem-ble has performed at the Kansas MusicEducators Association In-Service Work-shop four times, most recently in 2016.The Wind Ensemble was also the secondever school from Kansas invited to per-form at the Music for All National Con-cert Festival in 2015. Jazz Ensemble 1also performed at the 2016 KMEA In-Service Workshop. The Olathe NorthPercussion Ensemble performed at the2014 KMEA In-Service Workshop, andthe Olathe North Winter Percussion wasthe Scholastic B Class Champion at the2013 Mid-Continent Color Guard Asso-ciation Indoor Percussion Champi-onships. The Wind Ensemble, conductedby Director of Bands, Justin W. Love,and the Symphonic Band and PercussionEnsemble, conducted by Assistant Direc-tor, John Wickersham, are making theirdebut performance at Carnegie Hall.

John Wickersham is the Assistant BandDirector at Olathe North High School.His teaching responsibilities includemarching band, concert band, jazz band,and percussion at Olathe North. Healso serves as the band director at severalOlathe North area elementary schools.John attended the University of Kansaswhere he earned both his Bachelors ofMusic Education (2008) and Master’sDegree in Music Education (2014).Under John’s direction the Olathe NorthPercussion Program performed at the2014 Kansas Music Educators Associa-tion In-Service Workshop. John enjoysperforming around the Kansas City areain a variety of different ensembles,including Midwest Winds and the

Lawrence City Band. He also is anactive percussion composer/arranger

JOHN WICKERSHAM, Assistant DirectorOlathe North High School Symphonic Band and Olathe NorthHigh School Percussion Ensemble


and teaches a small private studio of per-cussion students.

John is a member of the National Asso-ciation for Music Education, KansasMusic Educators Association, Kansas

Band Masters Association, NationalEducation Association, Percussive ArtsSociety, and endorses Innovative Percus-sion. John lives in Olathe with his wife,Carol (also a local band director) andtheir cat, Nimbus, and dog, Bongo.

Destry Balch, a graduate of Universityof North Texas in Denton, became theKHS band director in the summer of2004. Prior to this, he was the King-wood Ninth grade director from 2001through 2004. He has also worked inthe Texas communities of Van, SpringHill and Lufkin. In the fall of 2016 hebegan his 29th year of teaching. He ismarried to the most wonderful andbeautiful wife, Nita. Between the twoof them they have five children: Tony –former U.S. Army infantry, now work-ing for pipeline inspection; Samuel –Texas A&M University graduate andnow a Lieutenant in the Army; Aubrey– former U.S. Army Medic and currentNursing School Student; Matthew Tyler– enrolled in college and close to

concluding his degree in ComputerGraphic/Game Design; Matthew Lee –enrolled in college and workingtowards career goals; Esker – their Son-In-Law who is an Army Drill Sargeant;and one year-old grandson Brantley.Other than being a full time husbandand father, he also likes to garden and isa lifelong student of Biblical Scripture.When band is in full swing, there is notmuch time for hobbies other than hisfaith, Nita, their family, and band.

Kingwood High School opened its doorsto students in the fall of 1979. DestryBalch took the baton in 2004. Since thattime the band has gained national recog-nition as the spotlight has taken theband to Illinois, New York, Florida,twice to California, and most recently toHawaii. The school split in 2007 causedthe enrollment to drop, but the bandcontinued its performances of quality,excellence, instrumental skill, and per-formance excitement. Current enroll-ment is approximately 210 members.

The band’s list of accolades duringrecent years includes the 2007 Tourna-ment of Roses Parade and the 2009Chicago St. Patrick’s Day Parade, 2011Lincoln Center New York Concert,2012 Veteran’s Day Parade in SanDiego, CA, and 2015 Pearl Harbor,Hawaii concert.

DESTRY BALCH, DirectorKingwood High School Band


PERFORMING ARTS PARTNERS

DCINY would like to thank our Performing Arts Partners, who, with theirfinancial support, have made this performance possible.

OLATHE NORTH HIGH SCHOOL WIND ENSEMBLE,SYMPHONIC BAND, AND PERCUSSION ENSEMBLE

FluteChyna AcreeMaKenna AyersShalra AzeemEmma BeattyElianna CrainBianca DuranKeyla Escareno-GuzmanMJ FergusonLaura FluckeClaire FuhlhageClaire GenisPaige GorterAubree GrantzNicole HoppasSara LohrSofia Martinez ManuelHeeral PatelJacob PatelPaola RamirezAdam VanceMegan Wendel

