Chi acapella-chi, chi

Chicago, Chicago Friday, April 1, 2011, 8:00 pm Anne & Howard Gottlieb Hall at Merit School of Music 38 S. Peoria St., Chicago

Sunday, April 3, 2011, 7:30 pm Wentz Concert Hall 171 E. Chicago Ave., Naperville

Saturday, April 2, 2011, 8:00 pm Nichols Concert Hall 1490 Chicago Ave., Evanston

Sunday, April 10, 2011, 4:00 pm Pilgrim Congregational Church 460 Lake Street, Oak Park

Chicago a cappella Kathryn Kamp, Soprano Alexia Kruger, Soprano Elizabeth Grizzell, Mezzo-soprano Susan Schober, Mezzo-soprano Hoss Brock, Tenor Trevor Mitchell, Tenor Matt Greenberg, Bass Benjamin Rivera, Bass Brian Streem, Bass Founder and Artistic Director Jonathan Miller Music Director Patrick Sinozich Chicago a cappella is supported by the Klaff Family Foundation; Gaylord and Dorothy Donnelley Foundation; the MacArthur Fund for Arts and Culture at the Richard H. Driehaus Foundation; the Arts Work Fund for Organizational Development; Dr. Scholl Foundation; a CityArts Program 2 grant from the City of Chicago Dept. of Cultural Affairs and Special Events; the Oak Park Area Arts Council, in partnership with the Villages of Oak Park, Forest Park and River Forest; and the Illinois Arts Council, a state agency. The Naperville Sun is a media sponsor of Chicago a cappella’s series at Wentz Hall in Naperville.

Chicago a capella 1

A B O U T C H I C AG O A C A PPEL L A Chicago a cappella is a vocal ensemble dedicated to performing fun and innovative concert programs at the highest possible musical standards.

Through its Chicago-area performances, touring engagements and recordings, the group enlightens and entertains audiences with repertoire from the ninth to the twenty-first century with a special focus on music written in the present generation. Now recognized as one of the area’s most accomplished ensembles, Chicago a cappella is known for its performances of early music, vocal jazz, and spirituals.

Founded in 1993 by Jonathan Miller, Chicago a cappella has released seven CDs, including its newest release, Christmas a cappella, on Cedille Records.

The group has introduced more than sixty works to Chicago audiences, including newly commissioned works

by Chen Yi, Tania León, Ezequiel Viñao, Stacy Garrop, and Rollo Dilworth.

In 2007, Jonathan Miller appointed Patrick Sinozich as the group’s first

Music Director. In 2008, Miller was honored with the prestigious Louis Botto Award from Chorus America in recognition of this innovative action and entrepreneurial zeal in developing a professional choral ensemble.

Chicago a cappella has presented over 150 concerts in the Chicago area in addition to guest appearances in 11 states and in Mexico. John von Rhein of the Chicago Tribune recently hailed Chicago a cappella’s “fine-tuned ensemble and secure blend” and American Organist praised the group’s “breathtaking ensemble and control [and] stylistic elegance... Chicago a cappella is a jewel in the crown of Chicago’s musical life.” The ensemble has been featured on national radio broadcasts and performed live concerts on Chicago’s WFMT Radio. Chicago a cappella has completed educational residencies in the Chicago Public Schools and is a proud business partner of Naperville North High School.

Find us on Facebook for photos, audio clips and more: www.facebook.com/chicagoacappella Read blogs and join the conversation at www.chicagoclassicalmusic.org

2936 N. Southport Ave., 2nd Floor, Chicago, IL 60657 Office: (773) 281-7820 | Fax: (773) 435-6453 Tickets: (773) 755-1628 www.chicagoacappella.org | info@chicagoacappella.org Founder and Artistic Director.................................................................................. Jonathan Miller Executive Director...............................................................................................Matthew Greenberg Music Director...............................................................................................................Patrick Sinozich Box Office & Concert Manager........................................................................................ Deb Hoban Education Outreach Coordinator.............................................................................Susan Schober Marketing & Operations Coordinator................................................................Shaina Farwell Interns......................................................................................................................... Jennifer Aparicio,

Lisa Czaplicki, Kennyetta Dillon Board of Directors Michelle Eppley William K. Flowers Helen C. Gagel (President) Joyce Grenis Howard Hush Leslie Lauderdale Robert B. Linn (Treasurer) 2 Chicago a capella

Linda Mast (Vice-President) Diana Ramirez (Secretary) Stephen Shaw Maria T. Suarez Committee Members Carole Baumgart (Marketing)

William Thomas Huyck (Finance/Legal) Yvonne Owens (Finance/Legal) David Perlman (Marketing) Lisa Scott (Financial Development)

C H I C AG O A C A PPEL L A C D S Available in the lobby: $16 each (includes sales tax) Christmas a cappella: Songs From Around the World Our latest release on Cedille Records is a sparkling selection of seasonal songs including lively African works, delightful treatments of traditional French and FrenchCanadian carols, a unique Danish take on the Christmas story, distinctive works by leading American composers Stephen Paulus and Gwyneth Walker, two pieces based on Hebrew texts, and James Clemens’s brilliant, jazzinflected Jingle a cappella. The disc has received the coveted “10/10” rating from ClassicsToday.com.

Shall I Compare Thee?

Contemporary settings of Shakespeare’s timeless words

Eclectric New works, familiar favorites, pop & jazz.

“An overflowing cornucopia of choral delights” (ChicagoTribune)

Holidays a cappella Live Live performances of Christmas spirituals, Chanukah songs and holiday music from around the world

Go Down, Moses A stunning collection of spirituals

Mathurin Forestier: Masses World-premiere recording of breathtaking Renaissance church music

Palestrina: Music for the Christmas Season Brilliant Renaissance polyphony by the Italian master Palestrina

Chicago a capella 3

L O C AT I O N I N F O R M AT I O N Smoking is prohibited in all venues. Food and beverage are not permitted in the audience seating area. No photography or recording of any kind is permitted.

Anne & Howard Gottlieb Hall Merit School of Music 38 S. Peoria St., Chicago Restrooms and drinking fountain: Near main lobby entrance on first floor.

Nichols Concert Hall Music Institute of Chicago 1490 Chicago Avenue, Evanston Restrooms and drinking fountain: On lower level; take stairs or elevator from lobby.

Wentz Concert Hall 171 E. Chicago Ave., Naperville Restrooms and drinking fountain: in the main lobby.

Pilgrim Congregational Church 460 Lake Street, Oak Park Restrooms: Off the lobby, in the southeast corner of the building.

Accessible restroom in south hallway near the chapel. Additional restrooms on the lower level.

R E S TAU R A N T S U G G E S T I O N S Show your ticket stub or program book to receive discounts at these area restaurants.

Chicago Jaks Tap Bar & Grill 901 W. Jackson Blvd.

Friday 11 AM - 2 AM / Sat. 4 PM - 2 AM / Sun. 4-11 PM 15% off all pizzas

Naperville Catch 35 35 S. Washington St. Hours: Fri. & Sat. 5-10 PM, Sun. 4:30-8:30 PM 10% off food

Lloyd’s Chicago 1 S. Wacker Dr. Dinner 5:00-8:30 pm 10% off food

Quigley’s Irish Pub 43 East Jefferson Ave. Hours: Fridays until 2 AM Sundays until 1 AM 10% off food

Venus Greek Cypriot Cuisine 820 W. Jackson Hours: Fri. and Sat. 4:00 PM - 12:00 AM 15% off food + Complimentary Parking Evanston Lulu’s Dim Sum & Then Sum 804 Davis St. (two blocks from Nichols Hall) Hours: 11:30 am – 10:00 pm 20% off Prairie Moon 1502 Sherman Ave. (one block west of Nichols Hall) Hours: Fri. & Sat. 4-11 pm Sunday 4-10 15% off

Tango Argentinean Grill 5 W. Jackson Ave. Hours: Fri. & Sat. until 1 AM, Sun. dinner 2:30-10 PM Free appetizer with purchase of two entrees Oak Park Café Winberie 151 N. Oak Park Ave. Hours: Sunday 1 pm - 10 pm 10% off Cucina Paradiso 814 North Blvd.

Hours: Sunday 5:00 - 9:30 pm 1/2 off wine bottles with purchase of two entrees (Reservations: mention Chicago a cappella) Hemmingway’s Bistro 211 N. Oak Park Ave. (in The Write Inn, 2 blocks north of Lake St.) Hours: Sunday until 9:00 pm 10% off food

4 Chicago a capella

PROGR A M Intro: Chicago (That Toddlin’ Town)....................................................Fred Fisher, arr. Jonathan Miller ******* SETTLING THE “GREAT WEST” C’est l’aviron...............................................................Trad. French Canadian (17th-18th c.), arr. J. Miller Shawneetown...........................................................................................................Ohio Valley folksong, arr.

