Eternal Light - · PDF fileeternal light distinguished concerts orchestra distinguished concerts singers international morten lauridsen lux aeterna ... morten lauridsen (b. 1943) lux

Sunday Evening, November 20, 2016, at 8:30Isaac Stern Auditorium / Ronald O. Perelman Stage

Changing Lives through the Power of Performance

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

presents

Eternal LightDISTINGUISHED CONCERTS ORCHESTRA

DISTINGUISHED CONCERTS SINGERS INTERNATIONAL

MORTEN LAURIDSEN Lux Aeterna I. Introitus II. In Te, Domine, Speravi III. O Nata Lux IV. Veni, Sancte Spiritus V. Agnus Dei – Lux Aeterna BRADLEY ELLINGBOE, Guest Conductor

Intermission

HOWARD GOODALL Eternal Light: A Requiem (NYC Premiere) I. Requiem: Kyrie: Close now thine eyes II. Revelation: Factum est silentium III. Litany: Belief IV. Hymn: Lead, kindly light V. Lacrymosa: Do not stand at my grave and weep VI. Dies Irae: In Flanders fields VII. Recordare: Drop, drop slow tears VIII. Revelation: Tum angelus tertius clanxit IX. Agnus Dei X. In Paradisum: Lux aeterna JONATHAN GRIFFITH, DCINY Artistic Director and Principal Conductor HOWARD GOODALL, DCINY Composer-in-Residence SARAH JOY MILLER, Soprano SCOTT JOINER, Tenor STEVEN EDDY, Baritone

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Notes ON THE PROGRAM

For the complex and moving fivemovement non-liturgical requiem LuxAeterna, Lauridsen selected and set fivesacred Latin texts, the opening andclosing of the Requiem Mass and threesections of the Te Deum, all of whichcontain references to light. In thiswork, Lauridsen combines compellingmelodies with tonal harmonic structureand his characteristic use of disso-nance. The accessible Lux Aeterna wascomposed for the Los Angeles MusicCenter on April 13, 1997. Lauridsencommented in the published score:“The instrumental introduction to theIntroitus softly recalls motivic frag-ments from two pieces especially closeto my heart (my settings of Rilke’sContre Que, Rose from Les Chansons

des Roses, and O Magnum Mysterium)which recur throughout the work invarious forms. Several new themes inthe Introitus are then introduced by thechorus, including an extended canonon “et lux perpetua.” In Te, Domini,and Speravi contains, among othermusical elements, the cantus firmusHerz liebster Jesu and a lengthy invert-ed canon on fiat Misericordia. O NataLux and Veni Sancte Spiritus are pairedsongs, the former a central a cappellamotet, and the latter a spirited, jubilantcanticle. A quiet setting of the AgnusDei precedes the final Lux Aeterna,which reprises the opening section ofthe Introitus and concludes with a joy-ful Alleluia.”

— Morten Lauridsen

MORTEN LAURIDSEN (b. 1943) Lux AeternaDuration: 27 minutes

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The writing of a Requiem is a specialchallenge for any composer. The cata-logue of mighty predecessors is onething. Victoria, Mozart, Verdi, Brahms,Berlioz, Fauré, Dvorák, Duruflé, not tomention the Britten, Ligeti and LloydWebber settings in more recent times. Ihad the additional challenge of con-ceiving a choral piece that would bedanced by the dazzlingly excitingRambert Dance Company, choreo-graphed by their Artistic Director,Mark Baldwin.

The Catholic liturgical template fromwhich all those famous Requiems stem,the Missa Pro Defunctis, takes as itsbasic premise the notion that the livingintercede on behalf of the souls of thedeparted in the hope they are grantedeverlasting life. In this tradition, allhumans are deemed sinners by virtuesimply of being human, never mindwhat else they might have got up to,and are urgently in need of our prayersand supplications. There is an emphasisin settings from the Middle Ages to theEnlightenment on judgement, hellfireand damnation, an emphasis thatBerlioz and Verdi hammered homewith their famously cataclysmic DiesIrae movements.

I took what you might call a Brahmsianroute. Brahms broke from tradition byselecting German-language texts notfound in the ancient Latin funeral riteand by his intention that the Requiemcould provide solace to the grievingwho live on, rather than dire warningsof damnation, or pleas for the departedas they linger in purgatory.

For me, a modern Requiem is one thatacknowledges the terrible, unbearableloss and emptiness that accompanies

the death of loved ones, a loss that isnot easily ameliorated with platitudesabout the joy awaiting us in the after-life. A number of recent events in ourcollective experience and one or two ona private level has reinforced for me thecatastrophic grief that follows the loss,particularly, of young people. Thedeath of someone before their timefights nature and those of us who areleft have few if any ways of coming toterms with it. Musical expression can Ihope provide some outlet, some reflec-tion, some transportation, even possi-bly some comfort. I discussed this atlength with Mark Baldwin and theways in which its resonances might beinterpreted, illuminated and furtherexplored in dance. This was to be aRequiem for the living, a Requiemfocusing on interrupted lives.

Eternal Light: A Requiem was firstproduced in 2008, the 90th anniversaryof the end of World War I, possibly thelast such commemoration with any sur-viving combatants, and though it wasnot deliberately conceived thus, it ispowerfully appropriate that the centralDies Irae movement takes as its visionof hell the horror of armed conflict.Alongside the Latin text phrases I havejuxtaposed John McCrae’s hauntingwar poem In Flanders Fields. McCrae,a Canadian military doctor of great dis-tinction, died on the Western Front inJanuary 1918. His poem is read eachyear at Canadian Remembrance servic-es. In our creative discussions weagreed that the hideous losses of theGreat War still feel relevant, given thatthe soldiers of that conflict were littlemore than the age of today’s schoolchildren. Poppies, the universallypoignant symbol of that war, are newlysignificant now, as Allied troops fight a

HOWARD GOODALL (b. 1958) Eternal Light: A RequiemDuration: 40 minutes


current campaign amidst opium poppyfields in Afghanistan. The technique ofplacing English poetry with fragmentsof the Latin, often sung simultaneouslyor antiphonally between soloist andchoir, characterizes the whole work.One section of Latin text comes notfrom the Requiem mass but from theBook of Revelation, with its descrip-tion of the coming of the Angels of theApocalypse. The Recordare movementcombines with Phineas Fletcher’s early-17th century sacred poem Drop, drop

slow tears. Other texts are drawn fromFrancis Quarles, Mary Elizabeth Fryeand Ann Thorp.

