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Wednesday Evening, October 24, 2018, at 8:00 Isaac Stern Auditorium / Ronald O. Perelman Stage

Celebrating DCINY’s 10th Anniversary Season! Iris Derke, Co-Founder and General Director Jonathan Griffith, Co-Founder and Artistic Director presents


River Rouge Transfiguration (New York City Premiere)


Symphony No. 5 in E-flat Major, Op. 82 I. Tempo molto moderato II. Andante mosso, quasi allegretto III. Allegro molto

This evening, Rensselaer Polytechnic Institute celebrates the launch of its new Bachelor of Science in Music degree, its enduring commitment to student scholarship, and to invigorating the Rensselaer community through the arts. Tonight’s performance will be presented without intermission. We Want To Hear From You! Use #RPIOrchestra to share your post-concert photos and comments with @DCINY on Twitter, Facebook, and Instagram! DCINY thanks its kind sponsors in education: Artist Travel Consultants, VH-1 Save the Music, Education Through Music, High 5, and WQXR. For information about performing on DCINY’s series or about purchasing tickets, e-mail, call (212) 707-8566, or visit our website at DISTINGUISHED CONCERTS INTERNATIONAL NEW YORK 250 WEST 57TH STREET, SUITE 1610 NEW YORK, NY 10107 (212) 707-8566 PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES.

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Rensselaer Polytechnic Institute, founded in 1824, is America’s first technological research university. For nearly 200 years, Rensselaer has been defining the scientific and technological advances of our world. Our graduates have been responsible for world-changing innovations such as the transcontinental railroad, the microprocessor, the digital camera, networked email and the @ sign, the sequencing of the first genomes of human pathogens, the development of the main ingredient in sunscreen, putting man on the moon, and the development of the remarkable IBM cognitive computing system “Watson.” Rensselaer faculty and alumni represent 86 members of the National Academy of Engineering, 17 members of the National Academy of Sciences, 25 members of the American Academy of Arts and Sciences, 8 members of the National Academy of Medicine, 8 members of the National Academy of Inventors, and 5 members of the National Inventors Hall of Fame, as well as a Nobel Prize winner in Physics. With 70 academic majors, over 7,000 students and 100,000 living alumni, Rensselaer is addressing the global challenges facing the 21st century—to change lives, to advance society, and to change the world.

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Notes ON THE PROGRAM How does the experience of making music as a unified community transform a student of the sciences? That is the enduring question for me as I lead the Rensselaer Orchestra. It is a kind of experiment without a quantifiable outcome, but it is nonetheless a hopeful experiment, and one that I understand as vital to the cultivation of the world’s future innovators. In my encounters with these students, I am continually inspired (indeed, have been transformed) by their desire to nurture such different sides of their humanity at once. I hope that you too will be inspired, and perhaps also transformed, by their remarkable work. Nicholas DeMaison, Ph.D. Conductor Rensselaer Orchestra Rensselaer Polytechnic Institute

MISSY MAZZOLI (b. 1980) River Rouge Transfiguration (New York City Premiere) (10 minutes) “…all around me and above me as far as the sky, the heavy, composite, muffled roar of torrents of machines, hard wheels obstinately turning, grinding, groaning, always on the point of breaking down but never breaking down.” — Louis-Ferdinand Céline, from Journey to the End of the Night I first fell in love with Detroit while on tour with my band, Victoire, in 2010. When I returned home to New York, I dove into early Detroit techno from the late eighties, Céline’s novel Journey to the End of the Night, and early 20th century photographs by Charles Sheeler, who documented Detroit’s River Rouge Plant in 1927 through a beautiful, angular photo series. In my research, I was struck by how often the landscape of Detroit inspired a kind of religious awe, with writers from every decade of the last century comparing the city’s factories to cathedrals and altars, and Vanity Fair even dubbing Detroit “America’s Mecca” in 1928. In Mark Binelli’s

recent book Detroit City Is the Place to Be, he even describes a particular Sheeler photograph, Criss-Crossed Conveyors, as evoking “neither grit nor noise but instead an almost tabernacular grace. The smokestacks in the background look like the pipes of a massive church organ, the titular conveyor belts forming the shape of what is unmistakably a giant cross.” This image, of the River Rouge Plant as a massive pipe organ, was the initial inspiration for River Rouge Transfiguration. This is music about the transformation of grit and noise (here represented by the percussion, piano, harp, and pizzicato strings) into something massive, resonant, and unexpected. The “grit” is again and again folded into string and brass chorales that collide with each other, collapse, and rise over and over again. River Rouge Transfiguration was commissioned by the Detroit Symphony Orchestra in honor of Elaine Lebenbom. —Missy Mazzoli

