Sunday Evening, February 19, 2017, at 8:00Isaac 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

Mercer University at Carnegie HallMERCER SINGERS

STANLEY L. ROBERTS, ConductorCAROL S. GOFF, Accompanist

KENYAN FOLK SONG Wana Baraka arr. Shawn L. Kirchner

ERIC WHITACRE Lux Aurumque

BRENT PIERCE Hosanna in excelsis

WILLIAM HENRY HARRIS Faire Is the Heaven

DAN FORREST Lead, Kindly Light

arr. Moses Hogan The Battle of Jericho

Intermission

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES.

MCDUFFIE CENTER STRING ENSEMBLEAMY SCHWARTZ MORETTI, Director and Violin

EDWARD ELGAR Serenade for String Orchestra, Op. 20 I. Allegro piacevole II. Larghetto III. Allegretto

FELIX MENDELSSOHN String Octet in E-flat Major, Op. 20 IV. Presto

Pause

MERCER SINGERS, ALUMNI, AND FRIENDSMCDUFFIE CENTER STRING ENSEMBLE AND FRIENDS

STANLEY L. ROBERTS, ConductorOLIVIA MCMILLAN, Soprano

JOHN RUTTER Requiem 1. Requiem aeternam 2. Out of the deep 3. Pie Jesu 4. Sanctus 5. Agnus Dei 6. The Lord is my shepherd 7. Lux aeterna

The Townsend School of Music is grateful for the support of the students, faculty, and administration of Mercer University

WE WANT TO HEAR FROM YOU!

Use #MERCERUNIVERSITY to post your post-concert and intermission photos andcomments to @DCINY on Twitter, Facebook, and Instagram!

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 1610

NEW YORK, NY 10107(212) 707-8566

Notes ON THE PROGRAMby Stanley L. Roberts & C. David Keith

Composer and songwriter ShawnKirchner is active in the musical circlesof Los Angeles where, most notably, heserved as Composer in Residence of theLos Angeles Master Chorale. Longactive as a church musician, Kirchner iscurrently pianist/organist/composer inresidence at the La Verne Church of the

Brethren in La Verne, CA. He hasserved as music coordinator for severalNational Youth Conferences as well asprovided leadership for many otherChurch of the Brethren national andregional events. His setting of the pop-ular religious Kenyan folk song, WanaBaraka, is performed worldwide.

KENYAN FOLK SONG Wana Barakaarr. Shawn L. Kirchner (approx. 3 minutes)

Eric Whitacre has emerged as one of themost celebrated composers for choir,wind ensemble and orchestra. AGrammy winner, his appeal is global—his music performed by the amateurand professional musicians alike. Aband student in high school, Whitacrebroadened his musical interests in col-lege and subsequently studiedcomposition as a master’s student withJohn Corigliano and David Diamond atthe Juilliard School. He was recentlyappointed as Artist in Residence with

the Los Angeles Master Chorale. Onthe writing and performance of his LuxAurumque, Whitacre stated “afterdeciding upon the poem by EdwardEsch, where I was immediately struckby its genuine and elegant simplicity, Ihad it translated into the Latin by theAmerican poet Charles Anthony Sil-vestri. A simple approach is essential tothe success, and if the tight harmoniesare carefully tuned and balanced theywill shimmer and glow.”

ERIC WHITACRE Lux Aurumque(approx. 4 minutes)

California composer Brent Pierce is aversatile and prolific composer of musicfor choral and instrumental ensembles.The former choral conductor and pro-fessor of theory and composition hasproduced over 300 works, includingcommercial pieces written for Disneyand Warner Bros. His compositionalchoral style ranges from traditional to

contemporary to vocal jazz. An accom-plished trumpeter and expert in thefield of jazz, he has performed withSammy Davis Jr., Mel Torme, TexBeneke, Claude Gordon and others.His most popular choral work,Hosanna in excelsis, demonstrates hispenchant for jazz harmony and rhyth-mic intensity.

