Distinguished Concerts International New York (DCINY) Iris Derke, Co-Founder and General Director Jonathan Griffith, Co-Founder and Artistic Director

Presents

DISTINGUISHED CONCERTS ORCHESTRA INTERNATIONALDISTINGUISHED CONCERTS SINGERS INTERNATIONAL

Of Faith and FreedomThe Music of Dan Forrest (b. 1978)James L. Melton, Guest Conductor

Te DeumI. Praise to the TrinityII. PrayersIII. Praise to Christ

Please hold your applause until after the final movement.

Arise, Shine!

GUSTAV HOLST (1874–1934) O God Beyond All PraisingArr. DAN FORREST

St. Patrick’s Hymn

Intermission

The Music of Joseph M. Martin (b. 1959)Joseph M. Martin, Composer and ConductorHeather Sorenson, Keyboard

A Festive Call to Praise

The Awakening

Canticle of PeaceSue Martin, Soprano

Shout to God

Who Are the Brave

Goin’ to the Holy CityTiffany Coburn, Soprano

A Festive Call to Freedom (World Premiere)

The Epitaph

Song for the Unsung Hero

Monday Evening, May 28, 2012, at 7:00, Memorial Day

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

Lincoln Center

Notes on the ProgramTe DeumDAN FORREST (b. 1978)

The Te Deum, also referred to as Te DeumLaudamus or the Ambrosian Hymn, is a hymnof praise to God with foundations in the earlyChurch. Te deum laudamus translates as“You, God, we praise.” Musical settings ofthe Te Deum text have varied throughouthistory. Evolving from chant, the text hasbeen set to music by most of the well-knowncomposers of concert music, includingHaydn, Handel, Bach, Mozart, Berlioz, Verdi,Bruckner, Dvorák, Britten, Elgar, and Rutter.It has found its place in worship servicestyles from Catholic to mainline Protestant.

The Composer’s NoteSetting a Te Deum appealed to me with itsunshakeable affirmation of bedrock truthsabout the triune God. I started with the big-picture view of the text, thinking throughthe macro-shape of the work as a whole.Early on, I decided to write three separatemovements, to allow three separate musicalideas. I tried, however, to present sectionsof text in a different musical light than themore common Te Deum settings. This led metoward a quiet, reverent prayer for “O Lord,save Thy people…” and “Vouchsafe, OLord….” Since these prayers were not partof the original Te Deum text but were addedlater, I took the liberty of placing the Prayersin between the other two traditional sections,

thus creating a quiet contrast between thelarger settings of the two other sections.

Overall the musical style combines elementsof ancient music, tonal music, and moremodern music, as homage to the long history of the Te Deum in the worship of the church. Opportunities for musical textpainting abound, with some being rather obvious and others being more veiled (i.e.the key relationships between the membersof the Trinity).

The first movement is a fairly sectional treat-ment of the text, unified by the recurrenceof the opening chant-like motif. The text’semphasis on corporate worship “We praiseThee…” is emphasized by the slow gather-ing of forces towards the first triumphantstatement of that line of text, as if peoplefrom every kindred, tongue, and nationwere assembling to worship.

The main theme of the second movementshares a hidden connection to the openingchant theme, but unfolds in a different sound-world, evoking a Renaissance motet style attimes as it works towards its climax.

The third movement lets loose a torrent ofmixed meters and changing meters in itsown sound world of speech rhythms, beforefinally giving way to one last gesture unifyingthe entire work.

Text and TranslationTe Deum (Text from the Book of Common Prayer)

Te deum laudamus; te dominum confitemur.Te æternum Patrem omnis terra veneratur. Tibiomnes angeli, tibi cæli: et universæ Potestates.Tibi Cherubim incessabili voce proclamant:Sanctus, Sanctus, Sanctus: Sanctus DominusDeus Sabaoth. Pleni sunt cæli et terra majes-tates gloriæ tuæ.

We praise thee, O God; we acknowledge theeto be the Lord. All the earth doth worship thee,the Father everlasting. To thee all Angels cryaloud; the Heavens, and all the Powers therein;To thee Cherubin and Seraphin continually docry, Holy, Holy, Holy Lord God of Sabaoth;Heaven and earth are full of the Majesty of thy glory.

Lincoln Center

Arise, Shine!DAN FORREST

The following New Testament passagesgreatly influenced Dan’s textual and musicalinterpretation of the Old Testament passagefrom Isaiah 60.