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JEAN SIBELIUS (1865-1957) Symphony No. 5 in E-flat Major, Op. 82 (1915/rev. 1919) (35 minutes) Jean Sibelius was at the height of his fame when he composed the Fifth Symphony in 1915. For a work that elicits such powerful effect of certainty and conviction, it is noteworthy that Sibelius labored over it for seven years, and produced three markedly different versions before settling on its final, three-movement form. The arduous path to completion was not unique, and Sibelius’ biography is one of continuous harsh self-criticism alternating with elation. The original first two movements underwent a kind of alchemical fusion, with the usual quick-tempo scherzo movement of classical symphonic form being eliminated altogether. The first movement presents an elemental set of open intervals in the brass and winds, which are not so much varied in a strict sense, but subtly rotated around the orchestra and subjected to a fugue-like passage that then builds in tempo and intensity to a soaring, yet abrupt conclusion. The suddenness of this ending has been likened to a cinematic jumpcut, an observation that chimes well with the current re-considerations of Sibelius’s compositional originality after a period starting around World War II, when his deceptively conservative style was sidelined by more futurelooking Modernist innovations. This originality is nowhere more evident than the celebrated third movement, which follows a mainly calm and lyrical second movement. Set over murmuring ostinato string figures, the rising-falling intervals of the main melody, first heard in the brass, were the fruit of a creative burst Sibelius recorded in these terms: “full of new found inspiration, I breathed

the smoke of the burnt brushwood and the muted fortissimo scent of the earth … sailing through the air on strong wings like a 16-year old on his way to his beloved.” It was in these moments that Sibelius rejoiced and reveled at the sight of sixteen circling swans, which elicited the powerful theme that, in his own words, evokes “the mysticism of nature and the agony of life.” For Sibelius, nature was not simply a matter of lyrical depiction; indeed, for all that he has been called a nationalist composer, simple quotations or referential points are not common in his work. The affinity for nature throughout the Fifth Symphony is one that fully respects all of nature’s fierceness and tumult as well as its loveliness and repose. As much as an analyst can pore over the tonal craft, there remains an ineffable awe in this movement’s use of dissonance and unexpected accent, such as in the final minutes when the bass slips up and down a few tones, apparently adrift, while crunching dissonances grind against these pedal basses like tectonic plates. For the Rensselaer students performing this magnificent, and still mysterious work, and for all listeners today, there remains a powerful lesson in Sibelius’s persistence and triumphal mustering of a progressive conservative language that can look backward as well as facing forward with full honesty about all of the future’s complexities as well as beauty. Michael Century, Professor Department of the Arts School of Humanities, Arts, and Social Sciences Rensselaer Polytechnic Institute

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SHIRLEY ANN JACKSON, PH.D., President of Rensselaer Polytechnic Institute The Honorable Shirley Ann Jackson, Ph.D., is the 18th president of Rensselaer Polytechnic Institute, the oldest technological research university in the United States, where she has led an extraordinary transformation since 1999. Described by Time magazine as “perhaps the ultimate role model for women in science,” Dr. Jackson has held senior leadership positions in academia, government, industry, and research. A theoretical physicist, Dr. Jackson holds an S.B. in Physics, and a Ph.D. in Theoretical Elementary Particle Physics, both from MIT. In September 2014, United States President Barack Obama appointed Dr. Jackson as Co-Chair of the President’s Intelligence Advisory Board, where she served until January 2017. Dr. Jackson also served on the U.S. Secretary of State International Security Advisory Board from 2011-2017, and the U.S. Secretary of Energy Advisory Board from 20132017. From 2009 to 2014, Dr. Jackson served on the President’s Council of Advisors on Science and Technology (PCAST), and, as part of PCAST, was Co-Chair of the President’s Innovation and Technology Advisory Committee (PITAC). Before taking the helm at Rensselaer, Dr. Jackson was Chairman of the U.S. Nuclear Regulatory Commission (NRC), from 1995 to 1999. At the NRC, Dr. Jackson conceived and promulgated riskinformed, performance-based regulation and created a new planning, budgeting, and performance management process (PBPM). During her tenure at the NRC, Dr. Jackson spearheaded the formation of the International Nuclear Regulators Association (INRA), and served as its Chairman from 1997-1999. Dr. Jackson is a Life Member of the MIT Corporation, and a former Vice-Chair of