BRENT PIERCE Hosanna in excelsis(approx. 2 minutes)

Faire Is the Heaven is perhaps the most-loved choral work of the Englishorganist, composer, and teacherWilliam Henry Harris. The text of theenduring setting is taken from anextended poem by Edmund Spenser, AHymne of Heavenly Beautie. Writtenfor double choir, the musical writing issublime and manages to be colorful,calm, deeply reflective, reverent andwonderfully exciting all at once. With

great craft, Harris uses frequent yet sub-tle changes (from major to minor andback) and skillful modulations thatfirmly establish each new tonality—allwith careful attention to the joyous andprofound intent of the text. Harris’s dis-tinguished musical career spannednearly three decades, culminating in hisposition as Organist and Master of theChoristers of St. George’s Chapel,Windsor.

WILLIAM HENRY HARRIS Faire Is the Heaven(approx. 5 minutes)

The compelling and thought provokingLead, Kindly Light is a hymn text witha rich history. It was the last hymn tobe sung on the Titanic at the final ves-pers service the afternoon prior to thehistoric disaster. The text was read toQueen Victoria as she lay dying. Thelargest mining disaster in the Durhamcoalfields in England occurred in 1909,when 168 men and boys lost their livesafter two underground explosions.However, not all perished. Finding apocket of clean air, a group sat inalmost total darkness. One of the min-ers began humming the tune associatedwith the popular hymn. In no time atall, the miners joined in singing “Lead,kindly light, amidst the encirclinggloom, lead thou me on. The night isdark, and I am far away from home.”

Betsie ten Boom, sister of Corrie tenBoom, sang this text with other womenas the S.S. Guards led them to the con-centration camp in Ravensbruck duringthe Holocaust.

Masterfully setting these poignantverses, Dan Forrest brings new illumi-nation to the historically significanttext. Forrest has established himselfboth nationally and internationally as amajor composer of choral music widelyenjoyed in both the concert hall and thelocal church. His Requiem for the Liv-ing, premiered in 2013, has become hismost performed work with hundreds ofperformances in the US, Canada, SouthAmerica, Europe, Africa, Asia, andmultiple performances here in CarnegieHall.

DAN FORREST Lead, Kindly Light(approx. 8 minutes)

Pianist, conductor and arranger MosesHogan found his musical voice in theblues and jazz roots of his native NewOrleans. His choir (the Moses HoganChorale) burst onto the national musicscene in the mid 1990s. By infusing amore complex rhythmic and harmonicstructure to the traditional African-

American spiritual, Hogan created anew genre of concert repertoire that hasbeen sung by choirs around the world.In his much-too-short lifetime, Hogancreated a significant new voice for thebeloved genre. His arrangementssparked a renaissance of the concertspiritual that was of the same magni-

arr. Moses Hogan The Battle of Jericho(approx. 2 minutes)

Edward Elgar (1857–1934) wrote histhree-movement Serenade for Strings,op. 20 in 1892. With the WorcesterLadies’ Orchestral Class performing,Elgar conducted the first performancein the same year. Dedicated to thephilosopher W. H. Whinfield, the workis accessible and appealing. Evidencesuggests the possibility that Elgar draft-ed sketches for the Serenade in 1888 ina work entitled Three Pieces forStrings. With a keen understanding ofstring tones and textures, Elgar createsan appealing timbre in this work. Elgaralso frequently incorporates contra-puntal patterns such as sequencing—the immediate repetition of a musical

motives in a fixed intervallic pattern—often with unexpected harmonic turns.Such harmonic surprises occur in thelarge-scale structure of the work aswell, including the shift from E Minorin the opening movement to G Major(and finally E Major) in the finale. Inthe third movement, Elgar periodicallyrecalls motives from earlier passages,leading many scholars to describe hisorchestration in the Serenade forStrings as not only cyclic but also nos-talgically retrospective. Elgar’sSerenade for Strings is thus itself a com-positional echo of Mendelssohn’s recur-sive narrative.

EDWARD ELGAR Serenade for String Orchestra, Op. 20(approx. 13 minutes)

A landmark composition and FelixMendelssohn’s first masterpiece, theString Octet in E-flat Major, op. 20(1825) features a double string quartet.Composers before Mendelssohn(1809–47) wrote for large mixed cham-ber ensembles including strings andwinds, notably a septet (1799) byLudwig van Beethoven (1770–1827)and an octet (1824) by Franz Schubert(1797–1828). Louis Spohr (1784–1859) is the first known composerbefore Mendelssohn to have experi-mented with the texture of a doublestring quartet.