And I saw a new heaven and a new earth:for the first heaven and the first earthwere passed away: And I John saw theholy city, Jerusalem, coming down fromGod out of heaven. And the city had noneed of the sun, neither of the moon, toshine in it: for the glory of the Lord did

lighten it, and the Lamb is the Lightthereof. —Revelation 21:12, 23

Then spoke Jesus again unto them, saying,I am the Light of the world; he that followsme shall not walk in darkness, but shallhave the light of life. —John 8:12

Let your light so shine before men, thatthey may see your good works, and glorifyyour Father which is in heaven. —Matthew 5:16

Arise, Shine! was given its world premiereat Carnegie Hall on February 11, 2007.

Te gloriosus Apostolorum chorus. TeProphetarum laudabilis numerus. Te Martyrumcandidatus laudat exercitus. Te per orbum terrarium sancta confitetur Ecclesia. Patremimmensæ majestatis: Venerandum tuum,verum, et unicum Filium. Sanctum quoque Paraclitum Spiritum. Tu Rex gloriæ, Christe, tuPatris sempiternus es Filius.

Tu ad liberandum suscepturus hominem, nonhorruisti Virginis uterum. Tu devicto mortis aculeo, aperuisti credentibus regna cælorum.Tu ad dexteram Dei sedes, in gloria Patris.Judex crederis, esse venturus. Te ergo quæ-sumus, tuis famulis subveni, quos pretiososanguine redemisti. Aeterna fac cum Sanctistuis in Gloria numerari.

Salvum fac populum tuum Domine, et benedichereditati tuæ. Et rege eos, et extolle illos, etextolle illos usque in æternum. Per singulosdies, benedicimus te, et laudamus nomen tuumin sæculum sæculi. Dignare Domine die isto sinepeccato nos custo dire. Miserere nostri Domine,miserere nostri. Fiat misericordia tua Dominesuper nos, quem admodum speravimusin te. Inte Domine speravi non confundar in æternum.

The glorious company of the Apostles praisethee. The goodly fellowship of the Prophetspraise thee. The noble army of Martyrs praisethee. The holy Church throughout all the worlddoth acknowledge thee; The Father of an infi-nite Majesty; Thine honorable, true and onlySon; Also the Holy Ghost the Comforter. Thouart the King of Glory, O Christ. Thou art theeverlasting Son of the Father.

When thou tookest upon thee to deliver man,thou didst not abhor the Virgin’s womb. Whenthou hadst overcome the sharpness of death,Thou didst open the Kingdom of Heaven to allbelievers. Thou sittest at the right hand of Godin the glory of the Father. We believe that thoushalt come to be our Judge. We thereforepray thee, help thy servants, whom thou hastredeemed with thy precious blood. Makethem to be numbered with thy Saints, in gloryeverlasting.

[added from Psalm verses:]O Lord, save thy people, and bless thine her-itage. Govern them and lift them up forever.Day by day we magnify thee; and we worshipthy Name ever, world without end. Vouchsafe,O Lord, to keep us this day without sin. OLord, have mercy upon us, have mercy uponus. O Lord, let thy mercy lighten upon us, asour trust is in thee. O Lord, in thee have Itrusted; let me never be confounded.

Lincoln Center

O God Beyond All PraisingGUSTAV HOLST (1874–1934) Words by MICHAEL PERRY (1942–96) Arranged by DAN FORREST

The melody for this magnificent hymn iswritten by Gustav Holst. Holst adapted themelody of the central section of “Jupiter” fromThe Planets in 1921 to fit the meter for a poementitled “I Vow to Thee, My Country.” Thepoem was written between 1908 and 1918by Sir Cecil Spring-Rice and became knownas a response to the human cost of WorldWar I. The hymn was first performed in 1925and quickly became a patriotic anthem, al-though Holst had no such patriotic intentionswhen he originally composed the music.

St. Patrick’s Hymn DAN FORREST

St. Patrick’s Hymn was commissioned by the Greenville Chorale to celebrate theensemble’s 50th anniversary and to honortheir conductor and artistic director BinghamVick. It is set to the fifth century words ofSt. Patrick and was originally scored forlarge chorus and wind ensemble. Today’sperformance marks the debut of Dan’s fullorchestra concert version. Saint Patrick wasborn towards the end of the fourth century.During his 29 years as a missionary, it is saidhe converted over 120,000 Irishmen and established at least 600 churches. Althoughhe was never officially canonized by theRoman Catholic Church, when the Churchestablished its first list of saints (the first official saint was Ulrich, canonized in 993),Patrick was already on it!