the Board of Regents of the Smithsonian Institution. In October 2017, she was named Regent Emerita of the Smithsonian Institution. She serves on the boards of major corporations that include FedEx, IBM, and Medtronic. She is a former member of the board of the World Economic Forum USA (WEF USA), and the Council on Foreign Relations. Dr. Jackson is an international fellow of the British Royal Academy of Engineering, a member of the U.S. National Academy of Engineering, and the American Philosophical Society, and a fellow of the American Academy of Arts and Sciences, the American Association for the Advancement of Science, and the American Physical Society. She holds 53 honorary doctoral degrees. In 2007, describing her as “a national treasure,” the National Science Board selected Dr. Jackson as the recipient of the Vannevar Bush Award for “a lifetime of achievements in scientific research, public policy, and senior statesman-like contributions to public policy.” In 2016, United States President Barack Obama awarded Dr. Jackson the National Medal of Science, the nation’s highest honor in science and engineering.

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NICHOLAS DEMAISON, PH.D., Conductor Ensemble was lauded as “a natural fit.” He has been a regular collaborator with ICE, ECCE, American Opera Projects, and previously worked with groups such as Giants are Small, Ensemble Sospeso, Talea Ensemble, and Opera Cabal, among others.

Since Chicago Magazine first described his early opera projects as “Chicago’s most daring and avant-garde” in 2010, Nicholas DeMaison has continued to prove himself as one of the most capable conductor/composers in the young generation of multi-talented musicians working to reimagine classical institutions and genres. In recent seasons he has led premiere operatic productions of Pauline Oliveros’ The Nubian Word for Flowers (which he assembled posthumously for performance—ICE/Roulette), Nathan Davis’ Hagoromo (ICE/AOP/BAM Next Wave), Mikael Karlsson’s The Echo Drift (ICE/AOP/Prototype Festival), Mojiao Wang’s Encounter (Beijing Modern Music Festival), James Ilgenfritz’s The Ticket That Exploded, Charles Fussell’s The Astronaut’s Tale, and of newly commissioned orchestral works by Miya Masaoka, Zach Layton, Erica Ball, Eli Greenhoe, and others. The U.S. premiere of his arrangement of Milhaud’s La Mère Coupable by OnSite Opera & International Contemporary

Also an active composer, DeMaison’s music has been described as “crossing the threshold from being abstractly academic to emotionally provocative,” (Time Out NY) and “faster and blippier…smooth-versusscreechy…both ominous and playful at the same time” (Lucid Culture). His work spans from chamber works with live electronic audio and video components to works for chorus and orchestra. Ensembles that have performed DeMaison’s music include The New York Philharmonic, Giants Are Small, PRISM Saxophone Quartet, NOISEBridge, andPlay, Del Sol String Quartet, ensemble dal niente, UCSD New Music Ensemble, Hunter College Campus School Orchestra, South Hadley Chorale, Florilegium Chamber Choir, and Opera Cabal, and his work has been featured at June in Buffalo. He regularly works on the music staff for broadcast productions with the New York Philharmonic, MediciTV, and Live from Lincoln Center. DeMaison is a graduate of the Oberlin Conservatory and UC San Diego, where he studied composition with Chaya Czernowin and Philippe Manoury. He has studied conducting with Franck Ollu, Lucas Vis, Peter Eötvös, Pierre Boulez, Gustav Meier, Carl St. Clair, Vance George, Alice Parker, and Lewis Nielson. He joined the Rensselaer faculty in 2013.