Dedicated to Mendelssohn’s friendEduard Rietz (1802–32), a Germanviolinist and composer, the Octetstrikes a balance between intimatechamber references and large-scale

symphonic gestures. Mendelssohn him-self wrote in the score that the Octet“must be played by all instruments insymphonic orchestral style.” He furthernoted that the players could feel free toexaggerate indicated volumes in thescore, giving them permission toemphasize such markings “morestrongly . . . than usual.” Orchestras in1825 probably had about seven toeight times the number of players in anoctet, so the numbers help to accountfor Mendelssohn’s written permissionslip for the performers.

Among many stunning features of theOctet, such as the drama of the open-ing, the interchangeability of melodicmaterial in the slow movement, thebrilliant flights of fancy in the Scherzo,and the lively motivic imitations in the

FELIX MENDELSSOHN String Octet in E-flat Major, Op. 20 (approx. 6 minutes)

tude and as influential as the FiskJubilee Singers in the late 19th century.The Battle of Jericho is one of Hogan’smost popular arrangements, employing

driving rhythms, sharp harmonic com-mentary, and dramatic dynamics todepict the intensity of this Old Testa-ment story.

John Rutter’s Requiem is without doubtone of the most popular choral workswritten in the last three decades. Theidea to compose a Requiem came toRutter (b. 1945) in the BibliothèqueNationale in Paris in November 1983,when he was editing a new edition ofthe Fauré Requiem. Rutter’s Requiembears many similarities to Fauré’s whichwas written in 1887. Rutter discusseshis motivations for writing his Requiemin a similar fashion. Rutter states, “Ithink the seed was sown for writing aRequiem of my own as I sat in the Bib-liothèque and handled Fauré’smanuscript. His was the first Requiemin the 19th century to be primarily aliturgical one, rather than a concertwork, and to be written on a smallscale, with a very partial, deliberateselection of texts. It represents Fauré’sown reflections on life and death andthe idea of comfort, consolation, andsolace. Fauré’s Requiem is very simple,deliberately simple, and that is whatmakes it so moving. When I was plan-ning my own Requiem, I thought Icould learn from the simplicity of hiswork and from its liturgical nature, and

intimate scale. Each person has his orher own responses and feelings aboutdeath, and a Requiem should be asaccessible as those feelings.”

The text for Rutter’s setting is a coun-terpoint of Latin and English textstaken from the Latin of the RequiemMass (Missa pro defunctis), the 1611Bible and the 1662 Book of CommonPrayer, respectively. The inspiration forblending the two languages arose fromRutter’s experience singing BenjaminBritten’s War Requiem, in January1963, as a member of the HighgateSchool Boys’ Choir. The War Requiem,written for the restoration of CoventryCathedral after World War II, juxta-poses the Latin liturgical text with thewar poetry of Wilfred Owen. Theseven sections of Rutter’s Requiem forman arch-like meditation of the themes oflife and death: the first and last move-ments are prayers on behalf of allhumanity, movements 2 and 6 arepsalms, movements 3 and 5 are per-sonal prayers to Christ, and the centralSanctus is an affirmation of divineglory.

JOHN RUTTER Requiem(approx. 40 minutes)

Finale, a cycle connects the four move-ments. Musicologist Benedict Taylorthoughtfully connects the work’s cyclicstructure both to Mendelssohn’s beliefsabout his own place in history and alsoto the “ideas of musical memory, histo-ry, and circular narrative” found in thewritings of Johann Wolfgang von

Goethe (1749–1832) and GeorgWilhelm Friedrich Hegel (1770–1831).In Mendelssohn’s motivic layering oneis struck by the simultaneity of the pastand present and the eternality of themoment, in effect making the drive tothe end of the work all the more dra-matic.