In all these verses there is a commontheme of compassion for the bereaved.The sacred texts offer everlasting light asan image of resurrection and survival forthe departed. I do not seek to contradictthe Judaic-Christian faith in life afterdeath, merely to examine it through theprism of our modern experience.

—Howard Goodall


Texts and TranslationsLux AeternaMorten Lauridsen

I. Introitus

Requiem aetemam dona eis, Domine:et

lux perpetua luceat eis. Te decet hymnus

Deus in Zion, et tibi redetur votum in

Jerusalem: exaudi orationem meam,ad te

omnis caro veniet. Requiem aetemamdona

eis, Domine: et lux perpetua luceat eis.

II. In Te, Domine, Speravi

Tu ad liberandum suscepturushominem

non horruisti Virginis uterum. Tudevicto

mortis aculeo, aperuisti credentibusregna

coelorum. Exortum est in tenebrislumen

rectis. Miserere nostril, Domine, miserere

nostril. Fiat Misericordia tua, Domine,

super nos quemadmodum speravimusin

te. In te Domine, speravi: non confundar

in aetemum.

Rest eternal grant to them, O Lord,and let

perpetual light shine upon them. Ahymn

befits thee, O God in Zion, and to thee a

vow shall be fulfilled in Jerusalem:Hear my

prayer, for unto thee all flesh shallcome.

Rest eternal grant to them, O Lord,and let

perpetual light shine upon them.

To deliver us, you became human, anddid

not disdain the Virgin’s womb. Having

blunted the sting of death, Youopened the

kingdom of heaven to all believers. Alight has

risen in the darkness for the upright.Have

mercy upon us, O Lord, have mercyupon us.

Ley mercy be upon us, O Lord, as we

have trusted in thee. In thee, O Lord, Ihave

trusted: let me never be confounded.

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III. O Nata Lux

O nata lux de lumine, Jesu redemptorsaeculi,

dignare Clemens supplicum laudes

preces que sumere. Qui came quondam

contegi dignatus es pro perditis. Nosmembra

confer effici, tui beati corporis.

IV. Veni, Sancte Spiritus

Veni, Sancte Spiritus, Et emitte coelitus

Lucis tuae radium. Veni, pater pauperum,

Veni, dator munerum, Veni, lumencordium. Consolator optime, Dulcis

hospesanimae, Dulce refrigerium. In labore

requies, In aestu temperies, in fletusolatium. O lux beatissima, Reple codis

intima Tuorum fidelium. Sine tuonumine,

Nihil est in homine, Nibil est innoxium.

Lava quod est sordidum, Riga quod estaridum, Sana quod est saucium. Flecte quod est rigidun, Fove quod est

frigidum,Rege quod est devium. Da tuis

fidelibus,

In te confidentibus, Sacrum septenari-um.

Da virtutis meritum, Da salutis exitum, Da perenne gaudium.

O born light of light, Jesus, redeemerof the

world, mercifully deem worthy andaccept

the praises and prayers of yoursupplicants.

Thou who once deigned to be to beclothed in

flesh for the sake of the lost ones, grantus

to be made members of your holy body.

Come, Holy Spirit, send forth fromheaven

the ray of thy light. Come, father of thepoor,

come, giver of gifts, come, light of hearts.Thou best of consolers, sweet guest of

thesoul, sweet refreshment. In labor, thou

artrest, in heat, the tempering, in grief, the consolation. O light most blessed,

fillthe inmost heart of all thy faithful.

Withoutyour grace, there is nothing us.

Nothing thatis not harmful. Cleanse what is sordid, moisten what is arid, heal what is hurt, flex what is rigid, fire what is frigid,

Correct what goes astray. Grant to thyfaithful,

those trusting in thee, thy sacred seven-fold gifts.

Grant the reward of virtue. Grant the deliverance of salvation, Grant everlasting joy.


V. Agnus Dei – Lux Aeterna

Agnus Dei, qui tollis peccata mundi,dona

eis requiem. Agnus Dei, qui tollis peccata

mundi, dona eis requiem. Agnus Dei,qui tollis

peccata mundi, dona eis requiem sem-pitemam.

Lux aetema luceat eis, Domine:Cum sanctis tuis in aetemum: quia

pius es.Requiem aetemam dona eis, Domine,

et luxperpetua luceat eis. Alleluia. Amen.

Lamb of God, who takest away thesins of the world,

grant them rest. Lamb of God, whotakest away the sins of the world,grant

them rest. Lamb of God, who takestaway

the sins of the world, grant them resteverlasting. May light eternal shineupon them,

O Lord, in the company of thy Saintsfor ever

and ever; for thou art merciful. Resteternal

grant to them, O Lord, and let perpetual

light shine upon them. Alleluia. Amen.


Eternal Light: A RequiemHoward Goodall

Requiem aeternam dona eis,Domine: et lux perpetua.

Kyrie eleison.Christe eleison.Kyrie eleison.

Requiem aeternam dona eis Domine

Grant them an everlasting peace,Lord, and perpetual light.

Close now thine eyes and rest secure;Thy soul is safe enough, thy bodysure;he that loves thee, He that keepsAnd guards thee, never slumbers,never sleeps. the smiling conscience in a sleepingbreastHas only peace, has only rest;the music and the mirth of kingsAre all but very discords, when shesings;Then close thine eyes and rest secure;No sleep so sweet as thine, no rest sosure.