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MUSIC AT RENSSELAER: INNOVATIVE PEDAGOGY: THE BACHELOR OF SCIENCE IN MUSIC To preserve Rensselaer’s prominence as a leader in pedagogical innovation, we offer 70 academic degree programs, many at the cutting-edge of emergent fields. Just this year, the first incoming cohort of students has enrolled in our new, technologically-infused Bachelor of Science in Music, in our School of Humanities, Arts, and Social Sciences. Many other students will select this degree because of its unprecedented approach to the integration of music with STEM education. The B.S. in Music is designed to prepare Rensselaer students for 21st century careers in music, including such burgeoning fields as sound design for virtual reality, composition for interactive games, or developing algorithms for music net-

works. The degree is offered as a single disciplinary major, but is also designed to effectively pair as a dual major with the STEM disciplines as a means of preparing today’s contemporary musician that is fluent in the arts as well as the sciences. This exclusive coupling will attract a wider demographic of students within the landscape of other technological universities as well as music conservatories throughout the United States. We are especially proud of this degree as the B.S. in Music exemplifies a curricular instantiation of Art_X@Rensselaer. The remarkable vision of Art_X is to explicate the relationship between the arts (=art) and another field (=x), realizing the art in and of science and the science in and of art.

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Paul Jennings, General Manager of Artist Pianos; Sally Covaleskie, National Director of Institutional Sales, Steinway & Sons; Mary Simoni, Ph.D., Dean, School of Humanities, Arts, and Social Sciences; Shirley Ann Jackson, Ph.D., President, Rensselaer Polytechnic Institute.

In 2016, Rensselaer Polytechnic Institute joined more than 180 institutions on five continents designated as an All-Steinway School. This prestigious designation is a testimony to Rensselaer’s commitment to providing expertly crafted pianos to our students for the study of music. ] Steinway & Sons awards the All-Steinway School designation to music educational institutions that demonstrate a commitment to excellence by providing their students with the rich, unrivaled sound, incomparable tone, and pristine touch of Steinway & Sons pianos. These pianos inspire students to realize their artistic potential, and prepare them to compete at the highest level in the professional world.

Rensselaer, the nation’s first technological research university, recently launched an innovative new degree program—the Bachelor of Science in Music. The new degree is part of a campus-wide initiative, led by President Shirley Ann Jackson, Ph.D, and supported by Dean Mary Simoni, Ph.D, to catapult the centrality of the arts as a way to activate our students’ creativity and curiosity at the nexus of the arts and sciences. Our students discover the beauty of human expression in their chosen majors, from mathematics to biology to engineering. Tonight, we celebrate the launch of this program.

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MARY SIMONI, PH.D. NAMED STEINWAY ARTIST Mary Simoni, Ph.D., Dean of the School of Humanities, Arts, and Social Sciences (HASS), joined contemporary pianists such as Lang Lang, Diana Krall, and Billy Joel, as well as “Steinway immortals” such as Cole Porter, Sergei Rachmaninoff, and Arthur Rubinstein, in bearing the title Steinway Artist. According to Steinway, more than 90 percent of the world’s active concert pianists—over 1,600 artists—bear the title “Steinway Artist.” Each pianist prefers to perform on a Steinway, recognizing the expert craftsmanship and expansive timbral capabilities of the instrument. Each Steinway piano, consisting of more than 12,000 individual parts, has its own musical character and is as unique as the individual who plays it. Her formal designation as Steinway Artist took place November 15, 2017, in connection with a performance at the legendary Steinway Hall in Manhattan. Dr. Simoni (piano) was joined by Kimberley Dolanski Osburn (soprano), manager of operations and administrative services in HASS, and Rensselaer students Aidan Gorby ’19 (saxophones), Alexander Shane Jones ’18 (upright bass), and Matthew Lamport ’19 (drums). Dr. Simoni is the author of several books on electronic music composition,

including Algorithmic Composition: A Guide to Composing Music with Nyquist, co-authored with Roger Dannenberg (2013: University of Michigan Press) and Analytical Methods of Electroacoustic Music (2006: Routledge). She is a 2002 Medal Laureate of the Computer World Honors Award for her research in digital music information retrieval. Dr. Simoni’s music and multimedia works have been performed in Asia, Europe, and throughout the United States and have been recorded by Centaur Records, the music journal Leonardo, published by MIT Press, and the International Computer Music Association. She is the recipient of the Prize in Composition by the ArtNET Virtual Museum and was named semifinalist for the American Prize in Composition-Chamber Music.