Texts and TranslationsWana Baraka – Kenyan Folk Songarr. Shawn L. KirchnerTranslation by Shawn Kirchner

They have blessings, those who pray;Jesus himself said so. Alleluia!They have peace.They have joy.They have well-being.

Lux AurumqueERIC WHITACREText: Edward Esch; translated into Latin by Charles Anthony Silvestri

Light,Warm and heavyAs pure gold,And the angels sing softlyTo the newborn babe.

Hosanna in excelsisBRENT PIERCE

Hosanna in the highest!

Faire Is the HeavenWILLIAM HENRY HARRISText: Edmund Spenser

Faire is the heaven, where happy soules have placeIn full enjoyment of felicitie,Whence they doe still behold the glorious faceOf the Divine Eternall Majestie;Yet farre more faire be those bright Cherubins,Which all with golden wings are overdight,And those eternall burning Seraphins,Which from their faces dart out fiery light;Yet fairer than they both, and much more bright,Be th’ Angels and Archangels, which attendOn God’s owne Person, without rest or end.These then in faire each other farre excelling,As to the Highest they approach more neare,Yet is that Highest farre beyond all telling,Fairer than all the rest which there appear,Though all their beauties joynd together were;How then can mortall tongue hope to expresseThe image of such endlesse perfectnesse?

Lead, Kindly LightDAN FORRESTPublished originally in 1833 as a poem titled, “The Pillar of Cloud”

Lead, Kindly Light, amid the encircling gloom,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.

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

Text: John H. Newman (1801-90)

Meanwhile along the narrow rugged path,Thyself hast trod,Lead me home in Childlike faithHome to my God, lead me home.To rest for ever after earthly strifeIn the calm light of everlasting life.

Text: Edward H. Bickersteth, Jr. (1825-1906)

The Battle of Jerichoarr. Moses Hogan

Joshua fit the Battle of Jericho and the walls come tumbalin’ down.

Talk about your kings of Gideon, talk about your men of SaulBut none like good old Joshua at the Battle of Jericho.

That morning, Joshua fit the Battle of JerichoAnd the walls come tumbalin’ down.

Right up to the walls of Jericho, he marched with spear in hand.“Go blow that ram-horn Joshua cried, ‘cause the battle am in my hand.

(God Almighty) Then the lamb, ram, sheep horns begin to blow and the trumpetbegins to soundJoshua commanded the children to shout and the walls come a tumbalin’ down.

RequiemJOHN RUTTER

1. Requiem aeternamRequiem aeternam dona

eis Domine: et lux perpetua luceat eis.

Te decet hymnus, Deus in Sion: et tibi reddetur votum in Jerusalem.

Exaudi orationem meam, ad te omniscaro veniet.

Kyrie eleison. Christe eleison. Kyrie eleison.

2. Out of the deepOut of the deep have I called unto thee, O Lord: Lord, hear my voice. O let thine earsconsider well the voice of my complaint. If thou, Lord, wilt be extreme to mark whatis done amiss: O Lord, who may abide it? For there is mercy with thee, therefore shaltthou be feared. I look for the Lord, my soul doth wait for him, and in his word is mytrust. My soul fleeth unto the Lord: before the morning watch, I say, before themorning watch. O Israel, trust in the Lord, for with the Lord there is mercy and withhim is plenteous redemption. And he shall redeem Israel from all his sins.

(Psalm 130)

3. Pie JesuPie Jesu Domine, dona eis requiem.Pie Jesu Domine, dona eis sempiternamrequiem.

4. SanctusSanctus, Sanctus, Sanctus, Dominus DeusSabaoth. Pleni sunt coeli et terra gloriatua. Hosanna in excelsis. Benedictus quivenit in nomine Domini. Hosanna inexcelsis.

5. Agnus DeiAgnus Dei, qui tollis peccata mundi,dona eis requiem.

Man that is born of a woman hath but a short time to live, and is full of misery. He cometh up and is cut down like a flower; he fleeth as it were a shadow.

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

Blessed Jesus, Lord and God, grant themrest.

Blessed Jesus, Lord and God, grant themthine eternal rest.