Grant them everlasting rest, Lord

I. Requiem: Kyrie: Close now thine eyesText by Fancis Quarles (1592–1644)


Factum est silentium in cœlo

Et vidi septem illos angelos qui adstantin conspectu Dei, quibus datæ suntseptem tubæ.

Et septum angeli, qui habebant septemtubas, præparaverunt se ut clangerent.

Primus igitur angelus clanxit, et factaest grando et ignis, mista sanguine,projectaque sunt in terram: et tertiapars arborum exusta est, et omne gra-men viride exustum.

Deinde secundus angelus clanxit, etquasi mons magnus igne ardens projec-tus est in mare: factaque est tertia parsmaris sanguis. Et mortua est tertia parscreaturarum quæ erant in mari, ani-mantia dico, et tertia pars navium periit.

There was silence in heaven

And I saw angels standing before God,and to them were given seven trumpets.

And the seven angels which had the seventrumpets prepared themselves to blow.

The first angel blew, and there wasmade hail and fire, which were mingledwith blood, and they were cast in to theearth: and the third part of trees wasburnt, and all green grass was burnt.

And the second angel blew: and as itwere a great mountain burning withfire was cast into the sea, and the thirdpart of the sea turned to blood, andthe third part of the creatures whichhad life, died, and the third part ofships were destroyed.

II. Revelation: Factum est silentiumSt. John the Divine, Book of Revelation & Apocalypse Chapter 8, Translationby William Tyndale (in 1534)

III. Litany: Belief Text by Ann Thorp

I have to believeThat you still existSomewhere,That you still watch meSometimes,That you still love meSomehow.

I have to believeThat life has meaningSomehow, That I am useful hereSometimes,That I make small differencesSomewhere.


I have to believeThat I need to stay hereFor some time,That all this teaches meSomething,So that I can meet you againSomewhere.

IV. Hymn: Lead, kindly light Text by John Henry Newman (1801–1890)

LEAD, Kindly Light, amid the encircling gloomLead Thou me on!The night is dark, and I am far from home—Lead Thou me on!Keep Thou my feet; I do not ask to seeThe distant scene—one step enough for me.

I was not ever thus, nor pray’d that ThouShouldst lead me on.I loved to choose and see my path, but nowLead Thou me on!I loved the garish day, and, spite of fears, Pride ruled my will: remember not past years.

So long Thy power hath blest me, sure it stillWill lead me on,O’er moor and fen, o’er crag and torrent, tillThe night is gone;And with the morn those angel faces smileWhich I have loved long since, and lost awhile.

V. Lacrymosa: Do not stand at my grave and weepMary Elizabeth Frye (1905–2004) modified by Howard Goodall

Lacrymosa, dies illaThat day will be one of weeping

Do not stand at my grave and weep,I am not there, I do not sleep. I am a thousand winds that blow,I am the softly falling snow.I am the gentle showers of rain,I am the fields of ripening grain.I am in the morning hush,I am in the graceful rushOf far-off birds in circling flight.I am the starshine of the night.



I am in every flower that blooms,I am in still and empty rooms.I am the child that yearns to sing,I am in each lovely thing.

Do not stand at my grave and cry,I am not there – I did not die.

VI. Dies Irae: In Flanders FieldsText by John McCrae (1872–1918)

Dies irae, dies illa.Calamitatis et miseriae, dies magna et amara valde.That day, the day of wrath, calamity and wretchednessThat great and bitter day

In Flanders fields the poppies blowBetween the crosses, row on row, That mark our place; and in the skythe larks, still bravely singing, flyScarce heard amid the guns below.

We are the Dead. Short days agoWe lived, felt dawn, saw sunset glow,Loved and were loved, and now we lie,In Flanders fields.

Take up our quarrel with the foe:To you from failing hands we throwThe torch; be yours to hold it high.If ye break faith with us who dieWe shall not sleep, though poppies growIn Flanders fields.

VII. Recordare: Drop, drop slow tearsText by Phineas Fletcher (1582–1650)

Recordare Jesu pie,Quod sum causa tuae viae,Ne me perdas illa die. Recordare Jesu pieRemember, dear Jesus, that I am the reason for your journeyDo not abandon me on that final day

Drop, drop, slow tears,And bathe those beauteous feetWhich brought from HeavenThe news and Prince of Peace:Cease not, wet eyes,


His mercy to entreat:To cry for vengeanceSin doth never ceaseIn your deep floodsDrown all my faults and fears:Nor let his eyeSee sin, but through my tears.

VIII. Revelation: Tum angelus tertius clanxitSt. John the Divine, Book of Revelation & Apocalypse, translation by WilliamTyndale.


Tum angelus tertius clanxit, et cecidite cœlo stella magna, ardens velut lam-pas, ceciditque in tertiam partem flu-minum, et in fontes aquarum. Nomenautem stellæ dicitur Absinthium: versaest igitur tertia pars aquarum inabsinthium, et multi homines mortuisunt ex aquis, quod amaræ factæessent.

Deinde quartus angelus clanxit, et per-cussa est tertia pars solis, et tertia parslunæ, et tertia pars stellarum: ita utobscuraretur tertia pars eorum, et dieinon luceret pars tertia, et noctissimiliter.

Et vidi, et audivi unum angelumvolantem per medium cœli, dicentemvoce magna, Væ, væ, væ incolis terræa reliquis sonis tubæ trium illorumangelorum qui clangent!

And the third angel blew, and therefell a great star from heaven burningas it were a lamp, and it fell into thethird part of the rivers, and into foun-tains of waters, and the name of thestar is called Wormwood. And thethird part was turned to wormwood.And many men died of the watersbecause they were made bitter.

And the fourth angel blew, and thethird part of the sun was smitten andthe third part of the moon, and thethird part of stars: so that the third partof them was darkened. And the daywas smitten that the third part of itshould not shine, and likewise thenight.