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THE RENSSELAER ORCHESTRA Reinvigorated in 2012 by the School of Humanities, Arts, and Social Sciences in anticipation of the new B.S. in Music, the Rensselaer Orchestra performs classics of the orchestral repertoire and regularly premieres new and experimental works under the direction of Maestro Nicholas DeMaison. Violin I Chey Barlao ’19 (concertmaster) Jake Bugiera ’22 Tyler Chang ’19 Victor Chen ’19 Meixing Dong ’15 * Tudor Dornescu ^ James Hanford ’16* Alexander He ’22 Lucas Houchin-Miller ’22 Patti Kilroy ^ Chuan Kai Nicholas Lim ’19 Hannah Lim ’22 Francesca Lo ’22 Prakhyat Pola ’19 Miriam Rundell ’21 Sylvia Shablovsky Zicheng Tao ’22 Violin II Kevin Donovan ’18 (principal) Andréa Deeb*’18 ’18G Erica Dicker ^ Chloe Fisher ’21 Wyatt Garber ’22 Evan Hall ’22 Elizabeth Holland ’22 Louis Hyde ’19 Gabriela Islava Hofmeyer ’95 * Zachary Johnson ’22 Aleksandra Labinska # Nathaniel Moretz ’20 Elisabeth Schanz ’21 Stephanie Su ’20 Janet Xu ’15 * Destin Yee ’22 Yinxiao Zhang ’22 Viola Isabelle Peck ’19 (principal) Rose Bollerman ’22 Fred Choi ’21 Kallie Ciechomski ^ Carrie Frey ^ Anna Heflin ^ Dan Kazenoff ’19 Paul Koonaporn ’21 Xavier Salazar ’22 Tenzin Tashi ’19 Greg Williams ^

Cello Frank Peters ’21 (principal) Matthew Benjamin ’20 Naila Brown ’19 Nolan Bunyaviroch ’21 Sean Burns ’21 Celia Chen ’21 Margaret Harwood # Russell Jones ’17* Miranda Kaiser ’20 Jayson Mintz ’22 Catherine Tonias ’22 Mosa Tsay ^ Ryan Waddell ’21 Tianhang Zhu ’20 Jack Zhu ’21 Bass Peter Firmin ’20 (principal) Greg Chudzik ^ Glenn Edmonds ’20 Stephen Jones ^ Tristan Kasten Krause^ Emily Lockwood ’20 Anthony Naslas ’18 * Patrick O’Connell # Flute Gwen Diebold ’18* Roberta Michel ^ Molly Monge ’22 Chris Saour ’23 Jacob Walker ’18 * Piccolo Joe Souto ’19 Oboe Stuart Breczinski ^ Michelle Farah ^ Elisabeth Ryan ’19 Clarinet Max Jenquin ’17 * Jarrett Rosenberg ’22 Dalton Slegel ’20 Steven Tignor ’16 * Eric Umble ^

Bassoon Brian Callahan ’15G * Sara Schoenbeck ^ Nikhil Shah ’21 French Horn James Cassidy ’20 Patrick Celentano ’17 * John Gattis ^ Bert Hill ^ Emily Lottes ’19 Tristan Protzman ’20 Ethan Solomon ’22 Duncan Turner ’20 Trumpet Kate Amrine ^ Grant Block ’21 Devin Glenn ’16 * Harrison Ma ’19 Drake Niedzielski ’19 Ben Stovall ’17 * Trombone Jen Baker ^ Mallory Peskins ’19 Ed Prettyman ’19 Jacob Weisbard ’22 Tuba Robert Eatmon ’22 Bingjia Wang ’19 Piano Julia DenBoer # Harp Kathryn Andrews ^ Percussion Russell Greenberg ^ Nick Johnson ’20 Gabriel Priem ’22 Griffin Smith ’21 Orchestra Manager Eric Miller ’21 * Denotes Rensselaer Orchestra Alumni and Alumnae # Denotes Rensselaer Faculty ^ Denotes Professional Musician

The Rensselaer Orchestra list includes names supplied by Rensselaer faculty. Any questions regarding missing or misspelled names should be addressed to Rensselaer.

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SPECIAL THANKS The generous support of our Corporate Partners is helping Rensselaer to “Bridge the Gap” between the cost of the world-class education we provide our students and the scholarship support we will be able to offer them as we build the university we envision for our third century. We extend special gratitude to Artist Pianos for providing a Steinway B piano for use at the Rensselaer Orchestra rehearsals. Dinner Sponsor IBM Bridging the Gap Circle United Sodexo The Boeing Company Corporate Underwriter KeyBanc Capital Markets Corporate Benefactor Whiteman Osterman & Hanna LLP