(from ‘Dies Irae’—Missa pro defunctis)

Holy, Holy, Holy, Lord God of Hosts.Heaven and earth are full of thy glory.Hosanna in the highest. Blessed is hewho comes in the name of the Lord.Hosanna in the highest.

(from Missa pro defunctis)

Lamb of God that takest away the sinsof the world, grant them rest.

Grant them rest eternal, Lord our God,we preay to thee:

O Lord, and let perpetual light shineupon them.

A hymn befits thee, O God in Zion, andto thee a vow shall be fulfilled inJerusalem.

Hear my prayer, for unto thee all fleshshall come.

Lord, have mercy. Christ, have mercy.Lord, have mercy.

(from Missa pro defunctis)

In the midst of life we are in death: of whom may we seek for succour?

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

I am the resurrection and the life, saith the Lord: he that believeth in me, though he were dead, yet shall he live: and whosoever liveth and believeth in me shall never die.

(Latin text from Missa pro defunctis; English text from the Burial Service, 1662 Book of Common Prayer)

6. The Lord is my shepherdThe Lord is my shepherd: therefore can I lack nothing. He shall feed me in a greenpasture: and lead me forth beside the waters of comfort. He shall convert my soul:and bring me forth in the paths of righteousness, for his Name’s sake. Yea, though Iwalk through the valley of the shadow of death, I will fear no evil: for thou art withme; thy rod and thy staff comfort me. Thou shalt prepare a table for me against themthat trouble me: thou hast anointed my head with oil, and my cup shall be full. Butthy loving-kindness and mercy shall follow me all the days of my life: and I shall dwellin the house of the Lord forever. (Psalm 23)

7. Lux aeternaI heard a voice from heaven saying unto me, blessed are the dead who die in the Lord, for they rest from their labours; even so saith the Spirit.

Lux aeterna luceat eis, Domine: Cumsanctis tuis in aeternum: quia pius es.Requiem aeternam dona eis Domine, etlux perpetua luceat eis.

May light eternal shine upon them, OLord, in the company of thy saints for-ever and ever;For thou art merciful. Rest eternal grantto them, O Lord, and let perpetual lightshine upon them.

(English text from the Burial Service, alt.Latin text, Missa pro defunctis)

THE Artists

Stanley L. Roberts, conductor, is in histwenty-second year of teaching in theTownsend School of Music of MercerUniversity, where he is the ArthurLowndes Rich Professor of ChoralConducting. In this position, Dr.Roberts conducts three choirs andteaches undergraduate and graduatecourses in conducting. Choirs under hisdirection have sung on numerous pro-grams for GMEA, Southern DivisionACDA, and the Southern Division ofNAfME. A passionate educator, Dr.Roberts has been chosen as Mercer Uni-versity’s Outstanding Faculty Memberof the Year, SGA Professor of the Year,the Townsend School of Music Profes-sor of the Year and has lead the MercerSingers in six highly successful interna-tional tours. In high demand as aclinician he has conducted All-StateChoirs, Honor Choirs, and FestivalChoruses throughout the United States,in England and in Europe, and leadsworkshops in universities, colleges,churches, and schools.

A church musician and minister for over35 years, Stanley L. Roberts is an editorof the hymnal Celebrating Grace (2010)and currently serves as Minister ofMusic at the First Baptist Church ofChrist in Macon—a position he hasheld for 24 years. A native of Alapaha,Georgia, Dr. Roberts is a proud 1984alumnus of Mercer University. He ismarried to teacher/soprano and fellow

Mercerian Marie Jarriel Roberts. Theyare the parents of two young adult sons.

The Mercer Singers, an ensemble of 48voices, is the primary touring choralensemble of Mercer University. Thechoir includes undergraduate & gradu-ate students and performs a wide rangeof choral music spanning from the Ren-aissance to works written by composersof our time. The Mercer Singers havesung on programs for the GMEA, theSouthern Division of MENC, and theSouthern Division of American ChoralDirectors Association. The MercerSingers tour extensively and have per-formed throughout the United Statesand Europe. The choir is widelyacclaimed for its spirited performances,breadth of repertoire, and dedication tosinging repertoire of the a cappellaidiom.