Dillon Bustin/Malcolm Dalglish/Grey Larsen El-A-Noy............................................................................................... Trad. Folksong, arr. Augustus Zanzig ******* FIRST-WAVE IMMIGRANTS: BUILDING A CITY City of Chicago...................................................................................................Barry Moore, arr. Nick Page Die Wollust in den Maien...................................................................................................Johannes Brahms ******* CIVIL WAR AND SLAVERY Follow the Drinking Gourd........................................................................... African-American folksong,

arr. Allen Koepke Lincoln and Liberty . ................................................................................ “Old Rosin the Bow” (folksong);

text from 1860 Lincolncampaign; arr. Anne Heider ******* THE GREAT FIRE, THE GREAT EXPOSITION, AND THE GROWING CITY Passing Through The Fire......................................................................................................... George F. Root America, The Beautiful......................................................................................Poem: Katherine Lee Bates;

tune: Samuel Ward; arr. Deke Sharon Take Me Out to the Ballgame........................................................... Albert von Tilzer arr. Anne Heider Prayers of Steel.....................................................................Poem: Carl Sandburg; Music: Jerry J. Troxell

(1936-1998) Chicago (That Toddlin’ Town) .............................................................. Fred Fisher, arr. Jonathan Miller INTERMISSION LIFE IN THE “SECOND CITY” Chicago Bound Blues............................................................................................Lovie Austin, arr. J. Miller Precious Lord..................................................................................... Thomas A. Dorsey, arr. Arnold Sevier La Bamba............................................................................................................Trad. folksong from Veracruz

(Mexico), arr. Deke Sharon Madonna Mia!...............................................................................................Al Capone, arr. Patrick Sinozich ******* FUN AND GAMES Bear Down, Chicago Bears.....................................................................Al Hoffman, arr. Jonathan Miller Does Anybody Really Know What Time It Is?.....................................Robert Lamm, arr. Joe Herbert ******* Latecomers will be seated at the discretion of the ushers. Unauthorized photography or sound recording of any kind are strictly prohibited. Thank you for your cooperation.

Chicago a capella 5

INTRODUCTION I first set foot in this glorious city on August 30, 1971—my ninth birthday—when our Chrysler Newport and our moving van pulled up at a married-student-housing apartment in Hyde Park, my family’s first home here. I remember getting a Chinese checkers game set as a present that day. A year prior, we had moved from Brookline, Massachusetts to Richmond, Indiana, for what had been a relatively bucolic year, during which both of my parents were in graduate school. While they would continue in grad school upon our arrival in Chicago, little else in our lives would display a similar continuity. Playing Chinese checkers with my older sister and little brother that day, I had little inkling of how completely my life would change as a result of this encounter with this tremendous city. ******* Living in Chicago was, at first, rather terrifying for me. I was a nine-year old “white boy” suddenly transplanted in the South Side at the height of the Black Power movement. I attended Shoesmith School at 50th and Kenwood. That was my first of three stops on the journey through Chicago Public Schools’ District 14 where, even at Kenwood Academy, I was always a racial minority.

The other kids were tough and physical, especially at recess, and not just the black kids. It took me a little while to realize that they were also friendly, generous, and hilariously funny, as long as you played by the prevailing rules.

(I tried at first to play by Brookline rules, where you told the teacher if another kid stole your eraser. A few minutes on the ground with a bloody nose outside Shoesmith, where I had been decked with a hard right, were enough to teach me that the old rules didn’t work here.) I danced awkwardly in gym class, despite the kind and insistent coaching of Patrice Linder, a girl in my class whose complete comfort at dancing the “breakdown” section of our class dance tune impressed and rather awed me. In later years, I would feel confident— some would say overconfident—at my level of George Clinton- and Earth, Wind & Fire-inspired “funkification,” but it did not happen overnight.

The Chicago Children’s Choir and the Jewish Community Center were my first two after-school places of refuge. A year later, KAM Isaiah Israel Congregation would be the place for Sunday and Hebrew school, though being in synagogue didn’t keep me from being bullied. It took a few more years to develop a thicker skin.

It was in the Chicago Children’s Choir that I not only found what personally felt like my first real “tribe” in the big city—that of fellow singers—but also developed the beginning of a sense of belonging in a line (or many lines) of history. One of the songs found early on this concert is “El-A-Noy,” a quaint and funny song about settling here in the 19th century. The CCC was the first place I ever heard or sang it.

As years went by and I became more confident in my own skin and in my adopted city, features about Chicago—“city things”—came to excite and embolden me. My parents gave me a wide berth to explore, permission for which I am deeply grateful.

I fell in love with public transportation, riding on Supertransfers all day on summer Sundays. I was pleased that I could handle myself in a wide variety of situations, from riding the 47th Street bus without getting mugged to walking down Michigan Avenue all by myself with the wind in my hair on a beautifully crisp fall afternoon, on my way to hang out at Pacific Stereo on Oak Street—where I would listen to dozens of different speakers, amps, tuners, and LP needles, in the company of the most patient salesman a teenage boy could have known. (I did eventually buy my first complete stereo system from him, at age 13.)

6 Chicago a capella

I N T R O D U C T I O N ( c o n t .)

I developed pride for living in a multi-racial city where people got along remarkably well. I fell in love with our great buildings and the skyline that visually defines us to the rest of the world. I took a course at the Chicago Architectural Foundation during my senior year in high school, and I got my start as a singer right here with Chris Moore, Lena McLin, Max Janowski and Richard Proulx. How can you be more blessed than that? I have now lived in Chicago for 31 of my 48 years, and I feel lucky indeed to be here. (And although I would not have admitted it while in high school or college: yes, the suburbs do count if you say you’re from Chicago.) ******* Creating this program about Chicago has been a joyous eye-opener, a chance to fall in love with our amazing city all over again. It has been, to quote Shakespeare, “rich and strange” to create this musical history tour of Chicago. There have been a number of wonderful and thrilling things for me about putting this program together. It is difficult to articulate exactly why this has been such a blast. The joy seems to stem in part from being able to wield my more musically-oriented tools of research and program-building on our own city, the place that is more familiar than any other.

When I was training as a musicologist, I mostly studied the music and history of faraway places and people: medieval France, the Italian Renaissance, colonial New England, even contemporary Indonesia. There were a number of faculty and fellow students who deeply understood the wider cultural background of the music they were studying, and I was not one of them. I didn’t have a strong handle on the wider cultural, political, or humanistic context of Italian madrigals and 16th century European sacred music, which was my dissertation area. I could sing it with the best of them, and I could analyze the inner workings of the music from a composer/ theorist’s point of view, but I couldn’t articulate well why their musical expressions made sense in their culture, except in broad and vague terms that I ultimately found unsatisfying. Perhaps the era was just too remote for me, except in the arena of sound—which was ironic, because it was the ravishing sound of Renaissance music that made me want to study it so intensively in the first place. ******* But Chicago? Now that’s something I can relate to! A program about Chicago has allowed me to hear and read about places I have seen with my own eyes, heard with my own ears, or otherwise experienced very close to firsthand, as opposed to cities I’ve never or rarely seen and people who died long before I was born. It’s just so cool. Have you ever dug deeply into the incredible history of this place?

What a location we live in, and what a whirlwind of events got us here!

A few years ago, my wife gave me the Encyclopedia of Chicago. Talk about a perfect present! I can get lost in that book for hours—and did while doing the initial research for this program. (“Jon, can you take out the trash now?”) The book covers both the broad sweeps of Chicago’s history and minute details of individual trends, organizations, ethnic groups, and people. One of the leaders on the editorial team was James Grossman, a towering figure in Chicago history.

Our concerts usually run about ninety minutes including intermission. Just starting with Chicago’s official charter in 1838, we have to average about two years’ duration for every minute of concert time.“So,” you might ask,“how did you decide what to Chicago a capella 7

I N T R O D U C T I O N ( c o n t .) keep in and what to leave out?” I decided to break the musical history of Chicago up into six sections, like this: • initial settlers who founded the city and state; • the first wave of immigrants, including Germans and Irish; • events and forces leading up to the Civil War, including abolitionism and Lincoln’s election; • the unprecedented growth of Chicago into the “second city,” including the 189293 Columbian Exposition; • the Great Migration of black southerners and continued immigration of others; • and a final section that is just for fun.

Along the way, you’ll hear some terrific finds, including the only song every written

by Al Capone, and several pieces heavily influenced by or firmly rooted in the blues. ******* Now that this history has been drawn in music, I have a sense of how difficult it must be to write works of history. How do you decide how widely to cast your net, be it in terms of timespan, geography, social circles, and so on? How do you decide what to leave out, especially if you are going to keep it to a reasonable length? People have already asked me, “So, did you include a song about so and so?” Some people may be a little disappointed if we didn’t cover your favorite topic about Chicago. I’m confident you’ll enjoy this show anyway.