Corporate Sponsors United Group Rensselaer Alumni Association Murtha Cullina Attorneys at Law National Instruments Friends of Rensselaer Bank of America Merrill Lynch Core BTS, Inc. Corning Incorporated JMZ Architects and Planners, P.C. Mimeo Rose & Kiernan Inc. Additional Corporate Support Provided By Artist Pianos Fidelity Investments Steinway & Sons

CLASSICAL MUSIC SERIES The Classical Concert Series at Rensselaer, administered through the Rensselaer Union, provides students with opportunities to experience classical performances throughout the Capital Region and the Northeast. We wish to recognize the benevolence of the donors of several endowed funds for their continuing support of Rensselaer students: The Gail and Jeffrey L. Kodosky ’70 Fund for Classical Music, established in 2001; The Silvia and Alexander Hassan ’27 Concert Series, established in 1998 by the Hassan Family Foundation; and The Eleanore N. Fischbach Concert Series, established by Jerome Fischbach, Rensselaer Class of 1938, to “provide an enriching musical interlude for the enjoyment of the entire Rensselaer community.” Tonight, The Gail and Jeffrey L. Kodosky ’70 Fund for Classical Music has generously underwritten the travel of the Rensselaer students in attendance so that they may enjoy tonight’s historic Rensselaer Orchestra debut at Carnegie Hall. Thank you!

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PRESIDENTIAL LIFETIME ACHIEVEMENT AWARDS The Presidential Lifetime Achievement Award celebrates those whose unique contributions ensure that the fire ignited by Stephen Van Rensselaer nearly 200 years ago continues to burn brightly at Rensselaer today. It is our privilege to recognize the distinct examples of excellence set forth by the 2018 Honorees: In Recognition of Exceptional Corporate Partnership The Boeing Company In Recognition of Exemplary Individual Philanthropy Helen-Jo Kelly and John E. Kelly III ’78G, ’80 Ph.D., Trustee Gail Kodosky and Jeffrey L. Kodosky ’70, Trustee Previous Honorees Howard N. Blitman P.E. ’50, Trustee Curtis R. Priem ’82, Trustee IBM

ABOUT TRANSFORMATIVE: CAMPAIGN FOR GLOBAL CHANGE In 2017, we publicly launched a bold undertaking—our $1 billion capital campaign, Transformative: Campaign For Global Change. The initiative will lead us to the 200th anniversary of our founding, in 2024, and position Rensselaer Polytechnic Institute for its third century of leadership in education and research, with an emphasis on three pillars: Improving Student Access, Enhancing The Student Experience—Bridging The Gap Campaign funding will help “bridge” the gap between student need and the financial aid Rensselaer is able to provide. We also will expand upon visionary programs such as The Arch, in which students spend a junior year semester away on a research, internship, or other experience, and Clustered Learning, Advocacy, and Support for Students (CLASS), which combines residential and time-based clustering, and novel integration of classroom technology. Empowering World-Class Teaching, World-Changing Research—The Faculty 500 Additional endowed faculty will enhance our ability to attract and retain the dedicated professors students deserve. Their forward-thinking research is driving new discoveries from biomanufacturing and regenerative medicine, to advanced networking, visualization, and machine learning, while advancing pedagogical innovations in the classroom. Our goal is to realize The Faculty 500, a tenured and tenure-track community of outstanding professors whose research and teaching will change the world. Building The Third-Century Campus We will continue to modernize and equip the academic, research, and student life facilities to transform our students into the next generation of resilient and inspired leaders as we head into our third century. For more information, visit

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DISTINGUISHED CONCERTS INTERNATIONAL NEW YORK (DCINY) Founded by Iris Derke and Jonathan Griffith, Distinguished Concerts International New York (DCINY) is the leading producer of dynamically charged musical excellence. With its unforgettable concert experiences in

renowned venues, empowering educational programs, and its global community of artists and audiences, DCINY changes lives through the power of performance.