OboeKatherine AmbersonHayley GreenAbby MiddletonZashary Ramos-SandovalGrace Zhu

Bb ClarinetIan AdamsKimberly BezdekBlake BuffMaddie CainKendall GrossJenna HallMilenia MbaiMegan ReedHannah SchiefelbeinSanah ShabbirAyawna SingletonNick Thongthavy

Bass ClarinetEmma GrovesDustin Hughes

Alto SaxRishab BhatAbby GreenManas MadhiraAvery PardueJacob St. John

Tenor SaxAdiedra CullorsMichael JobsonMatthew McDowellJackson Wilks

Baritone SaxCaleb Chipman

Tyler Morrison, a graduate of Lee Uni-versity in Cleveland, Tennessee becamethe KHS assistant band director in thesummer of 2016. Before moving toTexas, he was the United ChristianAcademy’s middle school band founderand director from 2014 to 2016. Whilein Tennessee, he worked closely withvarious large band programs andassisted as their marching tech and pri-vate lesson instructor. His students havereceived many awards on their instru-ments including college scholarships,admittance into the Tennessee All-StateBand, Governor’s School, and DistrictHonor Band.

TYLER MORRISON, Assistant DirectorKingwood High School Band


*KINGWOOD HIGH SCHOOL BANDFluteMakayla AlbertMarissa AmarAmber BalowNina DatzGrayson GrahamMisty HortonLena KnoerzerEmma KymeFrancine MeijElizabeth PerryRachel ShawSadie StultsSophie ThibodeauxAlyssa TinsleyHolly WalkerPeyton Wray

OboeRobin HormannMaria Mejia

Bb Clarinet Nawaal AhmadLaney AlbertEmily AnayaBailey Berglan

Elizabeth CapponChase CheathamMariela GuidrySuyash GuptaAyla HolcombNicole MerianoCaitlin OmetzbergerEmma PutnamAlyssa RodriguezBrooke RogersSarah ScheperCheyenne SettegastAshley TrotterRylie VybiralRachelle WilshireAndrew Wilson

Bass ClarinetKaren BaileyNatalie CrowLauren EdwardsAlexa HaddenShelby Smith

Contralto ClarinetKatie BourlandEmily Marshall

BassoonHayden HouseJosephina Kim

Alto SaxAbby AfdahlKate BrinsonAaron CanalesAllison CatesChad CheathamJustin ColbyGabriel CuadraSarah KramerDylan LeCroyTyler MerkleyDaniel MorelandAndres Ramos-SaldanaDylan SobczakLance VelvinTrent WallingBryan White

Tenor SaxTyler CrumpAllison GollaLilly HartPeyton TishZac TuckerIsaac Tunstall

HornVanessa ArambulaHunter BogartAlex BucknerPhoebe BuhlDJ DonnellyHunter JaegerBella Serrano

TrumpetMacie AblesKatie BaileyCole BellamyPatrick BennetAllison BixlerXavier ChaveraMichaela ConderApril DossettAnna FluckeNicholas GerholdLuis GuzmanBen HeueisenCory LawsonEric MurphyMaggie O’SullivanTyler RogersChrystian Rojas-MoreiraNoah StoskopfBaird Townsend

Quin WallaceBrian WeberParker Woolworth

TromboneKimma EdwardsJames FriesenGrayson GoyerCassandra GriffingHalle JonesRobyn LucknerAttisen McCorkleNoah PaceAndrew SnyderCameron WhitemanTravis Wolfe

EuphoniumErin GassenNathaniel MartinMadigan Taylor

TubaMatthew HuntTristan McBrideShawn NuttMason PrideJude Stapf

Bass Weston Shane

PercussionAksel BejaranoCamden BradyRyan ButenhoffDavid CulpJoe Garcia Jr.Emma GovreauAnthony GrahamCade HeikesCarter HicksGage HiebertBrandon HolzmarkJordan JobsonMyron Jones Jr.Alex KolarNathan LaughlinMason MattesAllison MeyerAbraham PalominoElijah PersonJosh RobinsonLorenzo SerranoGarret YeoSamantha Zamarripa


*Denotes DCINY AlumniThe Performing Arts Partners list includes names supplied by directors. Any questions regard-ing missing names or misspelled names should be addressed to the individual directors.

DISTINGUISHED CONCERTS INTERNATIONAL NEW YORK(DCINY)

Found by Iris Derke and Jonathan Griffith, Distinguished Concerts International NewYork (DCINY) is the leading producer of dynamically charged musical excellence.With its unforgettable concert experiences in renowned venues, empowering educa-tional programs, and its global community of artists and audiences, DCINY changeslives through the power of performance.