You’ll probably notice that not much of this music is that high-brow. That’s our town for you. Even with its fancy people, glorious restaurants and architecture, world-class theatre and classical music and creature comforts, Chicago has always been a sort of rough-and-tumble place. It’s a crossroads of trade and transportation, of people coming and going, always in flux. As I write these notes, we’re in the middle of a raucous mayoral campaign. Nine million people with differing agendas, skin colors, traditions and values aren’t going to agree on everything. That is part of why it is fun to live here.

I have a strong feeling that this program is just the beginning for us in our role as “Chicago” a cappella, being musical ambassadors for our fantastic city. You’re the audience pioneers, since you’re here, so please let us know: What did we leave out? What might be useful in a future incarnation of this show? Who else should we be singing this concert for? Don’t be shy. Drop us a note, or put it on your audience comment card, and let’s mix it up and see what widest possible reach this program can have.

Thank you for being here and for bringing your friends. We always appreciate your comments, so please don’t hesitate to write your impressions on the audience comment cards, or drop me an e-mail (jmiller@chicagoacappella.org) or a comment on our Facebook page if you feel like it. Enjoy the show.

—Jonathan Miller PROGR A M NOTES Intro: Chicago (That Toddlin’ Town) Fred Fisher, arr. Jonathan Miller We give you just a taste here of the song made famous by Frank Sinatra and others. See below for the full text and fuller program notes.

8 Chicago a capella

P R O G R A M N O T E S ( c o n t .)

SETTLING THE “GREAT WEST”’ C’est l’aviron (“It’s the paddle”) Trad. French-Canadian folksong, arr. Jonathan Miller “Michilimackinac” was the name given by local First Nation tribes to the area where Lake Michigan meets Lake Huron—at the northern end of what is now called the state of Michigan. It was a central jumping-off point for canoe trips further inland to Illinois, Wisconsin and points west and south (such as Missouri). In use as early as the late 1600s, this tune is said to have been the most popular song among the French traders who plied the Great Lakes and St. Lawrence River in pursuit of the fur trade. First Nation trappers would trap beaver pelt, which was the top prize, valued primarily for use in hat-making. In exchange for beaver pelt, the Native Americans received the goods they valued from Europeans, such as brass kettles and iron tools.

The main point behind this song is that “it’s the paddle” that “takes us up.” The direction of “up” refers to the trip from “lower Canada” (Toronto, Montreal, and similar points) to “upper Canada” (the Great Lakes and beyond). The rhythm easily suggests a work song. If you’ve ever paddled a canoe, see if you can imagine moving the paddle through water and air to the beat of the song.

M’en revenant de la jolie Rochelle recontré trios jolies demoiselles.

While I was returning from lovely Rochelle town I met three lovely ladies.

REFRAIN: C’est l’aviron qui nous mène, qui nous mène C’est l’aviron qui nous mène en haut.

REFRAIN: It’s the paddle that takes us, It’s the paddle that takes us up.

J’ai recontré trios jolies demoiselles J’ai point choisi, mai j’ai pris la plus belle.

I met three lovely ladies; on the spot I chose the best.

Au bout d’cent lieues, ell’ me d’mandit à boire Je l’ai menée auprès d’une fontaine.

After a hundred leagues, she asked me for a drink; I led her to a nearby fountain.

J’l’y fit monter derrièr’ moi, sur ma selle J’y fis cent lieues sans parler avec elle.

I mounted her behind me on my saddle I rode a hundred leagues without talking to her.

Quand ell’ fut là, ell’ ne voulut point boire Je l’ai menée au logis de son père.

When we got there, she didn’t want to drink (the water); I led her to her father’s lodge.

Quand ell’ fut là, ell’ buvait à pleins verres À la Santé de son père et sa mère.

When we got there, she drank full glasses (of wine?) to the health of her father and her mother.

À la Santé de ses soeurs et ses frères. À la Santé d’celui que son coeur aime.

…to the health of her sisters and brothers, to the health of the one that her heart loves.

-trans. Jonathan Miller

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P R O G R A M N O T E S ( c o n t .)

Shawneetown Trad. Ohio Valley folksong, arr. Dillon Bustin/Malcolm Dalglish/Grey Larsen, ed. J. Miller This is a song about keelboats going up and down the Ohio River in the vicinity of far southern Illinois. In the late 1700s and early 1800s, before the Illinois and Michigan Canal opened up travel between Lake Michigan and the Mississippi River, the main entry point to Illinois was downstate. Folksinger Dillon Bustin gives most of the background to this song: Shawneetown (also known as Shawnee Ferry) is a point on the Illinois side of the Ohio River, just downriver from the junction with the Wabash. It was the first Anglo settlement on the Ohio and, before 1830, was the major trade point between Native Americans and the new settlers. Salt mines nearby provided the area’s main trading commodity, as the “rock salt” in the song’s lyrics tell.

The easiest way to get to Shawneetown for trading was to float downstream.

However, if one were a trader, it was necessary to also get upstream to keep goods flowing in both directions. Rafts and flatboats were almost impossible to get back upstream. By contrast, a strong crew and “beech oars” would literally pull the keelboat back upstream, a process called “bushwhacking” or “cordelling.” In the era before steam power and dams, the downstream trip of a few weeks between Cincinnati and New Orleans was contrasted with the several months that it took to get back. The beech oar was a long oar that helped on downstream trips to guide the boat and keep it off mudslicks and snags. As with “C’est l’aviron,” you couldn’t do the work of river-based trade without some terrific paddles, so the men would have to paddle “hard on the beech oar.”

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P R O G R A M N O T E S ( c o n t .)

Some rows up, but we floats down Way down the Ohio to Shawneetown, and it’s CHORUS: Hard on the beech oar, she moves too slow Way down to Shawneetown on the Ohio.

Now the current’s got her and we’ll take up the slack We’ll float her down to Shawneetown and We’ll bushwhack her back, and it’s…

The whiskey’s in the jug, boys, the wheat is in the sack, We’ll trade ‘em down to Shawneetown and We’ll bring the rock salt back, and it’s…

Now, I got a wife in Louisville and one in New Orleans And when I get to Shawneetown gonna see my Indian queen, it’s…

The water’s mighty warm, boys, The air is cold and dank; and the cursed fog, It gets so thick you cannot see the bank, and it’s…

El-A-Noy Trad. “booster song,” arr. Augustus Zanzig, from Singing America The Midwest would never have been settled without “boosters,” people whose job it was to convince Easterners to bring their money, their families, and their talents and ambitions to the “Great West.” One way that they spread the “gospel” of westward migration was through songs, sort of like motivational pep talks to make you want to go somewhere new. This song is both quaint and vigorous, causing the singer and listener to want to spring up and move to El-A-Noy. (You are encouraged to pay special attention to the verse about the Queen of Sheba visiting our state—it’s hilarious.) A fourth verse, added later, suggests in the chorus, “Then move your family westward, bring all your girls and boys/ And cross at Shawnee Ferry to the State of El-A-Noy.” Way down upon the Wabash, Sich land was never known, If Adam had passed over it, The soil he’d surely own.

He’d think it was the garden He’d played in when a boy, And straight pronounce it Eden In the state of El-A-Noy. CHORUS: Then move your fam’ly west-ward.

Good health you will enjoy, And rise to wealth and honor in The state of El-A-Noy! ‘Twas here the Queen of Sheba came With Solomon of old.

With a donkey load of spices, Pomgranates and fine gold; Chicago a capella 11

P R O G R A M N O T E S ( c o n t .)

And when she saw this lovely land Her heart was filled with joy Straightway she said, “I’d like to be a queen in El-A-Noy.” She’s bounded by the Wabash, The Ohio and the Lakes.

She’s crawfish in the swampy lands, The milksick and the shakes.

But these are slight diversions, And take not from the joy Of living in the garden land, The state of El-A-Noy. ******* FIRST-WAVE IMMIGRANTS: BUILDING A CITY City of Chicago Barry Moore, arr. Nick Page The Irish first came to Chicago in the 1830s and were associated early on with the building of the I&M Canal (1836-1848). The potato crop failures that started in 1845 drove 1.5 million Irish to emigrate, and Chicago was a popular destination.

The journey was not easy, borne as it was of the urgency to eat; Irish women often traveled in groups apart from the rest of their families, in contrast to the more intact families of German, Jewish, Polish, and Italian immigrants.

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P R O G R A M N O T E S ( c o n t .)

The difficult journey of the Irish to Chicago is documented in this sad and moving song by an Irish songwriter, Barry Moore, who hails from Newbridge, County Kildare, Ireland. Barry changed his name to Luka Bloom to get out of the shadow of his more famous singer brother, Christy Moore. Luka has developed quite a following in his own right, and City of Chicago is probably his best-known song. (You can see and hear more about Luka Bloom at www.lukabloom.com.) The unpublished setting by Boston’s Nick Page was made available by special arrangement with the arranger.