And I beheld and heard an angel flyingthrough the midst of heaven, sayingwith a loud voice: Woe, woe, woe tothe inhabitants of the earth because ofthe voices to come of the trumpet ofthe three angels which were yet toblow.


X. In Paradisum: Lux aeterna

In paradisum deducant te angeli,in tuo adventu suscipiant te martyres,et perducant te in civitatem sanctam

Jerusalem.

Chorus angelorum te suscipiat,et cum Lazaro quondam paupere

aeternam habeas requiem.

Lux aeterna luceat eis, Domine,

Cum sanctis tuis in aeternum, quiapius es.

Requiem aeternam dona eis, Domine,et lux perpetua luceat eis.

Libera me, Domine, de morte aeterna,

in die illa tremenda, quando coelimovendi sunt et terra.

Recordare Jesu pie,Quod sum causa tuae viae,Ne me perdas illa die.

Into paradise may angels lead you, on your arrival may the martyrs greet youAnd bring you to the holy city of

Jerusalem.

May choirs of angels receive you, andwith Lazarus, once a poor man,

May you have eternal rest.

May everlasting light shine upon them,Lord,

Together with the saints throughouteternity, for you are merciful.

Grant them everlasting peace and aneternal light.

Deliver me, Lord, from an endlessdeath on that dread day,

When the heavens and the earth willquake.

Remember, sweet Jesus, that I am thereason for your journey

Do not abandon me on that final day.

LEAD, Kindly Light, amid the encirclinggloom

Lead Thou me on!The night is dark, and I am far from

home—Lead Thou me on!Keep Thou my feet; I do not ask to seeThe distant scene—one step enough

for me.

IX. Agnus Dei

Agnus Dei, qui tollis peccata mundi,miserere nobis.Agnus Dei, qui tollis peccata mundi,dona eis requiem.

Lamb of God, that takes away the sins of the world, have mercy on us.Lamb of God, that takes away the sinsof the world, grant them rest.


So long Thy power hath blest me, sureit still

Will lead me on,O’er moor and fen, o’er crag and

torrent, tillThe night is gone;And with the morn those angel faces

smileWhich I have loved long since, and

lost awhile.

Requiem aeternam dona eis, Domine,et lux perpetua luceat eis.

Do not stand at my grave and weepI am not there

No rest so sure

One step enough for me

Grant them everlasting peace, Lord,and an eternal light.

THE ArtistsBradley Ellingboe has led a wide-rang-ing career in the world of singing,including accomplishments as a choralconductor, soloist, composer, scholarand teacher. As a choral conductor hehas led festival choruses in 40 statesand 14 foreign countries. He made hisoperatic conducting debut in December,2011, leading the world premiere ofStephen Paulus’ opera Shoes for theSanto Niño in a joint production by theSanta Fe Opera and the UNM. As abass-baritone soloist he has sung undersuch conductors as Robert Shaw,Helmuth Rilling, and Sir DavidWillcocks. Mr. Ellingboe has over 130pieces of music in print, including theRequiem for chorus and orchestra,which has been performed more than300 times in this country and Europe,and his newest work, Star Song, which

premiered in December of 2013. StarSong had its New York debut (LincolnCenter) in May of 2014 on the DCINYConcert Series, and its European debut(London, Oxford, Bath) in July of thatyear. For his scholarly work in making

BRADLEY ELLINGBOE, Guest Conductor


An acclaimed conductor, educator, andlecturer, Jonathan Griffith has led per-formances across North America,Europe, and Asia. Maestro Griffith is

co-founder and artistic director ofDistinguished Concerts InternationalNew York (DCINY), which hasbrought together, under his artisticleadership, thousands of musicians andchoral singers in concert at prestigiousvenues across the United States, includ-ing Carnegie Hall, Lincoln Center, andDisney Hall. The founder and musicdirector of the Distinguished ConcertsOrchestra, Maestro Griffith also over-sees DCINY’s mentoring program forconductors.

He made his Carnegie Hall conductingdebut in 1989 and has conducted wellover 65 performances at Carnegie Halland Lincoln Center combined. In addi-tion to the major works of the classical

JONATHAN GRIFFITH, DCINY Artistic Director and PrincipalConductor

the songs of Edvard Grieg more acces-sible to the English-speaking public, hewas knighted by the King of Norway in1994. As a teacher, the University ofNew Mexico Alumni Associationnamed him Faculty of the Year in 2008.

Mr. Ellingboe retired in 2015 afterserving on the faculty of the Universityof New Mexico for 30 years, where hewas director of choral activities, profes-sor of music, and regents lecturer.During his three decades at UNM healso served at various times as chair-man of the department of music andcoordinator of vocal studies. He is agraduate of Saint Olaf College and theEastman School of Music and has donefurther study at the Aspen MusicFestival, the Bach Aria Festival, theUniversity of Oslo and the Vatican.

Mr. Ellingboe has won annual awardsfor his choral compositions fromASCAP, the American Society ofComposers, Arrangers and Publishers

since 2000. His choral music is widelysung and is published by Oxford,Augsburg, Walton, Hal Leonard, MarkFoster, Choristers Guild, Alliance,Concordia, Selah, and particularly theNeil A. Kjos Music Company, for whomhe edits two series of choral octavos. Hismusic has been performed and recordedby such groups as the Santa Fe DesertChorale, Philip Brunelle’s VocalEssence,the Saint Olaf Choir, the Harvard GleeClub, Craig Hella Johnson’s Conspirare,and the choirs of the University ofMichigan and Luther College, amongmany others.