—Program notes by James L. Melton

A Festive Call to PraiseJOSEPH M. MARTIN (b. 1959)Based on words by GEORGE HERBERT

This joyful acclamation of praise finds its inspiration in the time-honored words of

English poet George Herbert (1593–1633).Interspersing his words with texts from thePsalms, this joyful anthem creates a dramaticcall to purpose for the sacred choir. Alivewith rhythmic vitality, the music drives relentlessly in a crescendo of Alleluias inpraise to the Creator.

The AwakeningJOSEPH M. MARTIN

“The Awakening” was commissioned bythe Texas Choral Directors Association forone of their annual conventions. Intended to inspire teachers in their work of sharingthe gift of music with their pupils, this anthem has become one of the most performed of our time. This dramatic com-position moves the listener from a silent, violent world void of music and beauty intoa graceful, joy-filled world overflowing withthe music of life!

Canticle of Peace JOSEPH M. MARTIN

Written by commission for the city of Kirkwood, Missouri, this anthem of comfortand assurance is a gentle reminder of thehealing power of love and grace. First performed for an interfaith service of heal-ing and reconciliation following the tragickilling of six people during a public meetingat city hall, this anthem sought to bring atown torn apart by grief into a season ofhope and restoration. The poem written bythe composer uses the imagery of a gentlesnowfall transforming a scarred landscapeinto a thing of beauty and peace. The lyricalso incorporates the second line of the“Gloria” from the ordinary of the mass: etin terra pax hominibus, which translates“and on earth peace to all mankind”. Alsoincluded in the text is the final line from the“Agnus Dei,” dona nobis pacem, whichtranslates “grant us peace.”

Lincoln Center

Shout to GodJOSEPH M. MARTINWords by J. PAUL WILLIAMS

Based on the words of Psalm 100, this artfultext exhorts the sanctuary to proclaim theglory of God with loud shouts of praise andworship. The opening theme is sharply syn-copated, creating a spirit of joyful abandon.The middle section incorporates a choral ostinato that invites instruments to join thevoices in a festive crescendo of thanksgiving.This jubilant cacophony surrenders to the re-statement of the opening theme and drivesunrelentingly to a climactic conclusion.

Who Are the BraveJOSEPH M. MARTINWords by J. PAUL WILLIAMS

Lyricist J. Paul Williams wrote his most recognized text as an homage to a long-timefriend whose life and work had inspired him.In this patriotic paean, he reminds us all of thetrue nature of bravery and heroism. Joinedwith a noble theme and a musical setting ofalmost military dignity, this powerful anthemhas been performed for many national gath-erings including the 50th anniversary of theNormandy landing and most recently at thededication of the Pentagon Memorial inWashington, D.C. After Mr. William’s passing,the flags were flown at half-staff over theAmerican headquarters in Afghanistan inrecognition of the power and dignity of histimeless testimony to those who give theirlives in the service of others.

Goin’ to the Holy CityJOSEPH M. MARTIN Words by J. PAUL WILLIAMS

This cheerful choral song is a jazzy gospelstatement that lifts the spirit and raises theroof! Beginning with a slow solo featuring atraditional spiritual, “City Called Heaven,”the piece soon surrenders to a bouncy

effervescent theme adorned with theatricalflair and joyful declarations of hope. A soulfulgospel styled solo, rich with improvisation,puts the perfect exclamation point on thisgood-natured song of the spirit.

A Festive Call to FreedomJOSEPH M. MARTIN

Written as a confident call to citizenship andliberty, this choral is based on the old Shakertune “Followers of the Lamb” (1848). Thesweeping buoyancy of this tune in Dorianmode captures an authentic early Americanspirit and takes us back to the optimism andpromise of an earlier age. Tonight is the worldpremiere of “A Festive Call to Freedom.”

The EpitaphJOSEPH M. MARTIN Words: Traditional Native American Text

This quintessential Memorial Day anthem isbased on what is believed to be a traditionalNative American text. The lyrics remind usthat we are surrounded by the treasuredmemories of those who have died, and thattheir legacy of love still remains with us.Musically the anthem takes us from thegrief of the graveside to the restoration ofremembering. Filled with word painting and an almost cinematic impressionism,this hopeful composition exemplifies thegift of pausing to reflect on the blessings of those we love.