Die Wollust in den Maien (The Sensuality in May) Johannes Brahms Germans were an important early immigrant group to Chicago, taking prominent roles especially on the North and Northwest Sides. Michael Diversey was a leading German who was alderman of the Sixth Ward in the 1840s. Between 1850 and 1900, Germans were the largest single ethnic group in Chicago. Not only did they make up one-sixth of the population in 1850, but in 1900, a full 470,000 Chicago residents were either born in Germany or had at least one parent who was. German was being taught in Chicago Public Schools by 1870. The posh Germania Club in Lincoln Park was founded in 1865 by the city’s German elite. Lincoln Square, anchored by the venerable Merz Apothecary, is the Chicago neighborhood with the strongest German character at the present time.

Concerts and other musical activities serve to strengthen ethnic identity, and the Germans were particularly strong in this area. Singing societies would have performed partsongs much like this one by Brahms, composed with amateur singers in mind.

Die Wollust in den Maien, die Zeit hat Freuden bracht. die Blümlein mancherleien, ein jeglichs nach sein’r G’stalt: das sind die roten Röselein, der Feyl, der grüne Klee; von herzer Liebe scheiden, das tut weh.

Spring passion in May, the season has brought great joy.

The flowers blossom, each after its own shape: These include the little red roses, the violet and the green clover; But they separate me from my dear love, which makes me sad.

Der Vögelein Gesange die Zeit hat Freuden bracht, ihr Lieb tät mich bezwingen, freundlich sie zu mir sprach: Sollt, schönes Lieb, ich fragen dich, wollst fein berichten mich.

Genad mir, schöne Frauen, so sprach ich.

The songs of the little birds in season bring me joy, Because I was conquered by love when she said to me: “If, beautiful one, I were to ask of you, would you tell me of your love?”

“Certainly, my dear, I’d tell you of my love:”

“After these many arduous Nach manchem Seufzer schwere trials of misery and sorrow, komm ich wohl wieder dar, I will return to see nach Jammer und nach Leide your sincere little eyes. seh ich dein Äuglein klar.

I ask you, my chosen one, Ich bitt dich, Auserwählte mein, let yourself be influenced laß dir befohlen sein By my young true heart.” das treue, junge Herze, das Herze mein.

-trans. Courtesy of UC Davis Dept. of Music

-Johannes Brahms ******* Chicago a capella 13

P R O G R A M N O T E S ( c o n t .)

CIVIL WAR AND SLAVERY Follow the Drinking Gourd Trad. African-American folksong, arr. Allen Koepke Historian Glennette Tilley Turner, who is the leading scholar of the Underground Railroad in Illinois, notes that Chicago was a hotbed of antislavery activity. There were many routes on the Underground Railroad that originated in Illinois towns bordering the Mississippi and Ohio Rivers; most of these ended in Chicago. Before the divisive Fugitive Slave Law was passed in 1850, Illinois was quite hospitable to runaway slaves; after 1850, slavecatchers or “pattyrollers” would capture black people even if they had certificates of freedom.

Getting across the Ohio River is the topic of this well-known song. The coded language tells slaves how to maintain a northern bearing: the “drinking gourd” in the chorus and every verse is the Big Dipper, whose pointer stars lead you to the North Star. The verses take the slave from Mobile, Alabama northward, through northeastern Mississippi and Tennessee toward Paducah, Kentucky, where the river crossing into Illinois would take place. The “old man” is reputedly a friendly boat operator and former sailor named Peg Leg Joe, who would mark the final part of the path with his “peg foot” and ferry slaves across the river to freedom.

Allen Koepke’s vigorous new arrangement is texturally thick, perhaps a subtle reminder that the perilous journey was through densely forested, unfamiliar territory.

When the sun goes back and the first quail calls, Follow the drinking gourd.

For the old man is awaitin’ for to carry you to freedom, Follow the drinking gourd.

The river bed makes a mighty find road, Dead trees to show you the way.

And it’s left foot, peg foot, then traveling on, Follow the drinking gourd.

The river ends between two hills, There’s another river on the other side, Follow the drinking gourd.

I thought I heard the angels say, Follow the drinking gourd.

Lincoln and Liberty Irish folk song,“Old Rosin the Bow,” combined with 1860 political lyrics, arr. Anne Heider In decades past, satirical or other political songs were a popular way to communicate a campaign’s message. Partisans would routinely borrow familiar tunes and slap on new words, as is the case here; imagine “Yankee Doodle” with new words about Rahm Emanuel or Gery Chico from the recent Chicago mayoral campaign, and you have the right idea. In this case, a popular Irish fiddle tune, “Old Rosin the Bow,” was paired with new lyrics that promoted Abe Lincoln as the “liberty” candidate in the 1860 presidential campaign.

14 Chicago a capella

P R O G R A M N O T E S ( c o n t .)

Anne Heider found this combination of text and tune in Irwin Silber’s collection called Songs America Voted By. In an interesting example of the way words can change meaning, she notes: The term “Sucker” to denote someone from Illinois had its origins in the 1820s.

Illinois men who traveled up the Mississippi in the spring, worked the Galena lead mines during warm weather, then migrated south when the cold weather came, were called after a type of river fish that had similar habits. The name had no connotation of gullibility and for a time was in common use, like “Hoosier” to indicate someone from Indiana.

Lincoln’s victory in 1860 would have been unthinkable without the city of Chicago, as the Republican National Convention was held here.

Hurrah for the choice of the nation! Our chieftain so brave and so true!

We’ll go for the great reformation, for Lincoln and Liberty too!

We’ll go for the son of Kentucky, the hero of Hoosierdom true, The pride of the Suckers so lucky, for Lincoln and Liberty too!

Our good David’s sling is unerring, the Slaveocrat’s giant he slew; Then shout for the freedom preferring, for Lincoln and Liberty too!

We’ll go for the son of Kentucky, the hero of Hoosierdom true, The pride of the Suckers so lucky, for Lincoln and Liberty too!

They’ll find, they’ll find what our railmaker statesman can do; For people are ev’rywhere calling for Lincoln!

Then up with our banner so glorious, the star spangled red, white, and blue!

We’ll fight till our cause is victorious, for Lincoln and Liberty too! ******* THE GREAT FIRE, THE GREAT EXPOSITION, AND THE GROWING CITY Passing Through the Fire George Frederick Root Named after Handel, George F. Root was one of the most prolific composers, arrangers, and music publishers in the middle of the 19th century. Born in New England, he moved to Chicago in 1859 to join his brother’s music-publishing firm, Root & Cady. His 35 wartime songs include the following “greatest hits”: Just Before the Battle, Mother; The Battle Cry of Freedom; and Tramp! Tramp! Tramp!

Root wrote this song about Chicago’s Great Fire of 1871 and published it the same year; since the Fire was in October, he must have written it quickly. The song embodies the spirit and values of Victorian-era middleclass society, as well as a rather pious and passive approach to tragedy. Following the Fire, he moved back to New England, where he died in 1872.

Flames! flames! terrible flames!

How they rise, how they mount, how they fly…

The heavens are spread with a fierce lurid glare, The red heat is filling the earth and the air, While mercy! mercy! We hear the despairing ones cry.

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P R O G R A M N O T E S ( c o n t .)

CHORUS: We are passing thro’ the fire! passing thro’ the fire, But it is our Father’s hand, Tho’ we may not understand Why we’re passing thro’ the fire, passing thro’ the fire!

Flames! flames! terrible flames!

How they sweep, how they rush, how they roar…

See their hideous tongues round the roof, tree and spire, As swells their wild carnival higher and higher, Till falling! crashing! Our glorious city’s no more.

Flames! flames! terrible flames!

What a fearful destruction they bring…

What suff’ring and want in their train follow fast, As forth on the streets homeless thousands are cast, But courage! courage! From the midst of the furnace we sing.

-George F. Root America, the Beautiful Poem by Katherine Lee Bates, music by Samuel Ward, arr. Deke Sharon Katherine Lee Bates was a college professor from New England and a tremendously prolific author and editor. On her way to teach a summer course at Colorado College in 1893, she passed through Chicago, where she seems to have seen the “White City” of the great Columbian Exposition. Upon her arrival in Colorado, she wrote the poem that would become our unofficial second national anthem, which she originally titled “Pike’s Peak.” Evidently, the impression that the White City made on her was the inspiration for her mentioning “alabaster cities’ gleam,” a memorable and unusual line. The poem was not originally paired with the now-famous music by Samuel Ward; common practice of the time (see “Lincoln and Liberty” above) was to interchange lyrics with different tunes and vice versa.

Ward’s music was originally a hymn, and the now-classic text and tune were not published together until 1905.