He has prepared choirs for such lumi-naries as Dave Brubeck, Moses Hogan,Alice Parker, Morten Lauridsen, RenéClausen, and Robert Ray. At therequest of composer Libby Larsen theUNM Women’s Chorus, “LasCantantes,” recorded all Larsen’s musicfor treble chorus. He was guest conduc-tor of the Santa Fe Desert Chorale in aseries of concerts in December, 2011.


repertoire, conducting highlights in -cludes the U.S. premieres of Karl Jen -kins’ Stabat Mater, The Armed Man,and Te Deum, Sergei Taneyev’s UponReading a Psalm, Miloš Bok’s MissaSolemnis, Luigi Boccherini’s Villancicos,and Eugene Goossens’ re-orchestrationof Handel’s Messiah, along with worldpremieres by Eric Funk, SeymourBernstein, and Robert Convery. Hisadditional conducting credits includethe Mormon Tabernacle Choir in SaltLake City; Manhattan Philharmonicand New England SymphonicEnsemble, both at Carnegie Hall; theEuropean Symphony Orchestra in Spain;Bohuslava Martinu Philharmonia andPhilharmonia Chorus, Virtuosi PragensisChamber Orchestra, Karlovy VarySymphony Orchestra, and DvorákChamber Orchestra in the CzechRepublic; and the Bialystok StatePhilharmonic in Poland, as well asnumerous regional orchestras and cho-ruses across the United States.

The Jonathan Griffith Singers, anensemble drawn from singers acrossNorth America and founded in 1987,

has made its mark internationally. Inrecent years Dr. Griffith has led theSingers on highly acclaimed tours toUruguay and Argentina; to the People’sRepublic of China, premiering KarlJenkins’ The Armed Man: A Mass forPeace in Beijing and Shanghai; and toPisa, Italy. Dr. Griffith and theJonathan Griffith Singers touredTurkey in June of 2013 performing theacclaimed Turkish oratorio YunusEmre by A. Adnan Saygun in Istanbulwith the Cemal Resit Rey Orchestraand in Ankara and Eskinehir with thePresidential Orchestra at the invitationof the TURKSOY governmentalagency. Dr. Griffith along with theDistinguished Concerts Orchestra is the2014 winner of the American Prize inConducting, professional orchestradivision, and a semi-finalist in the 2015competition. Dr. Griffith received hisDMA in conducting from theConservatory of Music/University ofMissouri-Kansas City, a master’s inmusic education from Wichita StateUniversity, and bachelor of music edu-cation from the University of Kansas.

Howard Goodall is an award-winningcomposer of choral music, stage musi-cals, film, and television scores, is wellknown as a television and radio broad-caster, and from 2007–11 was England’sfirst-ever, leading a program (Sing Up)to improve the provision of groupsinging for all primary-age children. Hisbest-known themes and scores includeBlackadder, The Gathering Storm, TheBorrowers, Red Dwarf, Q.I., Mr Bean,Bean: The Ultimate Disaster Movie, Mr.Bean’s Holiday, Island Parish, and TheVicar of Dibley. His score for the HBOfilm Into the Storm won him thePrimetime Emmy award for OriginalDramatic Score in 2009. In the theater,

Mr. Goodall’s works from The HiredMan with Melvyn Bragg in 1984 to

HOWARD GOODALL, DCINY Composer-in-Residence


Love Story in 2010 have been per-formed in the West End, Off-Broadway,and throughout world, winning manyinternational awards, including IvorNovello (1985), TMA (2006 and 2010),and Off-West End (2012) Awards forBest Musical. Love Story received itsU.S. premiere in Philadelphia inSeptember 2012, followed by successfultours in The Netherlands and theRussian Feder ation. The Kissing-Dance(1998) and The Dreaming (2001), bothwritten with Charles Hart, were com-missioned and first performed by TheNational Youth Music Theatre.

His music has been commissioned tomark national ceremonies and memori-als and his Psalm 23: The Lord is myshepherd and Love divine are amongstthe most performed of all sacred music,featuring on several platinum-sellingCDs. His Eternal Light: A Requiem,has had nearly 400 live performancessince its premiere in 2008 and won hima Classical BRIT Award for Composerof the Year. His 2009 EnchantedVoices, a setting of the Beatitudes, wasnumber one of the Specialist ClassicalCD chart for six months, winning hima Gramophone award. In November2011 Mr. Goodall conducted the pre-miere in Westminster Abbey of hisEvery Purpose Under the Heaven: TheKing James Bible Oratorio, to mark the400th anniversary of its publication. InJune 2012 his Rigaudon formed part of

the New Water Music that accompa-nied Queen Elizabeth II on herDiamond Jubilee Regatta, and he wasmusically responsible for RowanAtkinson’s memorable performance atthe Opening Ceremony of the 2012London Olympics. On August 4, 2014his choral work Sure of the Sky-DesHimmels sicher, specially commis-sioned for the occasion by HM Govtwas performed at the St. SymphorienMilitary Cemetery to mark the start ofthe First World War.

For the past 15 years Mr. Goodall haswritten and presented his own series onthe theory and history of music. Forthese he has been honored with aBAFTA, an RTS Judges’ Prize forOutstanding Contribution to Educationin Broadcasting, and over a dozen otherinternational broadcast awards. For sixyears he was host of Saturday Night atthe Movies, on Classic fm, and alsocomposer-in-residence. He is recipientof the Sir Charles Grove/Making MusicPrize for Outstanding Contribution toBritish Music, the Naomi SargantMemorial Award for OutstandingContribution to Education inBroadcasting, the MIA/Classic fmAward for Outstanding Contribution toMusic Education, and in January 2011he was appointed CBE in the Queen’sNew Year’s Honours for services tomusic education. He is married to clas-sical music agent Val Fancourt.


Sarah Joy Miller, praised by The NewYork Times as “vivacious and fearless”is widely acknowledged as one of theindustry’s foremost emerging talents.Ms. Miller began turning heads at herNew York City Opera and BAM debutsto great critical acclaim singing the titlerole in the Royal Opera House commis-sioned opera Anna Nicole by Mark-Anthony Turnage. This season, she per-forms Juliette in Roméo et Juliette atOpera Tampa, Mabel in Pirates ofPenzance at Palm Beach Opera, andRoxanne in David DiChiera andBernard Uzan’s Cyrano with MichiganOpera Theatre. Ms. Miller also per-forms as a featured soloist in a “Puccinito Pop” concert with Tulsa Opera, andin Howard Goodall’s Eternal Lightwith DCINY at Carnegie Hall.