…Do not stand at my grave and cry, I amnot here, I did not die.

Song for the Unsung HeroJOSEPH M. MARTIN Words by MARTIN and PAMELA STEWART

Written in the days following the 9/11tragedy, this anthem is dedicated to all who risk their lives in order to protect anddefend us. This anthem has been featured

Lincoln Center

in many national patriotic events, and itsmessage of gratitude is often used tohonor returning soldiers or civil servantsdeserving of recognition. It incorporates the well-known national hymn “My Country

‘Tis of Thee.” It is requested that the audience stand and join the choir in singingthis great American hymn at the direction ofMr. Martin.

—Program notes by Joseph M. Martin

Meet the Artists

James L. MeltonDr. James L. Melton is professor of music,director of choral activities, and dean of theSchool of Communication and the Arts atVanguard University of Southern Californiain Costa Mesa, California. In addition toteaching in the areas of conducting andmusic education, he directs the 90-voiceUniversity Concert Choir and the VanguardSingers and Band, a select ensemble of 30vocalists and instrumentalists. As a guestconductor at Carnegie Hall in New York City,he has conducted Mendelssohn’s Psalm 42and selections from Elijah, as well as Vivaldi’sGloria and Handel’s Coronation Anthems.He conducted Franz Shubert’s Mass in Gat Lincoln Center as part of the DCINY 2009 Concert Series.

Dr. Melton was educated at Arizona StateUniversity and Oklahoma Baptist University.His mentors include Douglas McEwen, Jim Woodward, Robert Shaw, and MichaelCox. Dr. Melton has teaching experience in schools from high school through the college/seminary level, as well as over 30years experience leading church music and worship. He has composed andarranged vocal and piano music for publish-ing companies including Brentwood, TempoMusic, and the John W. Peterson Music

Company. He recently served as a con-tributing editor for The New Worship:Straight Talk on Music and the Church pub-lished by Baker Books.

Dan ForrestDan Forrest’s works have won numerouscontests and awards, including the ASCAPMorton Gould Young Composer’s Award,the ACDA Raymond Brock Competition,the Donald Sutherland Endowment Com-position Contest, the ALCM Raabe Prize,the John Ness Beck Foundation Awards,and the ASCAP Standard awards. Mr. Forrest has published music in various gen-res and styles with numerous publishers.He has his own choral series with HinshawMusic, The Music of Dan Forrest. Both hischurch and concert works have receivedseveral favorable reviews in the ACDAChoral Journal.

Mr. Forrest’s recent commissions includepieces for the 2011 ACDA National Conven-tion Children’s Honors Choir, the GreenvilleChorale and Symphony (South Carolina),the Columbus Philharmonic (Indiana), theWilliamsburg Choral Guild (Virginia), the University of Utah (for the 2011 WorldChoral Symposium in Argentina), the NorthCarolina MEA (for their 2012 convention),and the Cy Woods High School Choir (forthe 2011 Texas MEA convention). Hismusic has been heard on NPR’s Perform-ance Today and has been performed inCarnegie Hall, Lincoln Center by VanguardUniversity’s Concert Choir, and the

Lincoln Center

Kennedy Center. Mr. Forrest is the editorfor Beckenhorst Press. More informationabout him and his music can be found atwww.danforrest.com.

Joseph M. MartinJoseph M. Martin earned his bachelor ofmusic degree in piano performance at FurmanUniversity in Greenville, South Carolina. Heearned a master of music degree in pianoperformance at the University of Texas,Austin. While at Furman University, he wasinspired by choral director and composerMilburn Price to begin composing.

Mr. Martin has performed solo pianorecitals and been the featured artist withsymphony orchestras in the United Statesand Mexico. As winner of the Nina PlantWideman Competition, he performed withthe Guadalajara Symphony Orchestra. Hissolo recital in Ex-convento del Carmen wasbroadcast nationally.

His first solo piano recording, American Tapestry, was nominated for a Dove Award.This album, along with his other recordings(Songs of the Journey, Celtic Tapestry, andA Christmas Tapestry), have been enormouslypopular in the sacred and secular markets.

Over 1,000 of Mr. Martin’s compositions arecurrently in print. His composition “Pieta”was recently honored with an award fromthe John Ness Beck Foundation. His musiccan be heard in such diverse locations asCarnegie Hall; the Lawrence Welk Theatrein Branson, Missouri; and at hundreds ofworship services throughout the UnitedStates and Canada.