Oh beautiful for patriot dream that sees beyond the years.

Thine alabaster cities gleam undimmed by human tears.

America, America, God shed His grace on thee, And crown thy good with brotherhood, From sea to shining sea.

Oh beautiful, for spacious skies, for amber waves of grain.

For purple mountain majesties above the fruited plain.

America, America, God shed His grace on thee, And crown thy good with brotherhood, From sea to shining sea!

America, America, God shed His grace on thee, And crown thy good with brotherhood, From sea to shining sea!

-Katherine Lee Bates

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P R O G R A M N O T E S ( c o n t .)

Take Me Out to the Ball Game Words by Jack Norworth and music by Albert von Tilzer, arr. Anne Heider Have you ever heard all the lyrics to this song? As with so many tunes from the early 20th century, this one usually has the first part cut off. In this case, when you do that, you miss the best part of the story! Anne Heider has created another fun and fetching arrangement here, and since she has sung alto for so many years it’s not surprising that the altos (and even the basses) get the melody from time to time. We are admittedly slanting the chorus toward one of our local teams.

Katie Casey was baseball mad, Had the fever and had it bad.

Just to root for the home town crew, Ev’ry sou Katie blew.

On a Saturday her young beau called to see if she’d like to go to see a show but Miss Kate said, “No, I’ll tell you what you can do:”

Take me out to the ball game, Take me out to the crowd, Buy me some peanuts and cracker jack!

I don’t care if I ever get back!

For it’s root, root, root for the Cubbies!

If they don’t win it’s a shame!

For it’s one! two! three strikes, you’re out!

At the old ball game!

-Jack Norworth

Prayers of Steel Poem by Carl Sandburg, from Cornhuskers (1918); music by Jerry J. Troxell We often hear people speaking with awe at Chicago’s skyscrapers, yet we rarely hear that awe expressed in song. Carl Sandburg wrote a poignant ode to skyscrapers in his poem “Prayers of Steel,” published in the groundbreaking collection Cornhuskers. That book earned Sandburg the first of his three Pulitzer Prizes and contains the iconic poem “Chicago,” which begins with the well-known line “City of the Big Shoulders…”

The music created by Jerry Troxell is a haunting, meditative work, considered his most perfect piece of music. Troxell was a saxophonist and teacher of reeds, a professor at St. Louis University, church musician, and gifted composer who spent time in Chicago following his graduate work at Sangamon State (now U of I-Springfield). With its slightly angular character and stark harmonic style, the composition perfectly illuminates and captures Sandburg’s awe at beholding the stark urban beauty of Chicago’s new downtown area.

O God, lay me on an anvil, Beat me and hammer me into a crowbar.

Let me pry loose old walls.

Let me lift and loosen old foundations.

Beat me and hammer me into a steel spike.

Drive me into the girders that hold a skyscraper together.

Take red-hot rivets and fasten me into the central girders.

Let me be the great nail holding a skyscraper, through blue nights into white stars.

—Carl Sandburg, from Cornhuskers For the record: Jerry J. Troxell’s “Prayers of Steel” appears on Chicago a cappella’s CD Electric.

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Chicago (That Toddlin’ Town) Words and music by Fred Fisher, arr. Jonathan Miller Here’s another song with more words than you may have known existed! It was customary in the days of Tin Pan Alley to write songs with a contrasting first section before taking off on the “hit” portion of the song. As with “Take Me Out to the Ball Game,” this one has most of the action going on in the parts that we usually never hear. Frank Sinatra made the refrain of this song hugely popular. We have a new arrangement here of the entire song, including the less-than-politicallycorrect “patter” section. The song has a racier character than we have become used to, as it sings over and over again of people dancing anywhere and anytime they possibly can; the image of Chicago is more chaotic, too, with mention of the stinky stockyards. We must also acknowledge that the values of the time provided for a no-longer-used word in the “patter” section. (If anyone knows what the phrase “cop a Flo” means, we would be grateful to hear it; our current guess is that it refers to dancing, as a reference to “Flo” or Florenz Ziegfeld of the Follies.)

I got a gal, I got a pal, I got a chance, I got a dance, waiting for me.

I’m going to make, right to the lake, There with the boys, in Illinois, I want to be.

You may not care, for to be there, But I declare, you’re not aware, Just where to go.

When you’re in town, just call around, Right there I’m found, really you ought to know: CHORUS: Chicago, Chicago, that toddlin’ town Chicago, Chicago, I’ll show you around.

I love it!

Bet your bottom dollar You lose the blues in Chicago, Chicago, The town that Billy Sunday could not shut down.

On State Street, that great street, I just want to say, they do things they don’t do on Broadway.

Say, they have the time, the time of their life.

I saw a man he danced with his wife in Chicago, Chicago, my home town.

I got a maid, who’s not afraid Powders her nose, puts on nice clothes, She’ll get a beau.

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Any old guy, over in Chi, He’s got a chance, if he can dance, He’ll cop a Flo. Any hotel, that’s a bit swell, Must have a band, right here on hand, Or else they’re cheap.

If you’ll invest, you’ll find a guest, They’ll never rest, they’re dancing while they sleep: CHORUS “Patter”: In “College Inn” you get the real beer in a glass, In that college from professors, you learn to jazz, More colored people up in State Street you can see, Than you’ll see in Louisiana, or Tennessee, They’ve got “Stock Yards” so I heard the people say, I just got wind of it today.

-Fred Fisher INTERMISSION LIFE IN THE “SECOND CITY” Chicago Bound Blues Lovie Austin, arr. Jonathan Miller The Great Migration of black Southerners to Chicago between World War I and 1970 was one of the largest movements of a people in history. As historian (and one of the editors of the Encyclopedia of Chicago) James Grossman notes, the trains brought more than half a million African-Americans during this period from the Deep South—Mississippi in particular—to Chicago, where they sought economic alternatives to the Jim Crow realities of former slave states. World War I sparked the early part of this migration. With a combination of white soldiers being shipped to Europe, a new wartime demand for the manufactured goods made here, and the American borders basically closed to immigration, northern factories were in need of fresh labor. The Chicago Defender was the newspaper that told the whole black American community where the jobs were, what the issues were in each major city, and so on.

Of course, Mississippi-style blues made it to Chicago and became a defining influence on what would be known as Chicago blues. Twenty years before Muddy Waters came here, the T.O.B.A. (Theatre Owners Bookers Association) black vaudeville circuit was the place where singers like Bessie Smith would perform. A female musical giant in a field dominated by male music directors, Lovie Austin was a gifted pianist and composer on the T.O.B.A. circuit. Austin was the musical director at the Monogram Theater at 3453 South State Street. She led her own acts including her own “Blues Serenaders,” who accompanied many of the great singers of the age, including Ma Rainey and Ethel Waters.

In addition to her Chicago credits, Lovie Austin wrote some of the best-loved tunes for Bessie Smith, who recorded them in New York. In 1923, Smith laid down a phenomenal recording of Austin’s song, “Chicago Bound Blues.” The lyrics tell of 20 Chicago a capella

P R O G R A M N O T E S ( c o n t .) a woman in the Deep South who wants to go to Chicago but is not on the train; her man went north without her, leaving her to die “down home” from the blues.

The vocal chart here is a faithful transcription of the Bessie Smith recording, which featured piano and clarinet.

Late last night I stoled away an’ cried, Gat the blues for Chicago, And I just cain’t be satisfied.

Blues on mah brain, Mah tongue refuse to talk, I was foll’win mah daddy, But mah feet refuses to walk, Mean old fireman, cruel ol’ engineer.

You took mah man away and lef his mama standin’ here, Big red headline Tomorrow Defender news.

Woman dead down home, These old Chicago blues, I said blues.

-Lovie Austin Precious Lord Thomas A. Dorsey, arr. Arnold Sevier While it brought tremendous economic opportunity to hundreds of thousands, The Great Migration caused some conflicts within Chicago’s black community.

“Old settlers” who had been in Chicago as early as the 1840s were not thrilled at having to rub elbows with less sophisticated recent arrivals, especially in church.

This generational rift between educated and working-class subgroups has played out in similar fashion with immigrant populations in Chicago, from Chinese to Ukrainians and others; sometimes the educated elites come later, but the conflict is still there.

As Michael Harris notes in The Rise of Gospel Blues, Thomas Andrew Dorsey’s genius in shaping early gospel music lay in two areas. One was audible: namely, the musical fusion of more raw blues elements with weightier, classically-leaning stylistic features. The other, less blatantly audible but no less essential, was Dorsey’s recognition that the black Baptist church needed to be able to appeal to both the more recent migrants to Chicago, whose more ecstatic and charismatic styles constituted “storefront” worship, as well as the “old settlers” who were used to hearing Bach and Mozart on Sunday morning.