Highlights of Ms. Miller’s previous sea-sons include her debut at MichiganOpera Theater singing Gilda inRigoletto, with subsequent returns asLeïla in Les pêcheurs de perles andMarguerite in Faust; Musetta in Labohème at New York’s SymphonySpace; Micaëla in Carmen with NewYork Lyric Opera; performances ofCarmina Burana with Dallas Symphony

Orchestra; Violetta in La Traviata withPalm Beach Opera; selections from Faustat St. Bart’s Music Festival; and Juliettein Roméo et Juliette at Opera GrandRapids, Opera Carolina, and LyricOpera Baltimore. Ms. Miller is a fre-quent guest artist on international con-cert stages, including the BolshoiTheater, Slovak Sinfonietta, Chicago -land Pops Orchestra, New York ChoralSociety, and in Verona, Italy in collabo-ration with the Veronalirica Associ -azione, Marcello Giordani Foundation,and Sergio Franchi Music Foundation,and is a frequent soloist with the St.Bart’s Music Festival.

SARAH JOY MILLER, Soprano

Scott Joiner has been lauded for his “love-ly tenor” (Classical Review), “high, arch-ing lines delivered in thrilling fashion,”(Classical Voice of NC) and performanc-es that have been called “splendid” (SFExaminer) and “flawlessly sung”(American Record Guide). This season hemakes his Carnegie Hall debut in Strauss’Friedenstag with the AmericanSymphony Orchestra followed by appear-ances at the National Opera Center andin concert with the Helena Symphonyand the Center for Con temporary Opera.Mr. Joiner made his San Francisco Opera

SCOTT JOINER, Tenor


An avid concert performer and Baroquemusic specialist, Steven Eddy hasappeared with Seraphic Fire, AmericanClassical Orchestra, Handel Choir ofBaltimore, New York Virtuoso Singers,Bach Vespers at Holy Trinity, TheChoralis Foundation, Columbia ProCantare, Ensemble VIII, Saginaw ChoralSociety, and Kalamazoo Bach Festival.His wide range of oratorio and concertworks include Handel’s Messiah, Bach’sMass in B minor, St. Matthew Passion

and cantatas, Monteverdi’s Vespro dellaBeata Vergine, Mozart’s Mass in Cminor, Carmina Burana, the Requiemsof Mozart, Fauré and Duruflé, andMah ler’s Lieder eines fahrenden Gesellen.His upcoming performances includesoloist with the American SymphonyOrchestra in Richard Strauss’ Frieden -stag, soloist with Seraphic Fire; Messiahsoloist with Handel Choir of Baltimore,recitalist with Brooklyn Art SongSociety, and the role of Charlie in ThreeDecembers with Opera Birmingham.

He has worked with Fort Worth Opera,Opera Saratoga, LoftOpera, AspenOpera Theater Center, TanglewoodMusic Center, Center for ContemporaryOpera, and Arbor Opera Theater andincludes the roles of Dandini (LaCenerentola), Figaro (The Barber ofSeville), Aeneas (Dido & Aeneas), NickShadow (The Rake’s Progress), JohnBrooke (Little Women), Belcore (L’elisird’amore), Raimbaud in Rossini’s LeComte Ory and Guglielmo (Così fantutte). He has been honored by the

STEVEN EDDY, Baritone

debut as Dickon in the 2013 premiere ofGasser’s The Secret Garden. Recentappearances have included Ivan inGiordano’s Siberia with TeatroGrattacielo, Pedrillo (Die Entführung ausdem Serail) for St. Petersburg Opera, andDanceny in Dangerous Liasons atManhattan School of Music, conductedby George Manahan.

Mr. Joiner’s recent concert activityincludes appearances with the ColoradoMusic Festival, Asheville Symphony,Greenwich Choral Society, HarrisburgChoral Society, Wintergreen MusicFestival, Hendersonville Symphony,Garden State Philharmonic, and EscherString Quartet. He created the role of

Captain Scott in the 2014 world pre-miere of The Boston Tea Party Opera atthe NY International Fringe Festival andmade role debuts as Fenton (Falstaff)and Pang (Turandot), conducted byEmmanuel Plasson. Winner of theHeafner/Williams Vocal Competitionand a Metropolitan Opera RegionalFinalist, Mr. Joiner has performed withOpera Colorado, Central City Opera,Knoxville Opera, Opera Company ofMiddlebury, Asheville Lyric Opera,NYC’s Center for Contemporary Opera,Cinnabar Opera Theater, OperaCompany of Brooklyn, American OperaProjects, and his international debut atTeatro Magnani di Fidenza.


Metropolitan Opera National CouncilAuditions, Dallas Opera Guild,Connecticut Opera Guild, Joy inSinging, and the Oratorio Society of

New York. In addition to his B.M. Edand M.M degrees from the IndianaUniversity, he holds an advanced degreefrom the University of Michigan.

PERFORMING ARTS PARTNERS

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

DISTINGUISHED CONCERTS SINGERS INTERNATIONALBillericay Choral Society (UK), David Todd, DirectorCoro Lux (NM), Bradley Ellingboe, DirectorEccles Community Choir (UK), Angela Rowley, DirectorHelensburgh Oratorio Choir (UK), Jonathon Swinard, DirectorHook Choral Society (UK), Nicholas Woods, DirectorLoyola University (LA), Meg Frazier, Director*Methodist College Chapel Choir (Northern Ireland), Ruth McCartney, Director*Pennsbury High School Concert Choir & Pennsbury Community Chorus (PA), James D.