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

Baritone SaxMegan BushJacob CapponBen Sidwell

French HornCharlotte BadotAmanda CleaverDanica FloodSean JeansonneSpencer KingRachel LemerNicholas PisaniEmily PogueEllen RussellRyan SullivanLiv VelvinKaylee Walling

TrumpetAmelia AlanisHayden AndrewsAvery BalowIsabel BauhsHayden BivensTanner BuxtonEvan ChamberlainKevin CordanoNeil CurtinNick DockterJacob FalconTaylor HendrickDaniel HolubecDominik IzydorczykLily KuhlmanKris LiJacob ManteiMadison ParkerAllyson Poland

Ryan RodriguezAndrew RozumJosip (JD) SchulzeDavid Seargeant IIIKaylee SheppardGriffith StappIvan VodenlicKoren WadenpfuhlJohn WhitmireNick WiedrichPaige Woods

TromboneElaine ApplegateIan BenedaCaleb ForbesEric GuidryBlake HaynesSteven HormannBoting LuKyra OberbroecklingTanner RawlingsSamuel ScheuflerChris WahrmundReece Wilshire

EuphoniumChristian ApplegateTimothy BatesGrant DoyleAndrew GoldenParker HearnEric LlewellynJake MooreTiger MorrisonTyler PenningLandon SpeckertJack Webster

TubaWesley CabraAidan EganHaeleigh LambertTyler MooreAdam RamirezDavid StepanenkoRyan StevensHussein TurfeWyatt Wheeler

PercussionKevin AbbottJoshua CrumpTrevor DeBenonGabby EastAdrian FiskDavid FlukerMichael HansonBethany HellmersAlexandra HineyGarrett HuberMatthew LaMacchiaJake LebbinEmily OwensLorrie PritchettDiego SaldanaJacob SchmidtMicah SnellAsher ThornEric TorresBennett Wehr


DCINY 2017 Concert Series

Sunday Evening, March 19, 2017 at 8:30Stern Auditorium/Perelman Stage, Carnegie HallI Hear America Singing: The Music of André Thomas and Greg GilpinGreg Gilpin: Music for Young Voices (Children’s Choirs and Middle Schools)Greg Gilpin, Composer/ConductorThe Music of André ThomasAndré Thomas, Composer/ConductorDistinguished Concerts Orchestra and Distinguished Concerts Singers InternationalWest Orange High School Concert Choir (FL)Jeffery Redding, Director

Monday Evening, March 20, 2017 at 7:00Alice Tully Hall, Lincoln CenterVocal ColorsDCINY Composer Spotlight – The Music of Eric Barnum, Timothy Takach, and JohnConahanDistinguished Concerts Singers International University of the Incarnate Word Cardinal Chorale (TX)William Gokelman, Director

Friday Evening, March 24, 2017 at 7:00Alice Tully Hall, Lincoln CenterAn Evening with Troy Colt BandsThe Troy Jazz EnsembleThe Troy Concert BandThe Troy Symphonic BandBrian Nutting, Director

Iris Derke, Co-Founder and General Director

Jonathan Griffith, Co-Founder, ArtisticDirector & Principal Conductor

Danuta Gross, Director of Finance &Administration

Kevin Taylor, Director of Program Development

James M. Meaders, Associate ArtisticDirector & Conductor

Jason Mlynek, Associate Director of Program Development

Mark Riddles, Program DevelopmentKatie Sims Silvestre, Program DevelopmentJulia Falkenburg, Program DevelopmentMaria Braginsky, Program DevelopmentAssistant

Kimberly Wetzel, Program DevelopmentAssistant

Jeff Binner, Program Development AssistantTabitha Glista, Production ManagerAndrea Niederman, Associate Director ofMarketing, Box Office & Promotions

Katherine Shen, Box Office & MarketingAssistant

DeAnna Choi, Office Operations Manager,Accounting & Billing

Marisa Tornello, Concert Operations Associate

Morgan Yachinich, ConcertOperations/Production

Gary Crowley, Graphic Design & Website

DCINY ADMINISTRATIVE STAFF

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


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

Monday, April 10, 2017 at 7:00Alice Tully Hall, Lincoln CenterGreen Valley High School Band (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: GloriaWilliam 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 Center


Portraits 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

Monday Evening, June 26, 2017 at 7:00Stern Auditorium/Perelman Stage, Carnegie HallCanta! Canta! Canta!The Music of Francisco NúñezFrancisco Núñez, Composer/ConductorDistinguished Concerts Singers InternationalCabrillo College and add (CA) John D. Anderson, DirectorCheryl M. Anderson, Director

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

Distinguished Concerts International New York250 W. 57th Street, Suite 1610

New York, NY 10107(212) 707-8566 | DCINY.org


presents wind songs - dcinyhome: dcinythe wind theme is revisited, but this time segues into the...

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