Like spirituals, the best gospel music has the quality of “the moan” inside it. A text cannot be overly cloying if is to be successful; it must have an inner quality of sincerity and human struggle to balance the joyful, even ecstatic impulse that comes from the wish to praise and rejoice. Dorsey’s Precious Lord meets all these criteria for success and then some. It was created when Dorsey’s wife, Nettie Harper, died in childbirth in 1932, along with their infant son; Dorsey was inconsolable and wrote the song in his grief. It was first recorded by the Heavenly Gospel Singers in 1937 and was Rev. Dr. Martin Luther King, Jr.’s favorite song. This arrangement by Arnold Sevier has traveled the world with countless choirs.

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P R O G R A M N O T E S ( c o n t .)

La Bamba Trad. Veracruz melody and lyrics, arr. Deke Sharon A proud and vibrant community, the Mexican presence in the city of Chicago makes up roughly a quarter of the city’s population. More than a million people of Mexican descent reside in the wider metropolitan area. Mexican-Americans have had a lasting and profound impact on the city, and vice versa.

The first serious wave of Mexican immigrants to Chicago followed the 1910 Mexican Revolution. A particularly interesting story of Mexican music taking hold in Chicago, which pertains to La bamba, is that of Angelina Moreno Rico. She was a musical pioneer in Chicago, arriving with her children here in 1926 a few months after her husband, José, was the first to arrive from Mexico City. The parents learned English and finished high school at Crane High School’s night-school program. An energetic and ambitious woman, Angelina insisted that all her children learn musical instruments, despite the family’s poverty. When many Mexicans wanted to shed their ethnic identity in the face of Depression-era deportations— Mexican youths tried to pass as Italian to avoid shame and expulsion—Angelina took action. The family began performing Christmas posadas in Chicago-area churches, and in 1949 they were invited to perform folkloric dances (including the wedding dance known as la bamba) at the Museum of Science and Industry.

Richie Valens’ 1958 version of the folksong from Veracruz gave it a rock drive, about which Valens was initially ambivalent. However, the song went on to be a rock icon, ranking #345 on the Rolling Stone list of top 500 rock songs of all time.

This arrangement is by the venerable Deke Sharon.

Para bailar la bamba, se necesita una poca de gracia, una poca de gracia y otra cosita ay, arriba, yarriba, por tí seré Yo no soy marinero, yo no soy mariner, Soy capitán.

Ticket SPECIALS 22 Chicago a capella

To dance La Bamba, You need a little grace, A little grace and a little something else, Ay! quickly – I will be [here] for you.

I’m not a [mere] sailor, I’m the captain.

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P R O G R A M N O T E S ( c o n t .)

Madonna Mia! Words and lyrics by Al Capone, arr. Al Capone Fan Club/Patrick Sinozich Yes, it’s true, you history fans: Al Capone really did write this song. He even wrote it in Alcatraz. Don’t ask us how we found it. The manuscript recently came up for auction, and the Al Capone Fan Club got hold of it and made a fetching loungemusic recording of the tune. Using that recording as a basis, Music Director Patrick Sinozich has given the song a complete a cappella treatment. Evidently, Al Capone had a tender side, though he didn’t show it to the feds.

In a quaint Italian garden While the stars were all aglow Once I heard a lover singing To the one that he loved so

There’s only one moon above One golden sun There’s only one that I love You are the one

In that quaint Italian garden ‘Neath the starry sky above Ev’ry night he’d serenade her With his tender song of love

Madonna mia This I vow here before you Til the end I’ll adore you Madonna mia

REFRAIN Madonna mia You’re the bloom of the roses You’re the charm that reposes In the heart of a song

Once again I see that garden Many years have hurried by I can see that sweet Madonna There’s a teardrop in her eye

Madonna mia With you true love to guide me Let whatever betide me I will never go wrong

For her soldier has departed Left his loved one with a sigh She said “I will wait forever” As he sang this last goodbye:

-Al Capone *******

FUN AND GAMES Bear Down, Chicago Bears Al Hoffman, arr. Jonathan Miller This is the famous Chicago Bears fight song. The original 1941 sheet music attributed authorship to one Jerry Downs, which was a pseudonym for the famous songwriter Al Hoffman, a member of the Songwriters’ Hall of Fame, known as a coauthor of the classic “Mairzy Doats.” The song consisted of one extended stanza.

The Monsters of the Midway almost made it to the Super Bowl in 2011, earning an 11-5 record and a first-round playoff bye. They lose in the NFC championship game to the Green Bay Packers, who went on to win the Super Bowl. Despite that disappointment, it was a good year. With an offense led by Devin Hester, Matt Forte, and Jay Cutler, the Bears put up more points in the 2010 fall season than many recent Bears teams had put up in several seasons combined. The defensive combination of veteran linebackers Brian Urlacher and Lance Briggs was bolstered by the acquisition of Julius Peppers as a mighty pass rusher and tackler.

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Does Anybody Really Know What Time It Is? Robert Lamm, arr. Joe Herbert In 1969, a rock group known as Chicago Transit Authority (later shortened to “Chicago” after they were sued by the CTA) released an album of the same name, featuring this splendid and now-iconic song. With an integrated horn section (in contrast to that of Blood, Sweat & Tears where the horns are more incidental) and superb rhythmic drive, the band released several top-ranking singles and albums from its debut through the mid-1970s.

“Does Anybody Really Know What Time It Is?” was written in early 1968, just before the band loaded up its U-Hauls and headed for Los Angeles, where they practiced nonstop. Eventually they were signed by CBS, which brought them back to New York in 1969 to record the “CTA” album. The band members remember that this was the first song they attempted to record, and it went quite badly at first, with all seven of them trying to stay coordinated. Eventually they figured out—partly due to the pressure of limited studio time—that it made more sense to record the rhythm section first and then the horns. Once that was settled, the rest of the album went rather quickly. The newly powerful FM stations, especially college stations, propelled the album into a hit, where it stayed on the charts for 148 weeks through 1972, a feat no other album had achieved before.

The opening introduction includes a 5/8 section and then settles into a heavy swing, with a strong R&B flavor in the horns, before the solo begins. The words combine an atmospheric detachment with social commentary, showing influences of the Beatles (think “Lady Madonna”). The all-vocal chart is by Joe Herbert, the driving force behing the virtuoso vocal-jazz group Groove Society. If you weren’t alive in 1969, just let the music take you there; if you were, let it do the same thing!

SPECIAL THANKS Chicago History Museum Malcolm Dalglish Enid Frandzel Anne Heider Joe Herbert Bill Hoban Merit School of Music: Tom Bracy, Nora Erickson Music Institute of Chicago: Fiona Queen, Sam Nordlund North Central College: Ken Hannah Northwestern University Music Library Pilgrim Congregational Church: Joan Hutchinson, Joycelin Fowler The Al Capone Fan Club Thanks also to The Saints, Volunteers for the Performing Arts, for providing our house staff. For information visit www.saintschicago.org or call 773-529-5510.

24 Chicago a capella

C H I C AG O A C A PPEL L A A R T I S T R O S T E R 2 010 -11 Jonathan Miller.................................................................................................... Artistic Director Patrick Sinozich.......................................................................................................Music Director Hoss Brock.............................................................................................tenor (Chicago, Chicago) Matt Greenberg........................................................................................... bass (entire season) Elizabeth Grizzell..................................................................................... mezzo (entire season) Kathryn Kamp..........................................soprano (Tastes; Red Carpet; Chicago, Chicago) Alexia Kruger...............................................................soprano (Holidays; Chicago, Chicago) Cary Lovett.......................................................................tenor (Tastes; Holidays; Red Carpet) Trevor Mitchell............................................................................................ tenor (entire season) Cari Plachy..................................................................soprano (Tastes; Holidays; Red Carpet) Benjamin Rivera........................................................................................... bass (entire season) Susan Schober.......................................................................................... mezzo (entire season) Brian Streem.................................................................................................. bass (entire season) BIOGR APHIES Jonathan Miller, Founder and Artistic Director Jonathan grew up in the Chicago Children’s Choir and has devoted decades to giving back the joy that he found there. While studying math at the University of Chicago, he quickly found himself in five choirs and decided to pursue music more deliberately. An early step was earning his musicology doctorate at UNC-Chapel Hill, studying Renaissance music. Since 1993 Jonathan has been blessed to lead Chicago a cappella’s superb vocalists and musical team, who value ensemble work, adventuresome repertoire, and a sense of fun. Jonathan’s composing career began when, as choir director at Unity Temple in Oak Park, he wanted new music for worship. He has written more than fifty choral works; his music has been sung at St. Patrick’s Cathedral in New York City and on the steps of the Lincoln Memorial. Increasingly active in Jewish music, Jonathan leads the Rodfei Zedek Festival Choir in Hyde Park, serves as principal guest conductor of Kol Zimrah, writes synagogue music, and is honored to serve as publisher of the late Max Janowski’s catalogue. A board member of Chorus America, Jonathan lives with his wife and daughter in the woods of Downers Grove.