Moyer, DirectorRio Rancho High School Concert Choir (NM), Becky Talbott, DirectorSt. Andrew United Methodist Church Chancel Choir (TX), Taylor Scott Davis, DirectorSt. John’s Lutheran Church of Lakeville (MN), Jonathan Kopplin, DirectorSt. Luke’s Chancel Choir, St. Luke’s United Methodist Church Houston (TX), Sid Davis,

DirectorThe Grove Singers of London & The Heathfield Choral Society (UK), Brian Newman &

Tim Rhys Morgan, DirectorsThe Sanctuary Choir from Salem First United Methodist Church (OR), Kerry Burtis,

DirectorUniversity United Methodist 40th Anniversary Choir (CA), John W. Carpenter, DirectorWeymouth Choral Society & Barclays House Choir (UK), Helen Brind, DirectorZion Lutheran Church Choir (MN), Roselyn Hanson Weber, Director

*Denotes DCINY Alumni


Jane AdamsRick AdamsJoseph AdkisonJill AlmaguerLarry AndersonMarge AndersonRolan AndersonEva ArayaPaul ArmstrongGeorge ArthurKathleen AustinKathy AustinMatthew BacaJean BaderHelen BaileyMelodie BainesBrooke BandyEmily BarberEthan BarrOlwen BarrsPenny BartholomewDavid BatemanSusan BatemanBecky BeamanCierra BeebeDavid BennettKaren BennettRichard BergTrish BernardBob BilanchoneGinny BilanchoneJillian BlackburnDaniel BlakeJeanne-Marie Brigitte

BlanchardJoshua BoothSteve BoswellWanda BrasgalaBenjamin BrennanHelen BrindDaniel J. BrownEmma E. BrownTyler BrownChloe BrownellHilde BryanLinda BuffettPaul BushnellAndrea ButlerEric ByrerAmy CahoonClayton Way CalvinCarrie CarlsonJohn CarpenterSuzanne CarpenterSteve CarrollJulie CarsonHerlinda CastagnoliDiana CharnellSheila Chilvers

Barbara ChisholmColette ChouinardAlice ClarkCharlotte ClarkeKathryn ClarkeLois ClotworthyContessa CobbAndrew CollinsRhianna CooperOlivia CopelandThomas CopelandDelsia CorpsKyle CottleJo CoxImogen CraigJenny CrisfordSusan CronshawRose CrumAriana CuccioQuinten DarlingAdam DavenportYvonne DaviesCatherine DavisTaylor DavisTerry DavisEileen DavyDaryl DealMargaret DeardenBarbara DeGrootVictoria DeThomasSarah DevlinDiego DiazAlex DickeyLesley DickinsonHazel DicksAiden DiedrichBrenda DillonMike DimsdaleRita DimsdaleJessica DiongEileen DobneyCarol DolanLisa DonagheMartin J DoviakFrankie DowningMary DraffinLinda DresslerKate DuffyLouise DukesJanine DunbarPeggy DutcherPam EdmundsPeter EdmundsArlo EhlySylvia ElkinsLaraine EllaRosemary EllabyKaren EllingboeSally Elliot

Judith EltermanAlexandra EmersonJoel EppesBenjamin EspenlaubCarol EvansCatherine EvansJohn FarrisTim FaulknerEvan FiordelisoJulia FloresMary FludeMaurice FludeSeward FooteAnne FoxSimon FoxLucie FralicksDimitri FrangulovTrevor FrantzBob FrazierMichelle FrazierJohn FryOlivia GarciaOmar GaribayApril GarrettBridget GeorgeMary GibbsStinson GibnerHilary GilesSiobhan GilesJuliet GillMary Jo GillaspySharon GlenGraham GoldstonNatalie GonzalesRebeckah Gordon-

KirkJoseph GorvettSusan GossSarah GoughGrace GrahamGregg GrahamBrandon GreshamMargaret GriggsNick GuidottiBryton GuntherAlexis GutierrezBeryl HamletJan HamlingRoselyn Hanson WeberAudrey HarmonMarian HarrisConnor HartGill HartKathy HartmanPat HarwoodMargaret HastingsErik HellandCasey HenniganChristina Hera

Callum HeritySierra HessDavid HinkAnn HitchcoeKaren HodginElizabeth HollowsMitzi HolmesVictoria HontasDorothy HopkinsKeith L. HowellSharon K. HowellCatharine HullBridget HunterJoomin HwangLeigh Adrienne

IngramCheryl JarvisDavid JenkinsJennifer JohnsonSarah JohnsonPenny JohnstonConstance KaneEvan KashinskyIsao-George

KawamuraJanet KempkeMeghan KesselJulia KillenChristopher KingSarah KingMargaret KingstonRobert KnightJohn KnouseTim KochMartin J KroebelKaitlyn LaBergeAnn LagergrenAdam LaliberteJudith LancasterElisa Lande-BrownJudy LaughryJane LawrenceJeffery LawrenceDaniel LazourMaxwell LeeParker LessmannPeter LewisRoger LilleyAnne LindleyViv LindleyJasmyn LinzyIvana LobueMark LockhartEmily LohmannJonathan LongcoreJake LowryAlexander LucasPamela LuckMarilyn Lusk

DISTINGUISHED CONCERTS SINGERS INTERNATIONAL


Anna LyonsCyril MaMorgan MaasCatherine MacAllisterAbigail MagdalenoElizabeth MarguttiVincent MarianiBarbara MarshClaire MarshallLucy MarshallPaula MartinHelen MatthewsMarguerite MaugerMaureen MayersCiara McAdamDale McCartSharon McCartCaroline McCartneyMaria McCartneyPhilippa McCreaJack McCuneRod McDermotRuth McDermotAlice McGalliardElizabeth McMasterDevon MederosAlicia MelendezRoy MendozaAnne MitchellJane MooreCera MootsClare MootsHarry MorfordPeter MorrisonKhadija MosesJames D. MoyerJames T. MoyerAmy MurrayDavid MurrayVivienne MurrayLori NashPetronella NattrassSheila NettletonBrian Newman