For more information about Distinguished Concerts International New York, and upcoming DCINY musical events around the world, please visit:

DCINY ADMINISTRATIVE STAFF Iris Derke, Co-Founder and General Director Jonathan Griffith, Co-Founder, Artistic Director and Principal Conductor Kevin Taylor, Executive Director Danuta Gross, Director of Finance & Administration Jason Mlynek, Director of Program Development Julia Falkenburg, Program Development Kimberly Wetzel, Program Development Jeff Binner, Program Development Justin Zang, Program Development Katie Silvestre, Program Development Maggie Latona, Executive Assistant & Program Development Kadeem Jeudy, Program Development Assistant Andrea Niederman, Director of Marketing, Box Office & Promotions Malcom Moon, Box Office & Marketing Assistant Seth McCay, Graphic Design & Website Nolan N. Dresden, Production Associate Maria Braginsky, Concert Operations Liaison Jason Arnold, Concert Operations Associate Morgan Yachinich, Concert Operations Associate & Executive Assistant Dennis Wees, Concert Operations & Executive Assistant For PR and media inquiries, please contact or (212) 707-8566 Ext. 307.

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DCINY 2018 CONCERT SERIES Sunday Evening, November 11, 2018 at 8:30 Stern Auditorium/Perelman Stage, Carnegie Hall The Great War: Commemorating 100 Years Mealor: Requiem: The Souls of the Righteous (US Premiere) Paul Mealor, Composer/Conductor Hawes: The Great War Symphony (Joint US Premiere) Patrick Hawes, Composer/Conductor Distinguished Concerts Orchestra and Distinguished Concerts Singers International Sunday Evening, November 18, 2018 at 8:30 Stern Auditorium/Perelman Stage, Carnegie Hall Symphony of Carols: The Works of Randol Bass and Pepper Choplin Choplin: Christmas Presence (World Premiere) Pepper Choplin, Composer/Conductor The Music of Randol Bass Bass: Carols from a Victorian Fireside, Mvmts II & III (World Premiere) Jonathan Griffith, DCINY Artistic Director and Principal Conductor Randol Bass, DCINY Composer-in-Residence Distinguished Concerts Orchestra and Distinguished Concerts Singers International Sunday Afternoon, November 25, 2018 at 2:00 Stern Auditorium/Perelman Stage, Carnegie Hall Messiah….Refreshed! Handel: Messiah Thomas Beecham/Eugene Goossens’ 1959 Re-Orchestration for full symphony orchestra Jonathan Griffith, DCINY Artistic Director and Principal Conductor Distinguished Concerts Orchestra and Distinguished Concerts Singers International Monday Evening, November 26, 2018 at 7:00 Stern Auditorium/Perelman Stage, Carnegie Hall A Winter Rose: The Holiday Music of Martin & Hayes Hayes: Hodie Christus Natus Est, A Carol Fantasia (World Premiere) and Gloria Mark Hayes, Composer/Conductor Martin: The Winter Rose (NY Premiere) Joseph M. Martin, Composer/Conductor Distinguished Concerts Orchestra and Distinguished Concerts Singers International Monday Evening, December 3, 2018 at 7:00 Stern Auditorium/Perelman Stage, Carnegie Hall Ode to Joy: Beethoven’s Symphony No. 9 and Choral Fantasy Jonathan Griffith, DCINY Artistic Director and Principal Conductor Warren Lee, Piano Soloist Distinguished Concerts Orchestra and Distinguished Concerts Singers International For DCINY’s full season listing, visit DISTINGUISHED CONCERTS INTERNATIONAL NEW YORK 250 W. 57TH STREET, SUITE 1610 NEW YORK, NY 10107 (212) 707-8566 |

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Take Home a Piece of History Visit the Carnegie Hall Shop on the Blavatnik Family First Tier (second floor) of Stern Auditorium / Perelman Stage or the Shop Kiosk on the Parterre level of Zankel Hall. Shop anytime at

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Stern Auditorium / Perelman Stage

Rent Carnegie Hall Whatever your event, no matter the size or function, you won’t find a better venue to present your best. Our three great stages feature memorable classical and popular music attractions, and are also home to comedians, galas, screenings, benefits, and business presentations. • Stern Auditorium / Perelman Stage— our most famous hall, historic and grandly scaled (2,804 capacity) • Zankel Hall—modern and cool, ideal for every musical genre (599 capacity)

Zankel Hall

Weill Recital Hall

Photos by Jeff Goldberg / Esto.

• Weill Recital Hall—elegant and intimate, a jewel box of a theater (268 capacity).

Transform. Innovate. Inspire.  

Playbill for the historic performance presented by the Rensselaer orchestra in The Stern Auditorium / Perelman Stage at Carnegie Hall will c...

Transform. Innovate. Inspire.  

Playbill for the historic performance presented by the Rensselaer orchestra in The Stern Auditorium / Perelman Stage at Carnegie Hall will c...