Patrick Sinozich, Music Director An acclaimed choral conductor, pianist, vocal coach, and chamber musician, Patrick Sinozich joined Chicago a cappella’s musical staff in 2007 as Music Director. He is currently in his 15th season as Artistic Director of the Chicago Gay Men’s Chorus.

Patrick did his undergraduate studies at the University of Cincinnati CollegeConservatory of Music and completed graduate studies at Northwestern University. He is on the musical staff of the Chicago Symphony and has performed chamber music with members of the Chicago Symphony Orchestra, the Lyric Opera Orchestra, the San Francisco Symphony and the Cincinnati Symphony. He has also produced four CDs for Chicago a cappella and three for the Chicago Gay Men’s Chorus (which featured many of his own arrangements).

Patrick’s association with Chicago a cappella goes back to the ensemble’s very first auditions, which he accompanied, and he has provided musical support as the ensemble’s occasional rehearsal coach since 2005.

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B I O G R A P H I E S ( c o n t .)

Hoss Brock, tenor With feats of vocal and linguistic derringdo, Hoss Brock has become a perennial favorite with audiences and critics alike.

As a soloist with the Grant Park Music Festival, Hoss earned praise from critic John Von Rhein for his “plaintive, clarion singing” and his command of Slavic texts. When asked to fill in for Warsaw Opera star Adam Zdunikowski in the Lira Ensemble’s “Polish Christmas,” with only days to prepare selections by Paderewski and Moniusko, Brock (who can barely pronounce “Zdunikowski”, much less speak Polish) delivered a “warm and emotional rendition” (Chicago SunTimes). Sponsored by a grant from the Metropolitan Opera Competition, Hoss traveled to Barcelona, Spain, to compete in the Francisco Viñas International Vocal Competition, from which he was promptly eliminated, and subsequently enjoyed a fabulous week of shopping, sightseeing, and sangria. Recently, Hoss has performed Mozart’s Requiem, Bach’s B Minor Mass, and “Baba Yetu” from Civ IV at Video Games Live.

Matt Greenberg, bass Baritone Matt Greenberg has appeared frequently on Chicago’s concert and theater stages, singing everything from Bach to Broadway. His solo appearances include Bach’s St. Matthew Passion, Mozart’s Requiem, and an evening of Rodgers and Hammerstein.

Matt is a longtime member of the Grant Park Chorus and sang for over 20 years with the Chicago Symphony Chorus, where he made over a dozen solo or small ensemble appearances. A founding member of Chicago a cappella, he has also performed with Music of the Baroque, William Ferris Chorale, and the Harwood Early Music Ensemble. Matt’s work in musical theater includes the Jeffaward winning Sylvia’s Real Good Advice, 26 Chicago a capella

Hot Mikado, and appearances at Light Opera Works and Wisdom Bridge. He has also appeared with the pop quintet Table For Five. Combining his performing with a career in arts administration, Matt is Chicago a cappella‘s Executive Director.

Elizabeth Grizzell, mezzo Mezzo-soprano Elizabeth Grizzell has performed with groups both in Chicago and abroad. She has appeared as soloist with the Tunbridge Wells Opera, the Marlow Choral Society, and the Wooburn Singers of England. As a member of the Chicago Symphony Chorus, she has recorded the role of Apprentice with the late Sir Georg Solti and the Chicago Symphony Orchestra in Wagner’s Die Meistersinger. Especially fond of oratorio, her recent performances have included Mendelssohn’s Elijah, Mozart’s Requiem, and Dvorak’s Mass in D. Betsy records regularly for both GIA Publications and Hinshaw Music, and is a soloist with GIA’s Cathedral Singers. She holds a Bachelor of Music degree with a vocal emphasis from DePaul University. Of special note is her Musikgarten program, a musical education experience designed for children ages 16 months to 8 years old. Her studio in Naperville currently introduces more than 100 children to the fun and beauty of music.

Kathryn Kamp, soprano A good mix of opera, operetta, and musical theater productions and oratorio and concert engagements keeps Kathryn busy when she’s not singing with Chicago a cappella! She has appeared as soloist at the Ravinia Festival, Orchestra Hall at Chicago Symphony Center, Grant Park Music Festival, the Peninsula Music Festival, and Bach Dancing and Dynamite Society,

B I O G R A P H I E S ( c o n t .) among others. Favorite works include Mozart Requiem and Despina in Cosi fan tutte; Haydn Creation and Dixit Dominus; Handel (Messiah); Poulenc (Gloria) and Brahms (Requiem); Gilbert and Sullivan ingenues (Patience, Rose Maybud, Yum-Yum and Mabel); and anything by Steven Sondheim (Anne Egerman and Mrs. Segstrom). She also stage directs opera and operetta productions. Free time is spent in the garden, on a bike, cooking, reading, and hanging out with her husband. She always looks forward to the unique vocal demands and wonderful colleagues of Chicago a cappella.

Alexia Kruger, soprano Alexia Kruger enjoys performing a wide variety of music from the stage to the recital hall. A member of the Chicago Symphony Chorus and the Grant Park Chorus, Alexia has also been a soloist with such groups as the Chicago Chamber Orchestra (J.S. Bach’s Cantata 51), Chicago Sinfonietta at the Shedd and at Joffrey, Mantra Blue Free Orchestra, the Valparaiso University Symphony Orchestra (R. Strauss Beim Schlafengehen and Im Abendrot), and the University of Illinois Percussion Ensemble (Stravinsky’s Les Noces). She loves art song as well and has given recitals at such venues as the Chicago Cultural Center, Fourth Presbyterian Church, and several locations with VOX 3. Past roles have included Susanna and Contessa dAlmaviva (Le Nozze di Figaro), Giulietta (Les Contes d’Hoffmann), the title role in Suor Angelica, Lola (Gallantry), and Eve (Children of Eden). She is very excited to sing with Chicago a cappella this season!

Trevor Mitchell, tenor Acclaimed as having “simply the most uniquely beautiful and easily produced

tenor instrument most people will ever hear,” Trevór Mitchell’s career has taken him across the U.S. and to Austria, Italy, Ukraine, and the United Kingdom.

Recently audiences heard him in Bach’s B-Minor Mass, Weihnachts-Oratorium, St. Matthew Passion, and St. John Passion, Britten’s Serenade for Tenor, Mozart’s Requiem, Beethoven’s Missa Solemnis and Ninth Symphony, Vivaldi’s Beatus Vir, Gershwin’s Porgy and Bess, and several recitals, one being a recital for honored guest Paul, Duke of Oldenburg of Germany. Also this season, under the baton of the renowned John Rutter, Trevór performed Vaughan Williams’ Serenade to Music. Recent performances also include Messiah with the Baroque Band. Trevór also recorded Don Meyers’ Meditation in Three Reflections with the Millennium Symphony of Norfolk, VA and was a tenor soloist on a recently completed recording of sacred music with St. John Cantius Church.

Benjamin Rivera, bass Bass-baritone Benjamin Rivera appears often as a concert and oratorio soloist.

Recent appearances include performances of Bach’s St. John Passion, several Haydn Masses and a local premiere of a song cycle for baritone and instrumental sextet by Stacy Garrop. He is a longtime member of the Chicago Symphony Chorus, where he served in the position of section leader for several seasons. Benjamin also sings with the Grant Park Chorus during the summer. He recently completed his tenth season as conductor of the Chicago-area chamber choir Cantate, with whom he performs a wide range of mainly a cappella music. Benjamin holds the Master of Music degree in Music Theory from Roosevelt University and recently left a teaching position at St. Xavier University to pursue doctoral studies in conducting at Northwestern University.

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B I O G R A P H I E S ( c o n t .)

Susan Schober, mezzo Susan Schober is a founding member of Chicago a cappella.

A native Chicagoan, she sang for nine years with the Chicago Children’s Choir, and has performed a wide variety of solo and choral music with Chicagoarea ensembles. Most recently, she was a soloist at the 23rd International Kodály Festival in Kecskemét, Hungary.

In addition to solo and choral music, Susan has performed leading roles in several theatrical productions, including Puccini’s Gianni Schicchi, Britten’s Albert Herring, Herman’s La Cage Aux Folles, and Sullivan’s Utopia Limited. Susan received her bachelor’s degree from Northwestern University and a master’s degree in Music Education from Holy Names University in Oakland, CA. She is an accomplished music educator, specializing in the Kodály Method. She has taught students at every level, from preschool to graduate level teacher training. Susan loves both singing and teaching, but her favorite job is being a new mom to twins Katherine and Andrew.