STANLEY L. ROBERTS, ConductorTHE MERCER SINGERS

Violinist Amy Schwartz Moretti has amusical career of broad versatility thatspans nearly two decades. Recent proj-ects include the international premiereof GRAMMY® winner Matt Catin-gub’s concerto “Three Shades of Blue”in Kobe, Japan, the recording of Schu-bert and Sibelius quartets in England,and performances of the complete cycleof Beethoven String Quartets in Seoul,Korea, as a member of the Ehnes Quar-tet. Her Prokofiev and Bartók duos withJames Ehnes were included in JunoAward recordings in 2014 and 2015.Director of the McDuffie Center forStrings since its inception, Ms. Morettihas developed the Fabian Concert Serieson the Mercer University campus andholds the Caroline Paul King Chair inStrings. Former Concertmaster of theOregon Symphony and Florida Orches-tra, she has served as guestconcertmaster for the symphony orches-tras of Pittsburgh and Atlanta; the NewYork Pops and Hawaii Pops; and thefestival orchestras of Brevard, Coloradoand Grand Teton. Her dedication to col-laboration and performancecomplements her directorship andinspires her teaching and coaching ofthe Center’s gifted young musicians.

Through the generous efforts of theStradivari Society of Chicago, she playsthe 1744 G.B. Guadagnini violin knownas the “Canadian,” and gratefullyacknowledges its extended loan.

The McDuffie Center String Ensemble,comprised of Townsend School ofMusic majors from Mercer University,features the 24 full-scholarship studentsof the Robert McDuffie Center forStrings. These musicians, hailing from11 states and 4 countries, learn fromand often perform side-by-side withtheir faculty mentors who play withsome of the country’s top orchestras andworld-class ensembles. Distinguishedfaculty serving as principals for today’sconcert are: Amy Schwartz Moretti, vio-lin; Annie Fullard, violin; RebeccaAlbers, viola; Julie Albers, cello; DanielTosky, bass. The MCS ensemble is thecore of the Mercer University Orchestraled by Ward Stare, Music Director ofthe Rochester Philharmonic Orchestra,and performs regularly in Macon, GA.They have traveled extensively, per-forming at The Phillips Collection inWashington, D.C.; Le Poisson Rouge inNew York City; for Georgia GovernorNathan Deal’s inauguration in 2011;and on the Charlotte (NC) ChamberMusic Society and Brevard (NC) MusicFestival concert series. They were fea-tured in Georgia Public Broadcasting’s2012 “A Grand Mercer Christmas.” InSeptember 2016, the ensemble recordedR.E.M. founding member Mike Mills’Concerto for Rock Band, Violin andString Orchestra with Mills and RobertMcDuffie, and Philip Glass’ SymphonyNo. 3. After intermission, winds andbrass from NYC will join the stringensemble to perform John Rutter’sRequiem with the Mercer Singers andDr. Stanley L. Roberts, Director.

AMY SCHWARTZ MORETTI, Director and ViolinTHE McDUFFIE CENTER STRING ENSEMBLE

Carol S. Goff, collaborative artist, isAssociate Professor, Chair of KeyboardStudies and Coordinator of the Collab-orative Piano program in the TownsendSchool of Music, where she holds theHelen Wall Rich Endowed Professor-ship in Keyboard Performance. Sheholds a Doctor of Musical Arts degreein Piano Performance and Accompany-ing from the University of Illinois atUrbana-Champaign, graduating in2000, where she was a student ofrenowned pianist and accompanist JohnWustman. She actively coaches and con-certizes with fellow artists, preparingher students by example. She has been astrong influence in the creation of thegraduate Collaborative Piano programwhich continues to grow and preparestudents for Doctoral studies as well asthe professional world. She was chosen

as a performing Fellow for SongFest2008, where she performed in the pre-mier of John Musto’s Book ofUncommon Prayer and in the BachCantata Institute under the direction ofJohn Harbison.