Ruth NicholsPatricia NolanEdith NordlohKirsten NormanJulie NorrisRachel O’HaraJulie OstermanSpencer OstrowskyGuinevere OttesenZachary ParisiRoderick ParsonsDebra PasvogelSiobhan PauleySusan PayKate PekhamKathryn PelowitzThomas PenningtonGeorgina PenticostRichard PenticostSamantha PerezVictoria PerezTina PetersenGillian PhelpsMeridy PhillipsChristopher PiedmontMary PorterHeather PryceKit PummerDavid PuttnamAbbigail RaderLara RalstonPeter RamellJulian RamirezWilliam RauhBirgitta ReadJeni ReesDavid ReimschusselJenny RichardsJulie RichardsonLucy RichardsonMike RinehartFrances RobertsTanvi RobertsColleen Robinson

Leslie RobinsonLaura RoganGeorge RohanMike RolishRoberta RosenbergGrant RothermelAl RothsAngela RowleyPaul Rozario-FalconeJackie RussellChester SakuraSusan SamuelRosemary SamuelsonJohn Mitchell SancesNicholas SantoroTeddy SchottMary ScottAmanda SealOlivia SealJohn SebastianAngela SheahanDenis SheahanLaura Jo SheltonJoe SheridanRobin SimmonsCarole SiredYve SiredAlethea SmithAudrey SmithAlan SmitheeMichael SmythZoe SpanglerChristine SpringerSuzette SteeleErin StenbergGary StenbergJoyce StenbergGill StevensWendy StimpsonJay StrimelDenise SuttleBen SweeneyMary SweetlandSylvia Teteris

Caroline ThompsonChristopher

ThompsonJoni ThompsonSue ThompsonTina ThrockmortonTom TolandCathy A TravisWilliam Trimble, Jr.Mark UebelDorothy ValeMary VanSteve Van CoutrenTiffany VantineSuzanne VertunoJonathan WadmanLesley WalterThomas T. WangCaroline WarrenBridget WashingtonEric WatersJim WatersVicki WatersTed WatkinsNakala WatsonFiona WebbAutumn WeberJennifer WellsUrsula WellsCathy WestrumMarion WhiteMary Ann WhiteMary WilceGlynis WilemanTyler WilliamsonRamesh WilsonNicholas WoodsIrene WotherspoonCatherine WrightMargaret WrightAnn YeomanCameron ZielinskiBen Zubier

The Performing Arts Partners list includes names supplied by directors as of October 19, 2016. Anyquestions regarding missing or misspelled names should be addressed to the individual directors.


Founded by Iris Derke and JonathanGriffith, Distinguished Concerts Inter -national New York (DCINY) is the lead-ing producer of dynamically chargedmusical excellence. With its unforget-table concert experiences in renownedvenues, empowering educational pro-grams, and its global community of

artists and audiences, DCINY changeslives through the power of performance.

For more information aboutDistinguished Concerts InternationalNew York, and upcoming DCINYmusical events around the world,please visit: www.DCINY.org.

DISTINGUISHED CONCERTS INTERNATIONAL NEW YORK (DCINY)

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, Program DevelopmentJulia Falkenburg, Program DevelopmentMaria Braginsky, Program Development

Assistant

Kimberly Preiss, Program DevelopmentAssistant

Jeff Binner, Program Development AssistantAndrea Niederman, Associate Director of

Marketing, Box Office & PromotionsKatherine Shen, Box Office & Marketing

AssistantDeAnna Choi, Office Operations Manager,

Accounting & BillingSamm Vella, Interim Production ManagerMarisa Tornello, Concert Operations

AssociateThomas Reinman, Concert OperationsGary Crowley, Graphic Design & WebsiteHannah Damron, Intern

DCINY ADMINISTRATIVE STAFF

For PR and media inquiries, please contact Andrew Ousley of Unison Media at [email protected] (212) 707-8566 Ext. 316.


DCINY 2016–2017 Concert SeriesPlease join us for one of our upcoming events:

Sunday Afternoon, November 27, 2016, at 2:00Stern Auditorium/Perelman Stage, Carnegie HallMessiah…Refreshed!George Frideric Handel: MessiahThomas Beecham/Eugene Goosens’ 1959 Re-Orchestration for full symphony orchestraJonathan Griffith, DCINY Artistic Director and Principal ConductorFeaturing Distinguished Concerts Orchestra and Distinguished Concerts Singers

InternationalLive webcast on the DCINY Facebook page:

www.facebook.com/DistinguishedConcertsInternationalNewYork

Monday Evening, November 28, 2016, at 7:00Alice Tully Hall, Lincoln CenterGo Sing It on the MountainGabriel Fauré: RequiemJames D. Moyer, DirectorFeaturing Pennsbury High School Concert Choir (PA)Pepper Choplin: Go Sing It on the Mountain (NY Premiere)Pepper Choplin, Composer/ConductorFeaturing Distinguished Concerts Orchestra and Distinguished Concerts Singers

International

Sunday Afternoon, January 15, 2017, at 2:00 Stern Auditorium/Perelman Stage, Carnegie HallThe Music of Sir Karl Jenkins: Aberfan, Cantata Memoria (North American

Premiere)Karl Jenkins: RequiemKarl Jenkins: Cantata Memoria For the Children (North American Premiere)Jonathan Griffith, DCINY Artistic Director and Principal ConductorKarl Jenkins, DCINY Composer-in-ResidenceFeaturing Distinguished Concerts Orchestra and Distinguished Concerts Singers

International

Monday Evening, January 16, 2017 at 7:00 Stern Auditorium/Perelman Stage, Carnegie HallReflections of PeaceJoseph Haydn: Missa In Anguistiis (Lord Nelson Mass)Catherine Sailer, Guest ConductorKim André Arnesen: RequiemJames M. Meaders, DCINY Associate Artistic Director and ConductorFeaturing Distinguished Concerts Orchestra and Distinguished Concerts Singers

InternationalFlutopia Wind EnsembleJennifer Lapple, 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


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Eternal Light - · PDF fileeternal light distinguished concerts orchestra distinguished concerts singers international morten lauridsen lux aeterna ... morten lauridsen (b. 1943) lux