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Brian Streem, bass A lover of choral music, Brian Streem has been a member of some of Chicago’s finest choral ensembles, including the Chicago Symphony Chorus, the Grant Park Symphony Chorus, Bella Voce, the William Ferris Chorale, and the Chicago Jazz Ensemble. His theatrical credits have included Pippin (Pippin), Jesus (Jesus Christ Superstar), Sky Masterson (Guys and Dolls), Jack (Into the Woods), Philip (Lion in Winter) and the star of the one-man show All in the Timing. His recent work with Chicago a cappella was praised by critic Cathryn Wilkinson, who noted that he “pattered out a better maraca ostinato with his mouth than many drummers can with two hands.” Brian is a graduate of the Chicago College of Performing Arts at Roosevelt University, studying music theory with Dr. Rudy Marcozzi.

HELP CHICAGO A CAPPELLA ACHIEVE EVEN MORE!

Be a part of our exciting musical endeavor!

Current projects include: • Educational residency at Whitney Young High School • New CD recording of Jewish music • Upcoming programs on spirituals and gospel, including new arrangements, commissions, and recordings Why support Chicago a cappella now: • Ticket sales cover only a fraction of our expenses.

• Support of the arts from government and corporate sources is shrinking.

• Contributions from friends like you cover over 1/3 of our operating budget.

• Your tax-deductible donation makes our future possible!

Use the envelope in this program to make your gift today, and be a part of our vital musical endeavor – and our exciting future!

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DONORS We offer our deep gratitude to our contributors who made gifts and pledges to Chicago a cappella between January 1, 2010 and February 25, 2011. We regret that we are unable to list the many thoughtful contributors who made gifts under $50. If this list contains an error, please accept our apologies and kindly let us know so that we may correct it.

INSTITUTIONAL CONTRIBUTORS FOUNDATION SUPPORTERS Arts Work Fund for Organizational Development Dr. Scholl Foundation The Gaylord and Dorothy Donnelley Foundation Klaff Family Foundation The MacArthur Fund for Arts and Culture at the Richard H. Driehaus Foundation

GOVERNMENT SUPPORTERS Illinois Arts Council City of Chicago Dept. of Cultural Affairs Oak Park Area Arts Council MEDIA SPONSORS Naperville Sun (concerts at Wentz Hall, Naperville) 98.7 WFMT (The Red Carpet of Sound)

CORPORATE SUPPORT, MATCHING GIFTS, AND OTHER SUPPORT Bank of America Blue Cross-Blue Shield of Illinois First Bank and Trust Evanston Hendricks Pianos (Gold Sponsor, The Red Carpet of Sound) JP Morgan Chase Foundation King Insurance Agency Minibar-Winebar Robert Morris University Whole Foods Markets

INDIVIDUAL CONTRIBUTORS VISIONARY ($5,000 or more) Anonymous Estate of Helen Asher Hyslop Shannon Foundation ARCHANGEL ($2,500 or more) Ann and Roger Cole Howard and Jane Hush Murray Kopelow and Cathy Bachman ANGEL ($1,000 or more) Anonymous Marguerite Bloch Frank G. & Gertrude Dunlap Fund Bill and Jeanetta Flowers Helen Gagel 30 Chicago a capella

Joyce Grenis and Michael Koen Jay and Jackie Lauderdale Susan and Joe Lunn Mary Miller Diana Ramirez Priscilla and Steve Shaw BENEFACTOR ($500 or more) Nora Bergman Fund Bonnie Benson Michelle Eppley Marina Gilman Matt Greenberg and Chris Baer Hank and Becky Hartman Ann Hicks and Lawrence Hamilton Tom and Margaret Huyck Charles Katzenmeyer

Douglas and Christine Kelner Leslie Lauderdale Ronna Lerner Bob and Fleury Linn Linda Mast and Bard Schatzman David Miller and Mary Ellen McNish Jonathan Miller and Sandra Siegel Miller Robert and Lois Moeller Ken Novak Alice and David Osberg David and Carole Perlman Dale and Donna Prest Carolyn Sacksteder Maria Suarez

D O N O R S ( c o n t .)

SPONSOR ($250 or more) Claudia and Timothy Divis Five K. Family Fund at The Chicago Community Trust Don and Joanna Gwinn Anne Heider and Steve Warner Rae Kendrick Jean McLaren and John Nitschke Drs. Donald and Mary Ellen Newsom Richard and Cindy Pardo Caryl Rine Bette Sikes and Joan Pederson Tom and Linda Spring Ann Stevens Mary Beth Strahota Alexander and Robin Stuart Emily Troxell Jaycox Frank Villella and Oscar Ivan Zambrano John Washburn Lance and Stephanie Wilkening Duain Wolfe PATRON ($100 or more) Wendy Anker and Edward Reed Alison Ash Karen Atwood Bob and Rose Marie Baer David and Denise Bunning Trent and Kara Coleman Laura and Gary Cooper Faith Davis Thomas Doyle Mary Ekins Ron & Judy Eshleman Kris and Julie Gagnon Howard and Judy Gilbert Norm and Judy Greenberg Sanford Greenberg and Betsy Perdue

Judith Grubner and Craig Jobson Robert Harris F. James & Margery Heider Ann Hewitt Jim and Lois Hobart Valerie Humowiecki Jean and Lester Hunt Karen Hunt Susan Kamp Melynda and Scott Kohl John and Karen Kruger Helen and John Lauderdale Stephen and Lisbeth Lerner Barbara and Martin Letscher Joan Levin Carol LoVerde Jay Lytle Jennifer Marling Linda Matonich Glenn and Sandy Meade Betsy Meisenheimer and Wes Westerfield Daniel Melamed and Elizabeth Sabga Ephraim and Ann Miller Vreni Naess Cathy and Paul Newport John and Gail Polles Jane Ann Prest Doris Roskin Kenneth Schug Jennifer and Warren Schultz Dennis and Patricia Smith Laura Smith Jeni and David Spinney Juan J. Suarez Geri Sztuk Barbara Volin Clark and Joan Wagner Shirlene Ward and Kevin Kipp Ellen Wehrle and Richard Pokorny Tracy and Tony Weisman

Robert and Barbara Wichmann Cheryl Wollin Shawn Ying and Jason Cohen John and Mary Zimmerman FRIEND ($50 or more) Anonymous Jill Abramson and Jonathan Malamy David and Patricia Agnew Carole Baumgart Susan Beal William and Betty Boyd Frank Brockway and Mimi Brile Jim and Ellen Dalton David E. Danielson Dale and Frances Dellutri Susan Eleuterio Anne Evans Dale Fitschen Frances Flowers Madelon and Roger Fross Don and Diane Gilliard Elizabeth and Phil Gould Carolyn Hayes Andy and Junia Hedberg Charles Hoffman and Tamara Schiller Laurie Howick Carol B. Johnson Carl and Carola Kupfer David and Darlene Landsittel Ivan and Jasna Lappin Marvin and Marlene Levine Diane and Doug MacDonald Catherine Marquis Scott, Kelly & Ian McCleary Cheryl and Tom McRoberts Patrice Michaels and Jim Ginsburg Chicago a capella 31

D O N O R S ( c o n t .)

William S. Miles and Michele D. Raible Belverd E. Needles Charles & Janice Olson Jim Peterson Margarita Prieto Virginia Russell Michelle and Jonathan Sales Joe and Joan Senko Judith and Richard Spurgin

Eileen Sutter Jim and Kathy Swager Bernard Szeszol Nancy Ellen Tauchman Laura Temple and Andrew Wood Dave and Carolyn Utech William Wallace John and Mary Zimmermann

IN HONOR OF DOUG AND CHRISTINE KELNER Richard Holbrook Marina and Andrey Kuznetsov Lorelei and Tim McDermott Jonathan Miller and Sandra Siegel Miller

SUSTAINING DONORS By joining our Sustaining Donor program, the following individuals support the work of Chicago a cappella while reducing our fundraising costs and saving resources. Sustaining donors choose the level and frequency of their automatic payment, and receive the benefits of annual tax deductions without the hassle of writing checks. For more information, see the envelope in this program, visit our website, or call (773) 281-7820.

A huge thank you to our Sustaining Donors:

Susan Beal Frank Brockway Norma Felbinger Patrice Michaels and Jim Ginsburg Sanford Greenberg & Betsy Perdue Ann Hewitt Jean & Lester Hunt

Doug & Christine Kelner Leslie Lauderdale Vreni Naess Donald & Mary Ellen Newsom Ken Novak Alice & David Osberg David & Carole Perlman Carolyn Sacksteder

Warren & Jennifer Schultz Tom & Linda Spring Ann Stevens David & Carolyn Utech Frank Villella Shirlene Ward & Kevin Kipp

IN -KIND CONTRIBUTIONS HouseRed Wine Shop / Forest Park LeChocolat du Bouchard, Naperville Naperville Sun 98.7 WFMT Press America, Inc. Whole Foods Market / Lakeview Vosges Haut-Chocolat

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