CAROL S. GOFF, Accompanist

Olivia McMillan is a proud recipient ofa Kovner Fellowship at The JuilliardSchool where she is currently in her sec-ond year studying vocal performancewith Edith Bers. She is from Centerville,Georgia where she attended NorthsideHigh School. Olivia began singing pub-licly at age nine with The MercerUniversity Children’s Choir in Macon,GA. She began her classical vocal train-ing at the age of fourteen with MarieJarriel Roberts at Mercer University.Olivia was honored to win the title ofMiss America’s Outstanding Teen 2015in August 2014. As Miss America’sOutstanding Teen Olivia traveled thecountry, performing and speaking toaudiences about her personal platform,The National Sibling Support Project,which is a national organization sup-porting the lifelong needs of brothersand sisters of people with special needs.She also served as the National TeenGoodwill Ambassador for the Chil-dren’s Miracle Network Hospitals. She

had the honor of being a featured soloperformer at such events as the Philadel-phia Thanksgiving Day Parade, TheNational Cherry Blossom FestivalParade, and The U.S. Dream AcademyGala. Olivia was named one of the Top10 Teens who changed the world in2014 by Teen Vogue magazine and wasa part of American Eagle’s Aerie realcampaign.

OLIVIA MCMILLAN, Soprano

Cathy AdamsKaitlyn AdamsAmy Alderman Jonathan Alderman Sharon Howell BaileyMargaret BakerLillie BarnettAdele BaumanNicole BensonCam BishopJulia BlasiPage Blount Wade Blount Alice BochenkoCookie BrewerSylvester BriggsMaKayla BrooksMegan CarginQuinten CliffordCaroline Cooke Rebecca Cooke Daniel CorbittLynn CouleLori DeMelloSean DevenneySarah DoverspikeCass DuCharme Ruth DuCharme James Dumas Joy Dumas Penny ElkinsRolando FernandezCallie FleeceEmily FloydJames ForemanGrace GeorgeSarah Gerwig-MooreKaren GodfreyHunter Godsey

Deborah GossElizabeth GrantBryce GreenMark GreenRachel GreenRichard GreenRichard GressDoug GroganJohn GrooverBecky GunnMartha Kate HallJenna HamlinLinda HanksAndrew HearnCaleb HenningCharles HernandezSusie HillMonicaHollingsworth

Nathan HolmesRuth HuntMary Jane JohnsonConstance JonesMadison JuddCarr JustinJeremiah KerstingJohn Thomas KimbrelMonica Kirby-StevensMary LathemSophie LeveilleAlexander LockeHannah LoefflerLee LoveLaneah MaddoxKatie MasonCannon McClainEthan McDonnellGavin McDonnellGlen McDonnell

Michelle McEwenAdam McGuireClaudia Mitcham Andrew MooreDewayne MooreKate MooreMitchell MooreSavannah MooreJanice Morales-HillTaylor MoselyClay MoteJoy MoteMonica MurphyKathy MyersRoss NewtonLizamar NievesAbbie ParisJohn Mark ParkerClarke PerryJonathan PoeSam PottsDevin PratherBrianna Pylant

Tucker ReedJackie RileyMary Grace RoarkMarie Roberts Phillip Roberts Margaret RodeheaverMario RossRuth RowellJames Ruffin Taylor RussellJohn SandersKirby SandersMary Beth SandersJohn SawyerJoshua Schindler

Peter SchultzSarah Kate SellersJacqueline SevierBryan ShelburneDustin SheltonMaggie SheppardZachary SmithAlan SmitheeDavid SoudersNick SpoonerMcKinley StarksRuby StillionsBetsy SwansonElizabeth TammiJoel TerningEllen TerryKrysta TherieauEmily TousekKatie TrotterParker Van RiperJean Wachtel Kurt Wachtel Dewey WatersKathy WatsonSarah WebsterSharon HowellWelsch

Bryan WhitfieldColin WikleDon WikleSarah WikleDominique Williams Megin WilliamsReece WisnerClay YoungVictoria Yrizarry

PERFORMING ARTS PARTNERS

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

RUTTER REQUIEM CHORUS

The Chancel Choir, First Baptist Church of Christ, Macon (GA), Stanley L. Roberts, DirectorChoral Society of Middle Georgia (GA), Stanley L. Roberts, DirectorMercer Singers (GA), Stanley L. Roberts, DirectorMercer Singers Alumni (GA), Stanley L. Roberts, DirectorShallowford Presbyterian Church Chancel Choir (GA), Emily Floyd, Director