He serves as director of sacred publicationsfor Shawnee Press, Inc.

J. Paul WilliamsJ. Paul Williams (1937–2010) earned a bachelor’s degree in voice from OklahomaBaptist University and a master’s degree incomposition from Southwestern BaptistTheological Seminary. He served fourchurches as minister of music until 1992when he resigned Calvary Baptist Church,Little Rock, Arkansas, to engage in fulltimefreelance lyric writing. Mr. Williams hadover 900 songs in print at his death, and 20new songs have been published since hisdeath. He collaborated with his good friendJoseph M. Martin on over 250 of those published works. He was married to hiswife Donna for 50 years and they have twosons and five grandchildren. Donna is per-forming in the chorus tonight.

Distinguished Concerts International New YorkFounded by Iris Derke (General Director)and Jonathan Griffith (Artistic Director andPrincipal Conductor) Distinguished ConcertsInternational is driven by passion, innovativevision, a total belief in its artists, and unwavering commitment to bringing forthunforgettable audience experiences. DCINYis a creative producing entity with unmatchedintegrity that is a talent incubator, a star-maker, and a presenter of broadly accessi-ble, world-class musical entertainment.For more information about DistinguishedConcerts International in New York and upcoming DCINY musical events aroundthe world, please visit: www.dciny.org, orcall 212-707-8566.

Lincoln Center

For PR and Media inquiries about DCINY and our artists, please contact Shira Gilbert, DCINY PR Representative, at 212-707-8566, ext. 0, or Press@DCINY.org.

DCINY thanks its kind sponsors and partners in education: VH1 Save the Music, Education Through Music, and High 5.

For information about performing on DCINY’s series or about purchasing tickets, e-mail Concerts@DCINY.org, call 212-707-8566 or 877-MYDCINY (toll free),

or visit our website at www.DCINY.org.

DISTINGUISHED CONCERTS INTERNATIONAL NEW YORK250 W. 57TH STREET, SUITE 1610

NEW YORK, NY 10107212-707-8566

DCINY Administrative StaffIris Derke, Co-Founder and General DirectorJonathan Griffith, Co-Founder, Artistic Director, and Principal ConductorJohanna B. Kodlick, Director of Artistic OperationsDanuta Gross, Director of Finance and AdministrationNaghma Husain, Director of Design and PromotionsJeffery R. Thyer, Associate Director of Program DevelopmentKevin Taylor, Program DevelopmentNicole Cotton, Production ManagerAndrea Macy, Marketing and PromotionsLynn Tsai, Concert Operations Associate Luzanne Veldsman, Intern

Distinguished Concerts Singers InternationalParticipating in The Music of Dan ForrestBob Jones University Choir (SC), Warren Cook, DirectorCole Valley Christian School Concert Choir (ID), Claudia Sutherland, DirectorSt. Andrew’s Presbyterian Church Sanctuary Choir (CA), James L. Melton, DirectorValley Christian High School Chorale (AZ), Marianne Sloterbeek, DirectorThe Vanguard University Concert Choir (CA), James L. Melton, Director

Participating in The Music of Joseph M. MartinThe Arkansas Master’Singers (AR), Larry Grayson, DirectorCavanal Chorale (OK), Noma Curtis, DirectorB.U.M. Choir (PA), Julie Kerrick Geiser, DirectorCentral Baptist Church of Bearden Sanctuary Choir (TN), David A. Smith, DirectorThe Cumcwhats (MD), Jan Strevig, DirectorFirst Baptist Church Celebration Choir, Bastrop (TX), Bill Bullock, DirectorFirst Baptist Church of San Marcos (TX), Tim Lyles, DirectorFirst United Methodist Church Marion Iowa Chancel Choir (IA), Michael Ransom, DirectorFredericksburg United Methodist Church Chancel Choir (TX), Don Doss, DirectorJefferson City High School Jay Choir (MO), Beth Dampf and Kiesha Daulton, DirectorsJoyful Sound! Homeschool Choir (TX), Paula Spencer, DirectorMorristown High School West (TN), Kathy Bowen, DirectorOrpheus Club Men's Chorus (NJ), John Palatucci, DirectorSt. Paul's Lutheran Church Adult Choir (OK), Nancy Krause, DirectorThe Sanctuary Singers (TX), Billy Bob Dempsey, DirectorSounds of the Southwest Singers (AZ), Matt Deller, Director

Visit www.DCINY.org for choir and director bios.