Violin IAmy SchwartzMoretti†

Harry Ward(Sophomore,Sydney, Australia)

Charissa Leung(Sophomore, SanJosé, CA)

Sarah Abbott (ArtistDiploma candidate,St. Lake City, UT)

Evan Hjort(Freshman,Sammamish, WA)

Tiani Butts(Sophomore,Chesapeake, VA)

Cheyenne King(Freshman,Philadelphia, PA)

Violin IIAnnie Fullard†Bronwyn James(Freshman, Seattle,WA)

Bethany Moss (junior,New Brighton, MN)

Dustin Wilkes-Kim(Junior, Winston-Salem, NC)

Keoni Bolding(Sophomore,Telford, PA)

Ashley Whittle(Junior, Springdale,AR)

ViolaBecca Albers†Erik Binkhuysen(Junior,Sammamish, WA)

Michael Chong(Sophomore,Alexandria, VA)

Philip Hall (Junior,Herndon, VA)

Julia Swain(Sophomore, OakPark, IL)

Lukas Shrout(Sophomore, EastNorthpart, NY)

Alexander Locke(Junior, Columbus,OH)

CelloJulie Albers†MaryGrace Bender(Junior, Franklin,TN)

Atticus Mellor-Goldman(Sophomore, LosAngeles, CA)

Zhihao Wu (Junior,Shanghai, China)

Calvin Langman(Freshman,Lebanon, NJ)

BassDaniel Tosky†Reed Tucker (Senior,Sarasota, FL)

Chris Yick (Freshman,Honolulu, HI)

† McDuffie Centerfaculty

THE McDUFFIE CENTER STRING ENSEMBLE

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

Founded by Iris Derke and JonathanGriffith, Distinguished Concerts Interna-tional New York (DCINY) is the leadingproducer of dynamically charged musi-cal excellence. With its unforgettableconcert experiences in renowned venues,empowering educational programs, andits global community of artists and audi-

ences, DCINY changes lives through thepower of performance.

For more information about Distin-guished Concerts International NewYork, and upcoming DCINY musicalevents 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 Conductor

Danuta Gross, Director of Finance & AdministrationKevin Taylor, Director of Program DevelopmentJames M. Meaders, Associate Artistic Director &Conductor

Jason Mlynek, Associate Director of ProgramDevelopment

Mark Riddles, Program DevelopmentKatie Sims Silvestre, Program DevelopmentJulia Falkenburg, Program Development

Maria Braginsky, Program Development AssistantKimberly Wetzel, Program Development AssistantJeff Binner, Program Development AssistantTabitha Glista, Production ManagerAndrea Niederman, Associate Director of Marketing,Box Office & Promotions

Katherine Shen, Box Office & Marketing AssistantDeAnna Choi, Office Operations Manager,Accounting & Billing

Marisa Tornello, Concert Operations AssociateGary Crowley, Graphic Design & Website

DCINY ADMINISTRATIVE STAFF

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

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

Tuesday Evening, February 21, 2017 at 8:00Weill Recital Hall at Carnegie HallThe Music of Dinos ConstantinidesDinos Constantinides, Composer

Friday Evening, February 24, 2017 at 8:00Weill Recital Hall at Carnegie HallKeys to RomanceChristina Kobb, Pianist

Sunday Afternoon, March 12, 2017 at 2:00Stern Auditorium/Perelman Stage, Carnegie HallWind SongsKingwood High School Band (TX)Destry Balch, DirectorOlathe North High School Wind Ensemble and Symphonic Band (KS)Justin W. Love, Director

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, Guest ConductorThe Music of André ThomasAndré Thomas, Guest 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 JohnConahan

Distinguished Concerts Singers International University of the Incarnate Word Cardinal ChoraleWilliam 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

For DCINY’s full season listing, visit www.DCINY.orgDistinguished Concerts International New York

250 West 57th St., Suite 1610, New York, NY 10107(212) 707-8566 | DCINY.org